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systematic departure from self-interested behaviour in the direction of rule-based behaviour-duty, loyalty and good will-has been extremely important for the achievement of individual and group economic efficiency. An accurate interpretation of Adam Smith, he demonstrates, does not lend support to believers in, and advocates of, a narrow interpretation of self-interested behaviour either in ethics or in economics. Technically, as Sen demonstrates, under a scheme of extremely limited conditions, welfare economics admits of Copyrighted material xii Foreword circumstances in which acting entirely according to selfinterest could be ethically justified. But the practical significance of this theorizing is highly questionable Therefore he identifies the limitations of the 'wellfarist' concepts on which, inter alia the analysis is based_ By distinguishing between the 'well-being aspect' which covers a person's achievements and opportunities in the Context of the individual's personal advantage from the 'agency aspect' which examines them in terms of broader objectives, the analysis goes beyond the pursuit of one's own well being, with productive results. Sen distinguishes between elements of distributive justice and more extensive valuations of the individual or group. This leads to a discussion on 'plurality and evaluation'; 'commensurability'; 'completeness and consistency'; 'impossibility theorems', as well as positive possibility results and constructive characterization. In apptying the recent philosophical literature on consequentialism to economics, Sen shows how this reasoning-including interdependence and instrumental accountingcan be combined not only with intrinsic valuation but also with position-relativity and agent-sensitivity of moral assessment, In effect. he shows that under realistic conditions, In 1999, as a young Italian b-boy eager for knowledge, I came across a book featuring a captivating photograph of the legendary black rapper LL Cool J. The picture showed him performing live, confidently holding the microphone in one hand and his crotch with the other, displaying his impressive muscular arms and tattoos. In a move that was a clear act of artistic and sexual confidence, Cool J wore a classic Kangol bucket, perfectly matched with a basketball tank top and a pair of baggy jeans, giving the whole image a look of elegance and ghetto glamour that encapsulated the essence of late 90s hip-hop masculinity. Or, as I soon understood, just its front image. On the one hand, such a “machist” version of hip-hop male identity appeared as the re-enactment and commodification of old racist tropes concerning black masculinity surfacing the history of Anglo-American popular culture: from the late 18 Century “black dandy” as a hyper-haute dressed and mischievous subject in the British stage; to the mid-19 century blackface minstrel tradition, depicting black people as music enthusiasts but with the potential to be rapists; up to the “Birth” of American narrative cinema where black male characters were also represented as brutes and hypersexual “Mandingoes”, and later as mendaciously “gangsta”. One the other hand, from its very mainstreaming in the early 1980s “hip-hop masculinity” and its associated fashion, were characterized by a certain “ambiguity” which challenged the racilized representation of black people mentioned above. Take black graffiti pioneer of Italian descendant Rammellzze whose casting of cross-gender characters made a staple of hip-hop redesign of visual and performance art; the flamboyant stage costumes of Afrika Bambaataa and the Soul Sonic Force reconnecting with the Afrofuturist and Panafricanist movement, 1929 - 2017 Gastone Moschin (Italian pronunciation: [ɡaˈstoːne moˈskin]; 8 June 1929 – 4 September 2017) was an Italian stage, television and film actor. Read more on Wikipedia Since 2007, the English Wikipedia page of Gastone Moschin has received more than 482,672 page views. His biography is available in 18 different languages on Wikipedia (up from 17 in 2019). Gastone Moschin is the 1,976th most popular actor (up from 2,006th in 2019). Page Views (PV) Historical Popularity Index (HPI) Languages Editions (L) Effective Languages (L*) Coefficient of Variation (CV) Among actors, Gastone Moschin ranks 1,976 out of 13,578. Before him are Blake Lively, Girish Karnad, Donald Crisp, Diane Venora, Fernando Colunga, and Rue McClanahan. After him are Claire Lacombe, Carla Gravina, Noomi Rapace, Sibel Kekilli, Ray Winstone, and Bernhard Wicki. 1987 - Present HPI: 60.60 Rank: 1,970 1938 - 2019 HPI: 60.60 Rank: 1,971 1882 - 1974 HPI: 60.60 Rank: 1,972 1952 - Present HPI: 60.59 Rank: 1,973 1966 - Present HPI: 60.59 Rank: 1,974 1934 - 2010 HPI: 60.59 Rank: 1,975 1929 - 2017 HPI: 60.58 Rank: 1,976 1765 - 1826 HPI: 60.58 Rank: 1,977 1941 - Present HPI: 60.58 Rank: 1,978 1979 - Present HPI: 60.58 Rank: 1,979 1980 - Present HPI: 60.57 Rank: 1,980 1957 - Present HPI: 60.57 Rank: 1,981 1919 - 2000 HPI: 60.57 Rank: 1,982 Among people born in 1929, Gastone Moschin ranks 177. Before him are El .La Dolce Hood: Rethinking Hip-hop Masculinity through Italian Cinema and Fashion. The Case of Vibe Magazine. 1992–1997
Gastone Moschin
ACTOR
Gastone Moschin
Memorability Metrics
480k
60.58
18
3.21
2.59
Among ACTORS
Most Popular Actors in Wikipedia
Go to all RankingsBlake Lively
Girish Karnad
Donald Crisp
Diane Venora
Fernando Colunga
Rue McClanahan
Gastone Moschin
Claire Lacombe
Carla Gravina
Noomi Rapace
Sibel Kekilli
Ray Winstone
Bernhard Wicki
Contemporaries