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commission. In a conversation in her hotel room it turns out that Fran believes the death of her father (of which only Govert knows the ins and outs) to be a sign that she’d better take leave from sublunary life as well, because her father had given her a gun for her to use when life had yielded up all its
then of contemporary life, and from this complex pattern of contradictions, we are offered the chance, as David Cook ( 1987 , p.93) states, “to form a new vision”. Cook’s use of the phrase fits perfectly well within Soyinka’s heroic paradigm. Dionysus, Elesin, and Jero are only three examples of those
then of contemporary life, and from this complex pattern of contradictions, we are offered the chance, as David Cook ( 1987 , p.93) states, “to form a new vision”. Cook’s use of the phrase fits perfectly well within Soyinka’s heroic paradigm. Dionysus, Elesin, and Jero are only three examples of those
non-arts careerists and Drifters’ work histories conforming to the C -sequence. C highlights the ‘experimental’ life style of those who are motivated to do creative work but find out that they cannot make a living from it. In some cases, non-arts jobs are taken out of expediency (e.g., the money
): Welsh life as partial fabrication and as a preserved and passive object of the gaze, not an active, living subject. We return to St Fagans with Cerys later in the film as she searches for information on the family farm, Nant Briallu, and we watch her watching the same information reel on the Welsh
): Welsh life as partial fabrication and as a preserved and passive object of the gaze, not an active, living subject. We return to St Fagans with Cerys later in the film as she searches for information on the family farm, Nant Briallu, and we watch her watching the same information reel on the Welsh
/nonhuman, figures of possession and the living dead, including the zombie, open a place between death and life, becoming “tropes for the social death and the dehumanizing and commodifying processes that the Middle Passage initiates” ( Chassot, 2015 : 93). The disruption of the linear progression of mortality allows
, it hints at a notion of idyllic harmony, at lives being lived in a location that lies outside of the changes wrought by time and progress (Buckley, 1982 , p.109; 2010 ; Torres Nebrera, 1992 ). This reinforces the sense that life on this estate represents a style of living that harks back to
, it hints at a notion of idyllic harmony, at lives being lived in a location that lies outside of the changes wrought by time and progress (Buckley, 1982 , p.109; 2010 ; Torres Nebrera, 1992 ). This reinforces the sense that life on this estate represents a style of living that harks back to
tener color; todos los colores están reservados para la pintura sensual y deslumbrante de la isla”. [“In Marini’s life as an air steward everything seems to be colourless; all the colours are reserved for the sensual and dazzling portrait of the island”.] Consequently, from the beginning of the story, a