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Rosa Branca Figueiredo

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


Jennifer Wood

scene we have been shown is of the St Fagans National History Museum, a living history museum, part of the heritage and tourism industry, providing a chocolate-box version of national cultural identity, or an example of “quasi-communal fictionality” (Knight, 2003 , p.80): Welsh life as partial


Bill Richardson

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 previous


Aytül Özüm

of the Istanbullus, their way of life and the construction of the city with its modern and historical buildings together create a city as living organism. For Pamuk, foreign visitors might think that today’s Istanbullus want “to make a moral point” while getting dressed in pale colours instead of the


Ivan Kenny

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


Brigitte Le Juez and Bill Richardson

, pleasure, grief, fear, or burst of memories). Literary places do not exist, even if you can situate them on a map. The writer’s evocative talent and the reader’s imagination are the agents that breathe ekphrastic life into fictional locations. Ever since the spatial turn in the 1970s, which marked a new


Brigitte Le Juez

re-examine the effects of a harrowing past on life today, but also to help him come to grips with and articulate his own thoughts and emotions about his native city. This essay proposes to examine two main aspects of H Story ’s project. First, how Suwa uses Resnais and Duras’s work to apprise their