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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

In: Spaces of Longing and Belonging

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

In: Spaces of Longing and Belonging
Author: Jennifer Wood

): 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

In: Spaces of Longing and Belonging
Author: Jennifer Wood

): 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

In: Spaces of Longing and Belonging
Author: Bill Richardson

, 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

In: Spaces of Longing and Belonging
Author: Bill Richardson

, 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

In: Spaces of Longing and Belonging
Author: 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

In: Spaces of Longing and Belonging
Author: 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

In: Spaces of Longing and Belonging
Author: Aytül Özüm

–41). The portraits 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

In: Spaces of Longing and Belonging
Author: Aytül Özüm

–41). The portraits 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

In: Spaces of Longing and Belonging