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Gala Maria Follaco

his mind and describe with confidence through writing; at some point, however, there is a shift to the present tense, to the still flowing stream of emotions and sensations, that he expresses in an immediate and vivid form, putting the reader in the middle of a scenery whose features are as delicate

Series:

Gala Maria Follaco

modifications of the riverscape, its bridges and ferries and the effects of the wind and light on its surface. These systematically foretell the emotions and moods of the characters, represented in accordance or in contrast with the atmospheres of the place, but they cannot be imagined disconnected from it

Series:

Gala Maria Follaco

voice of the rain does not rage and does not complain. It but speaks, pleads. Human emotions are forever unchanging; and who, alone in bed listening to the rain, is not moved to sadness?” 51 Although the novel emphasises the dignity of the arts of Edo, the real metaphor of the past is the kanshi

Series:

Gala Maria Follaco

emotions theatre aroused in him. By crediting the “transformation” not to the performance itself, but to America, he recognised that the set of experiences brought by his travels were powerful enough to influence his disposition towards life and art. Rather than an emotional reaction to the ability of the

Series:

Gala Maria Follaco

were probably better able to understand than their predecessors of the previous decade the transformation that their country had undergone since the Meiji Restoration, and so were better equipped to share the mosaic of emotions underlying Kafū’s literary world. 11 Another commentator on Kafū