And even those attempts at escapism have ended up being swiftly disenchanting.
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One could say that it has the disenchanting optimism of the blues.
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It is incredibly disempowering and disenchanting for a country with a young film industry.
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Disenchanting emotional touch also causes people to underestimate the way past experiences shape current behavior.
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Can he woo the Republican establishment, which he must to nail down the nomination, without disenchanting his base?
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He went through a series disenchanting romantic relationships, struggled with self harm, and nearly died when two men mugged him.
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"I will say it was disenchanting to hear him in some of the debates say 'Little' Rubio or 'Crooked Hillary,'" Adams, 48, said recently.
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Other times they can read as downright disenchanting, like when she tricks all three of her lovers into dining together at a Thanksgiving meal (more on that later).
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And it's not clear how one of Trump's signature promises — building a wall on the border with Mexico — will work politically: He risks further alienating moderates if it goes ahead, and disenchanting his supporters if it doesn't.
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The key question is whether Trump can establish more civil relations with the RNC and set a more sober-minded tone in general — while also not disenchanting supporters who were drawn to the businessman as a brash voice unwilling to pay deference to the powers-that-be.
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Flat earth is fascinating because in an era where so much of the world is disenchanting and so much of social existence is already a given—you will have your job, you will have your life, you will be exploited, and then you will die—there are people who can dream the Earth itself into a different shape.
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Shripad A. Dabholkar (1924 – May 2001) was an Indian intellectual and activist. He was the founder of a non-structured methodology of grassroot networking for nature-friendly and human-friendly neighbourhood development called the Prayog Pariwar methodology (Experimenting Communities).Disenchanting India: Organized Rationalism and Criticism of Religion in India. Johannes Quack.
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John Lewis was one of these disillusioned tourists that in many ways can be universally compared to the average pioneer on the trail. He wanted to see the butte that was a once in a lifetime view of this entity, but the distance to see it and the extra work this entailed was more than he was expecting. Hence while Courthouse Rock was massive and breathtaking, Lewis' overall experience of going so far out of his way was unexpected and disenchanting.
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Johannes Quack is a German ethnologist at the Goethe University Frankfurt whose primary field of study is religion. He is also the head of the Emmy Noether Research Group “Diversity of Non-Religiosity” at the Goethe University Frankfurt. He has researched non-religious and rationalist organisations in India. He received the Max Weber Award from the Max Weber Center for Advanced Cultural and Social Studies at the University of Erfurt for his work Disenchanting India: Organized Rationalism and Criticism on Religion in India.
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When first published, Don Quixote was usually interpreted as a comic novel. After the French Revolution, it was better known for its central ethic that individuals can be right while society is quite wrong and seen as disenchanting. In the 19th century, it was seen as a social commentary, but no one could easily tell "whose side Cervantes was on". Many critics came to view the work as a tragedy in which Don Quixote's idealism and nobility are viewed by the post-chivalric world as insane, and are defeated and rendered useless by common reality.
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During the 20th century the phrase faded from popularity but when historians started taking note of its recurrence in historical newspapers, journals, and literature they often summed the elephant up too quickly and categorized it as a negative experience. Desolation and sadness may have been one trait of "seeing the elephant", but it was certainly not the only or even the most prevalent. More often, American pioneers of the Overland Trails talk of the excitement and anticipation of heading west to see the elephant. Elephant "sightings" often begin with excitement and high ideals only to be disappointing or disenchanting.
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But he had health problems, suffered under the death of his mother, abused drugs and had depressions.Preview of the book In the documentary Arrows Into Infinity (2014, ECM Records) Lloyd explains: "At a certain point I began to suffer musically and I began to suffer personally and I was off my spiritual campus and I could feel it and it disturbed me and I had to go away. […] I hit a wall and I couldn't really function in the music business, [it] was very disenchanting to me at that time." So in 1969 he disbanded the quartet and moved from New York to California, where he went to college – away from the temporary jazz scene to a jazz outback.
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Motta (2007), p. 70 After his fourth album, Maia left Polydor for RCA Victor, who offered him a chance to record a double album. The instrumental parts were all ready when Maia went to his composing friend Tibério Gaspar for help with the lyrics. In his house Maia found the book Universo em Desencanto (Disenchanting Universe), revolving around the cult of Rational Culture.Motta (2007), p. 127-9 Maia converted to the cult, abandoned the drugs and red meat, and decided to write the lyrics for the songs about the knowledge contained in the book. RCA rejected the albums Tim Maia Racional, Vols. 1 & 2 for the newly found spiritual content, but Maia bought the master tapes from them and released the albums independently through label Seroma Discos, which would split its profits with the cult.
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In 1871 he was elected as the Carlist deputy for Cabuérniga. In this same year he published a second series of Escenas montañesas under the title of Tipos y paisajes; and in 1876 appeared Bocetos al temple, three tales, in one of which the author describes his disenchanting political experiences. The Tipos trashumantes belongs to the year 1877, as does El Buey suelto, which was intended as a reply to the thesis of Balzac's work, Les Petites misères de la vie conjugale. More and more pessimistic as to the political future of his country, Pereda took occasion in Don Gonzalo González de la Gonzalera (1879) to ridicule the Revolution as he had seen it at work, and to pour scorn upon the nouveaux riches who exploited Liberalism for their personal ends.
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Monument to Conrad in Vologda, Russia, to which Conrad and his parents were exiled in 1862 Anchor-shaped Conrad monument at Gdynia, on Poland's Baltic seacoast Plaque commemorating "Joseph Conrad–Korzeniowski", Singapore Joseph Conrad Square, San Francisco, California An anchor-shaped monument to Conrad at Gdynia, on Poland's Baltic Seacoast, features a quotation from him in Polish: "Nic tak nie nęci, nie rozczarowuje i nie zniewala, jak życie na morzu" ("[T]here is nothing more enticing, disenchanting, and enslaving than the life at sea" – Lord Jim, chapter 2, paragraph 1). In Circular Quay, Sydney, Australia, a plaque in a "writers walk" commemorates Conrad's visits to Australia between 1879 and 1892. The plaque notes that "Many of his works reflect his 'affection for that young continent.'" In San Francisco in 1979, a small triangular square at Columbus Avenue and Beach Street, near Fisherman's Wharf, was dedicated as "Joseph Conrad Square" after Conrad.
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Yang was active in Korean cinema in the late 1930s until the late 1960s, but had lived in seclusion since then. For her feature film debut, Byun adapted the Korean novel "A Special Day That Comes Only Once in My Life" by Jeon Gyeong-rin into the erotic drama Ardor (2002), about the reinvigorating effects of an affair on a woman's previously disenchanting life. She then produced the documentary Koryu: Southern Women, South Korea (Kim So-young, 2001), which deals with feminine modes of expression and existence in both pre-modern and modern Korea, to construct a complex and multiple portrait of women's lives as diasporic, or "koryu": temporary living in an alien land - women living in man's land. Byun was also credited as one of the cinematographers for the documentary Repatriation (Kim Dong-won, 2004), which follows two North Korean political prisoners and their decade-long struggle to return home after their release.
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At the same time, like the other Post-Impressionists, Cézanne had learned from Japanese art the significance of respecting the flat (two-dimensional) rectangle of the picture itself; Hokusai and Hiroshige ignored or even reversed linear perspective and thereby remind the viewer that a picture can only be "true" when it acknowledges the truth of its own flat surface. By contrast, European "academic" painting was devoted to a sort of Big Lie that the surface of the canvas is only an enchanted doorway to a "real" scene unfolding beyond, and that the artist's main task is to distract the viewer from any disenchanting awareness of the presence of the painted canvas. Cubism, and indeed most of modern art is an attempt to confront, if not resolve, the paradox of suggesting spatial depth on a flat surface, and explore that inherent contradiction through innovative ways of seeing, as well as new methods of drawing and painting.
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