MARRIAGE idealises permanence, and yet it is changing more rapidly than at any time in its history.
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They allege that it verges on paganism in the way it idealises creation; that in urging Catholics to learn from indigenous traditions, healing practices and lore, it is abandoning the truths of Christianity; and that it downgrades the human species by presenting it as simply one more link in an ecological chain.
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Nitchie, Introduction to Mathilda. Analysis of Mathilda's first draft, titled "The Fields of Fancy", reveals that Mary Shelley took as her starting point Mary Wollstonecraft's unfinished "The Cave of Fancy", in which a small girl's mother dies in a shipwreck.Todd, Introduction to Matilda, xviii. Like Mary Shelley herself, Mathilda idealises her lost mother.
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114, 112. This society has fallen prey to shabby forces of greed and acquisition that are embodied by Edward Ponderevo, who idealises Napoleon and who muses superficially about "[t]his Overman idee, Nietzsche—all that stuff."H. G. Wells, Tono-Bungay, Book III, Ch. 2, §9 (New York: Modern Library, n.d. [1937]), p. 309.
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She narrated the story from the perspective of the male protagonist, detailing his feelings towards different women in his life. He repeatedly idealises them and is then repulsed when he discovers a real, independent person instead of his ideal. Gustav ashamedly recognises the societal gap between the genders. Chastened and suffering from a sexually transmitted disease he returns to his first true love.
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The main source for the career of Liutprand is the Historia Langobardorum of Paul the Deacon, which idealises Liutprand. It was written after 787 and covers the story of the Lombards from 568 to the death of Liutprand in 744. Though written by a Lombard from a Lombard point of view, it contains much information about the Eastern Roman Empire, the Franks, and others.
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The poem was the subject of a well-known "reply" by Walter Raleigh, called "The Nymph's Reply to the Shepherd". The interplay between the two poems reflects the relationship that Marlowe had with Raleigh. Marlowe was young, his poetry romantic and rhythmic, and in the Passionate Shepherd he idealises the love object (the Nymph). Raleigh was an old courtier and an accomplished poet himself.
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Effie also modelled for a number of her husband's works, notably Peace Concluded (1856), which idealises her as an icon of beauty and fertility. When Ruskin later sought to become engaged to a teenage girl, Rose La Touche, Rose's parents were concerned. They wrote to Effie, asking for her opinion of Ruskin as a husband, and she replied, describing him as oppressive. The engagement was broken off.
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Later, in Edge of Victory: Rebirth, they have a son whom they name Ben, after Obi-Wan Kenobi's pseudonym. In the New Jedi Order series, Luke creates a New Jedi Council. He idealises a new conclave, made up of Jedi, politicians and military officers. Included in this new Jedi Order are Tresina Lobi, Kenth Hammer, Kyle Katarn, Kyp Durron, Cilghal, Saba Sebatynee and himself.
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Isabella has made few fictional appearances, but she is a major character in Graham Shelby's The Knights of Dark Renown (1969) and its sequel The Kings of Vain Intent (1970). Shelby idealises her marriage to Humphrey, depicting them as his young romantic leads. He then goes on to depict her being beaten and raped by Conrad in a sadistically abusive relationship. This sensationalist depiction is not supported by any evidence.
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Transmodernism is a development in thought following the period of postmodernism; as a movement, it was also developed from modernism, and, in turn, critiques modernity and postmodernity, viewing them as the end of modernism. Transmodernism is influenced by many philosophical movements. Its emphasis on spirituality was influenced by the esoteric movements during the Renaissance. Transmodernism is influenced by transcendentalism and idealises different figures from the mid-19th century United States, most notably Ralph Waldo Emerson.
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The game was directed by Hifumi Kono as a spiritual successor to the Clock Tower series. Kono notes that the female protagonist of NightCry is louder and more confident than the female protagonist from Clock Tower. He cites the differences as a result of his changing perception of women, who he no longer idealises as docile and ladylike. Kono collaborated with film director Takashi Shimizu on the project, who directed a 12 minute short film to promote the game.
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The Story of My Heart is a book first published in 1883 by English nature writer, essayist, and journalist Richard Jefferies. The book has been described as a "spiritual autobiography" where Jefferies idealises the English countryside as a sort of utopia. The book and its themes have been compared to the transcendentalist movement. Other Transcendentalist themes concerning rapturous union with Nature can be found in the writings of Ralph Waldo Emerson, Henry Thoreau, and John Muir.
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The face is lit and highlighted by the blue background, whilst the cold light and absence of any strong chiaroscuro effect accentuates the smoothness of the subject's complexion and idealises her features. Her complexion is a pale white because Bronzino painted the portrait using her death mask as a model.Murphy (2008), p. 32. Bia has her hair parted in the middle of her forehead and a falling bob, with two carefully tied braids framing the face.
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Wolf begins the novel like a love story, but soon introduces the divided Germany as a reason for tension. She describes the western lifestyle as commercial and materialistic, while she idealises the eastern society as harder, rigid, moral-oriented and demanding faith. Some elements of Rita's biography are similar to the author's, such as growing up without a father and work in the specific brigade. She describes negative aspects of life in the east with factual precision and was criticised for it.
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Plato would have been a young man at the time of Socrates's death, but in this painting he is the old man sitting at the foot of the bed. Even the face of Socrates is much more idealized than the classical bust that is typically used as a reference portrait of Socrates. This underlines that Socrates life is projected out of Plato's mind, whereas the old Plato idealises Socrates. Thus, the painting can rather be seen as an analysis than a failed historic depiction.
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Tom is now married to Anna and has a daughter with her, Evie – a situation that fuels Rachel's self-destructive tendencies, as it was her inability to conceive a child that began her spiral into alcoholism. Rachel follows her old routine of taking the train to London every day; her train slowly passes her old house, where Tom, Anna, and Evie now live. She also begins watching from the train an attractive couple who live a few houses away from Tom. She idealises their life (christening them "Jason" and "Jess"), though she has no idea that their life is far from perfect.
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The play's secondary plot deals with the love affair of the Queen's general Velasco, the valiant soldier who defeated Alphonso, and the widow Salassa. Velasco has the opposite problem from Alphonso: he idealises his love for Salassa, terming her "the deity I adore;" he allows her to dominate their relationship. (Velasco's friend and admirer Lodovico has a low opinion of Salassa, calling her a "frail commodity," a "paraquetto," a "wagtail.") Salassa indulges in her power over Velasco by asking him to give up all combat and conflict, or even wearing a sword and defending his reputation, for a period of two years.
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The Gibbsian ensemble idealises the notion of repeating an experiment again and again on different systems, not again and again on the same system. So long- term time averages and the ergodic hypothesis, despite the intense interest in them in the first part of the twentieth century, strictly speaking are not relevant to the probability assignment for the state one might find the system in. However, this changes if there is additional knowledge that the system is being prepared in a particular way some time before the measurement. One must then consider whether this gives further information which is still relevant at the time of measurement.
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Esther has a romantic interest in Rex Matheson (Mekhi Phifer), who she idealises and looks up to. Despite her feelings, Rex does not appear to notice or reciprocate, actress Alexa Havins conjectures that "he's so blind to her feelings" due to him having "this wall built up around him that it's hard to break through." Phifer commented that Rex sees Esther as a sister and conjectures that Esther's interests in him are partly a result of her sensationalising his work. Despite her highly romanticised idea of field work, Esther is not as skilled in the field as more experienced agents Rex, Jack (John Barrowman) and Gwen.
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When a British sailor attempts to rape the prostitute Suzy Wong, the chivalrous American Lomax rescues her and beats up the sailor, whilst Chinese men are indifferent to the rape of a prostitute. As a Lotus Blossom stereotype, the prostitute Suzie Wong is a single mother. In contrast to the British and Chinese mistreatment (emotional and physical) of Wong, the white saviour Lomax idealises her as a child–woman, and saves her with the Lotus Blossom social identity, a sexually passive woman who is psychologically submissive to paternalism. Yet Lomax's love is conditional; throughout the story, Wong wears a Cheongsam dress, but when she wears Western clothes, Lomax orders her to only wear Chinese clothes, because Suzie Wong is acceptable only as a Lotus Blossom stereotype.
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"San Francisco" was the Norwegian entry in the Eurovision Song Contest 1997, performed in Norwegian, the Bergen dialect specifically - with some lyrics in English - by Tor Endresen. The song is a moderately up-tempo number, with a sound similar to rock music from the late 1960s. Endresen delivers a paean to San Francisco as an idealised paradise from that decade, with lyrics containing many references to slogans ("Make love not war"), people (Jimi Hendrix and John Lennon) and song titles ("California Dreamin'", "Blowin' in the Wind") from that era, as well as key events such as the moon landing and the Woodstock festival. The chorus further idealises the city and the period, with it being described as "A time of peace, a spring of youth/No guns, no war, no disco/Just lovely flowers in your hair".
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The First of May, 1851 by Franz Xaver Winterhalter was intended to symbolise the age. Winterhalter painted in the manner promoted by Joshua Reynolds and based on the style of Raphael, in which the artist consciously idealises the subject of the work. The painting shows the 82nd birthday of Arthur Wellesley, 1st Duke of Wellington (born 1 May 1769), whose military victories were felt to have secured the stability and prosperity of the United Kingdom, and who as Prime Minister had attended the opening of the Liverpool and Manchester Railway, at this time considered one of the key turning points of the Industrial Revolution. Wellington presents a casket to his godson Prince Arthur, seventh child of Victoria and Albert (born 1 May 1850), on his first birthday, and receives a nosegay from Arthur in return. Albert is distracted from the scene by the sun rising over the Crystal Palace and the Great Exhibition, organised by Albert, which opened on 1 May 1851 and symbolised the strength of British technology and innovation and the belief that technology would lead to a great future.
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He falls in love with two Chinese women who he idealises in terms of their race. He believes that Chinese people are better by virtue of being Chinese especially the Chinese girl he meets at school, Alice Wong. He falls in love with her and long after they leave school and he has emigrated to Canada, he continues to carry a torch for her and at the age of 60, he tracks her down to England to propose to her, but she rejects him. The colonial system of a kind of racial apartheid in British Guiana was so extreme and had such a profound impact on the young Muslim, he can only see people's worth and his in terms of race and in the end, living in a post 9/11 world, he identifies with the Muslim cause and finally turns against the developed First World which he views as the creation of the imperialism and colonialism that cursed his early life growing up on a colonial sugar estate in British Guiana.
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