But in its contemplation of different kinds of lost innocence, it's also pondering the fall.
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Tarantino delivers an ode to Hollywood's lost innocence, while cheekily suggesting it never had any to begin with.
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It could be a metaphor for lost innocence, a free spirit snatched by the wrinkled hands of time.
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"The Road of Lost Innocence," by Somaly Mam, about child-selling, enslavement and sadistic "sex" trafficking in Cambodia.
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The wartime story of lost innocence has been told of many who shaped the arts in the nineteen-twenties.
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The video taps into the themes of lost innocence and the human desire to want to be something other.
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Their political lives, mirroring the A.N.C.'s post-apartheid trajectory, began with youthful idealism, followed by lost innocence and, ultimately, fratricidal violence.
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It was there that she wrote her famous diary, which was published in 1947 and transformed her into an emblem of lost innocence.
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A story of jealousy and murder, in his telling, becomes one of rediscovering lost innocence, of adults in search of their youthful doppelgängers.
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They might have been confused, though, by our tendency to look to history — non-European in particular — for a material record of lost innocence.
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And just like with those four horsemen of the lost-innocence apocalypse, some smartphone content is probably not appropriate for those under the age of 13.
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Previously explored themes, like male on female abusive relationships, lost innocence and desiring pain from a loved one, are done so in way that looks further at complexities.
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And I, a reporter returning home to cover its aftermath, was learning that the first few months of my new job would be consumed with stories of lost innocence.
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This tale of lost innocence is poignantly told, "written" by a self-aware narrator who seamlessly shifts perspectives, giving the impression of being every character as well as the storyteller.
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As proof, Bughead wraps their song about lost innocence, grabs a couple of Slushies, and goes to burn down the former Jones trailer, which Juggie's mom Gladys (Gina Gershon) turned into a mobile drug lab.
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What she has that few others have so fully possessed are the gifts of a captivating storyteller, the ability to turn messy life into a tale for the ages of lost innocence and squandered youth.
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Yeah, this is dark, and that's part of why it's so effective — the tone is Stranger Things, but the threat is grounded in real-world horror, making the theme of lost innocence that much more potent.
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Marshall has called this painting a "kind of a memorial painting to lost innocence," but it's also a monument to an idea of a painting as a thing that needed not to be looked at so much as read.
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This gloomy feeling of lost innocence carries throughout the whole series, whether it's in Shimomura's sparse, nocturnal piano ballads, or her ethereal, dramatic boss themes (which have even made appearances in samples from rappers like J. Cole and Lil Bibby).
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The scene evokes a poignant sense of lost innocence, gesturing towards the common (and mistaken) conflation of play with aggression when Black bodies are involved — a particularly tense subject in Cleveland, where in 2014, 12-year-old Tamir Rice was shot dead by police for playing with a toy gun in a playground.
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Feel the Noise: Homemade Slime Becomes Big Business 20 Years of L.G.B.T.Q. Lit: A Timeline To Stay in Love, Sign on the Dotted Line The Rowdy World of Rap's New Underground Nabra Hassanen and the Lost Innocence of Ramadan IHOP Nights Once a Model City, Hong Kong Is in Trouble Days With the Manta Rays: Where to Learn to Freedive Bridging the Racial Divide, One Joke at a Time Drumming Cockatoos and the Rhythms of Love In Detroit, Artists Explore the Riches of the 99-Cent Store New 'Hamilton Mixtape' Music Video Takes Aim at Immigration Searching for Amelia Earhart, Once Again.
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"Three relatives of Air India victims revisit lost innocence" (Archive). The Globe and Mail. Wednesday June 16, 2010.
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"Three relatives of Air India victims revisit lost innocence." The Globe and Mail. Wednesday June 16, 2010. Updated Thursday August 23, 2012.
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Also, the concept of guidance and protection appears through the text in different forms, as a means to return to a lost innocence.
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Similar to the first interlude, this second one continues the theme of the previous song, describing the girl's lost innocence as a dying flower.
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Pony Boy has not always been the best boyfriend and lover to his stripper girlfriend Cheri. Comic book writer Bing Beiderbixxe is just in Vegas for the weekend. These characters' lives intersect in this unflinching tale about lost innocence.
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A Girl with a Dove (Dziewczyna z gołąbkiem), (Allegory of lost innocence), 1790 Portrait of Ignacy Potocki, 1784 Anna Rajecka (c.1762, Warsaw – 1832, Paris), was a Polish portrait painter and pastellist. She was also known as Madame Gault de Saint-Germain.
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Her song has the power to either create madness or to bring about an apocalypse. The actual song describes lost innocence and the nature of pleasure.Bloom 1993 p. 86 Enion can do nothing but wander and be disconnected from Tharmas, even though Tharmas keeps trying to return to her.
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The book tells the story of boys in the eighties and of friendship, music, TV and lost innocence. Video Boy is the story of Pål and Hasse, aged thirteen and fourteen, who venture into a realm of darkness. They are tipped off about a boy called Video Boy, who seems to have every horror movie that was ever made.
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Goldsmid died at 13 Portman Square on 7 December 1908. This was her London home and previously a meeting place for society with Goldsmid as hostess. Goldsmid left a statue title "Lost Innocence" by Emilio Santarelli to UCL.Siddall,R., Kirk, W.& Robinson, E., 2014, The Urban Geology of UCL and the University of London;urban Geology in London No.1, 20 pp.
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The show never soft-pedals the timeless, fundamental truth that high school is hell." Joyce Millman of The Phoenix felt that the series was "a character study masquerading as a high-school drama". Joy Press of The Village Voice saw the series as "a sharp teen noir in the making. Tinged with class resentment and nostalgia for Veronica's lost innocence, this series pulses with promise.
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The principal themes of sex and death were considered scandalous for the period. He also touched on lesbianism, sacred and profane love, metamorphosis, melancholy, the corruption of the city, lost innocence, the oppressiveness of living, and wine. Notable in some poems is Baudelaire's use of imagery of the sense of smell and of fragrances, which is used to evoke feelings of nostalgia and past intimacy.Richardson 1994, p. 231.
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Mam was born to a tribal minority family in Mondulkiri Province, Cambodia. In her memoir, The Road of Lost Innocence, she states that she was born in either 1970 or 1971. Mam was investigated by a journalist working in Cambodia, and his allegations that key parts of her early life were false was carried by Newsweek in May 2014. Mam resigned from the Somaly Mam Foundation shortly thereafter.
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Rozzi drumming for Katsu at The Lion's Den. Katsu (sometimes KATSU) was an American rock band from State College, Pennsylvania, from 2001 to 2006. Their musical style was self-described as a cross between hip hop and the music of Bob Dylan, along with mixtures of classic rock, alternative rock, punk rock, reggae, and ska. Many of the band's themes dealt with "explorations of life, love, broken hearts and lost innocence in blue-collar America".
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Narayana Swamy has twenty-six books to his credit, the latest being one on popular science – Nano Muthal Nakshatram Vare. He won the Kerala Sahitya Akademi Award for Travelogue for Santhimantram Muzhangunna Thazvarayil. He has also won the Bhima Gold Medal and Kunhunni Award (both for children's literature). His other works include Niram Mangiya Vazhithara, which is a translation of The Road of Lost Innocence, the English version of the French memoirs by Somaly Mam.
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A young woman, named Noah, lives alone in a small apartment New York City. She is a mentally disturbed flower child, who retreats into her past, yearning for lost innocence. She recalls her childhood, searching for a "safe place." As a child, whose real birth name was Susan, she met a charismatic magician in Central Park who presented her with magical objects: a levitating silver ball, a star ring, and a Noah's ark.
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Del Castillo has been noted for playing with the themes of war and religion, childhood and lost innocence, and the transformation of meaning through time.Patrick Flores, "Motifs of War" , Nova Gallery. In series dealing with warfare in multimedia works and ancient and contemporary icons in gold leaf paintings, his intention has been said "to showcase the similarities of belief towards achieving peace, which is the precedent of war or vice versa.""Anton Del Castillo" , Nova Gallery.
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The scoring > is striking and memorable, especially in the use of spare, unadorned > harpsichord figures to impart a sense of fragility and lost innocence. > Anyone who (as I do) responds to Berg's Lulu Suite should hear this > remarkable composition, which is drawn from the same well.Shchedrin: Lolita > Serenade; Anna Karenina; Orchestra Concerto 1; 2 Tangos goliath.ecnext.com 1 > January 2003 The opera begins with only flutes and cellos playing, symbolizing the difference in age of the protagonists.
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Described as "mesmerizing and stunningly beautiful" and "a unique and at times hypnotic live experience; far from a conventional one; more akin to a piece of performance art than a standard concert." Ulver's next project, Childhood's End came in the form of a collection of covers of "60s psychedelic chestnuts", issued on Jester Records, under license to Kscope, in May 2012. The album, a reinterpretation of '60s psychedelia, was intended by Ulver as a reflection on lost innocence.
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Somaly Mam (The Road To Lost Innocence) made a bold denunciation of human sex-trafficking through her experiences.Cambodia Tales She, and other Cambodian authors that gained international attention were able to make some income through their works or translations in foreign languages. Cambodian writers in Khmer, however, still find it difficult to make ends meet. The Khmer Writers' Association was reestablished again in 1993 by two of its former members in order to help struggling Khmer writers.
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"I Just Can't Wait to Be King" is a large contrast from the film's non-musical segments, as emphasized by the number's usage of lively colors and sounds. The song is performed near the beginning of the film by a young Simba and Nala as to enunciate Simba's desires to become King. It is a prelude to Simba's lost innocence, being tricked into thinking he killed his father, his leaving Pride Rock, and attempt to forget his past.
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Critic Adam Nayman argued the theme of Loveless is "neglect" and that Alyosha represents "the lost innocence of a society deep in the throes of self-absorption". The Financial Timess Raphael Abraham stated that while Zhenya and Boris are humanized, they are "at best distracted, at worst criminally neglectful". Alyosha may be exemplary of "the unwanted or unacknowledged child" frequently seen in Zvyagintsev's filmography, according to reviewer Anthony Lane. Eric Hynes summarized Boris's and Zhenya's flaws as being "vacuity", "self-regard" and "selfhatred".
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In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources.
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The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a bear skin rug (interpreted by some to represent masculinity and lust) with the bear's head staring menacingly at the viewer.
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Sixteen is a story about lost innocence and teenage heartache in urban India In the times of the Internet, Page 3 in newspapers and more than 300 TV channels, innocence of the youth is the first victim of overexposure. Anu is a carefree and ambitious girl who wants to be a model. Nidhi is an innocent virgin and is usually taunted by her peers for being so. Tanisha is mature for her age and likes handsome guys with a good sense of humour and intelligence.
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Maxi (Nathan Lopez) is a 12-year-old effeminate gay boy who lives in the slums with his father and brothers who are petty thieves. The story primarily revolves around the conflict between his love for handsome young police officer Victor (JR Valentin), and his family's illegal livelihood. Neo-realist in orientation, the film is a tale of lost innocence and redemption amidst the poverty of Manila's slums. Maxi behaves like a girl, wearing clips or hairband in his hair and bangles on his wrists and even wearing lipstick.
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The earliest incarnation of the song was developed during sessions for the band's 1997 album, Pop. The lyrics were written by the band's lead vocalist Bono, taking partial inspiration from his recollection of his first trip to London, and from the band's experience playing in New York City in the aftermath of the September 11 attacks during their Elevation Tour in 2001. Other lyrics refer to Bono's relationship with his wife Ali. The song's underlying theme reflects lost innocence and was inspired by an image Bono saw of himself from the early 1980s.
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The song has received generally positive reviews from music critics. Billy Dukes of Taste of Country gave the song 4.5 out of 5 stars, praising Aldean's performance and comparing the song to many of his previous hits, saying how this song "runs parallel to our own tales of mischief, lost innocence and heartache". Ben Foster of Country Universe gave the song a B grade, praising the song's lyrical construction, as well as how it "succeeds due to the fact that it rises about the superficial idealization and cliché formulas that have bogged down a great deal of Aldean’s material".
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The melding of guitar and piano in the introduction was likened by the Edmonton Journal to the Coldplay song "Clocks." Rolling Stone described the song as "building into a bittersweet lament", while Uncut said it was "beautiful but slightly sinister", comparing the quality of the lyrics to the George Harrison song "The Inner Light." "... what it felt like to arrive here in the United States, come over the bridge into Manhattan ... a[n] amazing, magical time in our lives when we didn't know how powerful it was not to know." —Bono on the theme of innocence The underlying theme of "City of Blinding Lights," reflected in the chorus, is lost innocence.
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The multiple visual art and performative interventions in the public spaces were curated by choreographer and stage director Dimitris Papaioannou and visual artist Zafos Xagoraris, while a series of exhibitions, installations, public interventions and projects were curated by Chus Martínez, chief curator of MACBA (Barcelona) at the time, and independent curators Cay Sophie Rabinowitz, Nadja Argyropoulou, Christopher Marinos and Diana Baldon. A rich programme of screenings, performances and music events/concerts complemented the exhibitions lasting through the summer. HEAVEN as a wide topic touched upon notions such as lost innocence, nature and ecology, utopias and ideal communities. From that premise, a dialogue began which reflected upon the theme itself as well as the methodology surrounding large-scale periodical exhibitions.
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When David unsuccessfully attempts to seduce Marie he plays her "Just Let Me Look at You" in the hope that Bowlly's words will make her understand his desire, while during his meeting with Dr Chilton he recites the lyrics of several Bowlly songs to explain the horror of his ordeal at the hands of his abuser. Potter's witty resetting of the meaning behind the Bowlly tracks used throughout the drama finds its apotheosis in the extra-diegetic, and ironic, use of "Lover, Come Back to Me" and "Easy Come, Easy Go": the former song accompanying David's memories of the assault, the latter as he attempts to recount his experiences to Chilton – suggesting the nature of his lost innocence.
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The album's themes are partying ("Nothin' But a Good Time" and "Your Mama Don't Dance"), lost innocence ("Back to the Rocking Horse" and "Fallen Angel"), lost love ("Every Rose Has Its Thorn"), anti- social behavior ("Bad to Be Good") and sex ("Love on the Rocks", "Good Love", "Tearin' Down the Walls", and "Look but You Can't Touch"). Vocalist Bret Michaels allegedly wrote the band's most successful single, "Every Rose Has Its Thorn", in response to a failed love affair with a Los Angeles stripper. Poison had been playing at a cowboy bar called The Ritz in Dallas, Texas. After the show, Michaels called the woman at her apartment and heard a man's voice in the background.
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Grounded, literally, from her favorite pastime, swimming, Emma is forced to look for alternative ways to pass those lazy summer days. When no one seems to be very interested in talking to Emma, she finds friendship with a troubled young woman, Merrill, who has returned to town looking to deal with her past. The sweetly innocent Emma allows the world-weary Merrill in some ways to reconnect with her own lost innocence, while Merrill, for her part, provides an oasis for Emma, who feels invisible at home in the eyes of her struggling parents. Added to this volatile mix of domestic strife is a love story desperately trying to emerge between Merrill and one of Emma's older brothers Clyde.
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While Skeeter keeps Jill in sexual thrall to him with heroin, Harry and Nelson are both drawn to Jill for the different things she represents to them: lost innocence and sexual conquest for Harry, and first love and coming of age for Nelson. Against the backdrop of the Summer of Love, Harry, Skeeter, and Jill do drugs, have sex, and debate religion, race relations, and other political issues of the 1960s while Nelson attempts to romance Jill. The activities at Harry's house upset his middle-class, conservative neighbors, one of whom sets fire to the house in an attempt to put an end to the commune. Jill, high on heroin, burns to death.
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Arriving at Sha-ka-ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend; "...the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond. The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed. As the creature attacks Kirk, Spock and McCoy, the more aggressive Sybok theme takes on an attacking rhythm. When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.
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The time of expectations is past. Beyond the realm of hope, of fulfilment, of beauty and excitement, we watch unmoved as a present which is at once harsh and ghostly passes us by – a present which is nothing but discontented noise and emptiness ... between yesterday and today everyone has become a stranger to himself: more troublesome than even a dead man for the living ...', Escape to Yesterday, pp. 9-11. Both quotations belong to specific historical contexts, the former looking back over the War years, the latter over those of the Depression. With still greater poignancy, Scheyer in Asylum talks of the lost innocence of the world of 1944, and of the past as seeming more real than the present.
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Despite rumors that the song refers to drugs, it is actually about the lost innocence of childhood. That year the group performed "If I Had a Hammer" and "Blowin' in the Wind" at the 1963 March on Washington, best remembered for the Reverend Martin Luther King, Jr.'s "I Have a Dream" speech. The Bob Dylan song "Blowin' in the Wind" was one of their biggest hit singles. They also sang other Dylan songs, such as "The Times They Are a-Changin'"; "Don't Think Twice, It's All Right," and "When the Ship Comes In." Their success with Dylan's "Don't Think Twice, It's All Right" helped Dylan's The Freewheelin' Bob Dylan album rise into the top 30; it had been released four months earlier.
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Several employees of Steinberg, including director of marketing Frank Simmerlein, brought an early version of Steinberg's Nuendo Live recording system to capture the show. "Love Is What I'm Waiting For" was released by Mascot Label Group as a bonus for pre-orders; "Blue Ocean" was released as an iTunes-only track. A documentary, First Flight, recounted the band's experiences on the tour, was described as: "Backstage, on the bus, and in extended interviews, discover the seedy and sordid underside to the prog's most dangerous band. And observe the surreal cavalcade of lost innocence when one crew member does the unforgivable on the tour bus." Clips of songs from the band’s first performance, as well as from the Hamburg show, were also included.
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In describing them, the German countryside, and her soon-to-be destroyed hometown Mainz, Seghers gives the reader a strong sense of lost innocence and the senseless injustices of war, from which there proves to be no escape, whether or not you sympathized with the NSDAP. Other notable Seghers stories include Sagen von Artemis (1938) and The Ship of the Argonauts (1953), both based on myths. In 1947, Seghers returned to Germany, moved to West Berlin, and became a member of the SED in the zone occupied by the Soviets and received Georg Büchner Prize in the same year. In 1950, she moved to East Berlin and became a co-founder of the Academy of the Arts of the GDR and became a member of World Peace Council.
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The initial announcement of the new game brought forward some controversy when widespread media announcementsScrabble Amends The RulesNew Scrabble to Allow Proper NamesBBC: Proper nouns come into play in Scrabble rule changeScrabble allows proper nouns; a nation mourns its lost innocence implied that the rules to Scrabble would be changing, before learning that the new rules would in fact apply to a newly developed game.No Proper Nouns In ScrabbleProper Nouns Will Not Be Allowed in Scrabble Criticism of the newly introduced variant typically refers to the game as a "dumbed down" version of Scrabble, made to appeal to more casual players who are more familiar with the names of celebrities than lesser known words from the Scrabble dictionary. Mattel acknowledges that the changes are made to appeal to a larger audience, especially to a younger audience.
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Cambodia Daily led a years-long investigation into famed anti-trafficking activist Somaly Mam, former president of the Somaly Mam Foundation, over discrepancies in her autobiography, The Road of Lost Innocence, which detailed her backstory as a sex slave in Cambodia, becoming an international bestseller. The Daily first began reporting on inconsistencies in her public comments and claims made in her book in early-2012, and in October 2013 published results of its investigation into claims of trafficking made in Mam's book that reporters found to have been fabricated. A Newsweek exposé by former Cambodia Daily editor Simon Marks in May 2014 focused international attention on the alleged falsifications, and Mam stepped down from her foundation just days after the article's publication. The New York Times credited The Cambodia Daily with first pointing out that Somaly Mam's stories of her childhood were false in 2012 and 2013.
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Issues of masculinity in South Korean culture arise in the film. Yong-Ho's masculinity is broken during the Gwangju Massacre scene in which the militarized masculinity enforced by the Korean government -- a required 26-month duty in the military, an order to kill innocent civilians, and a need to conform to the standards of the other soldiers around him -- ultimately force Yong-Ho to compensate later in life by interrogating the student protesters who inevitably were the reason he was put in that situation.Steve Choe, "Catastrophe and finitude in Lee Chang Dong's Peppermint Candy: temporality, narrative, and Korean history" This theme continues with the way he treats women later on in his life, objectifying and mistreating his wife Hong-ja and ultimately losing his one link back to his innocence, Sun-im. What results in the beginning of the film, which will be the end of Yong-Ho's life, is an ultimate humiliation and a lamentation for a lost innocence where personal history is connected with the history of South Korea.
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Later literary interpretations looked beyond the book's immediately noticeable themes. For Colm Tóibín in his introduction to a 2002 reprint, the book is not really "a drama about class or about England, or a lost world mourned by Hartley; instead it is a drama about Leo's deeply sensuous nature moving blindly, in a world of rich detail and beautiful sentences, toward a destruction that is impelled by his own intensity of feeling and, despite everything, his own innocence."New York Books Kevin Gardner cites the narrative technique among other complex treatments of time: "Hartley's haunting tale of lost innocence underscores the modern experience of broken time, a paradox in which humanity is alienated from the past, yet not free from it, a past that continues to exist in and to control the subconscious … This doubling of consciousness and of narrative voice—the innocent twelve-year-old's emerging from beneath the self-protective sixty-five-year-old's—is one of Hartley's most effective techniques."Kevin J. Gardner, "Revaluation: L. P. Hartley's The Go-Between: Leftover Life To Spoil", Sewanee Review, Volume 121.4, 2013, pp.
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The Guardian described the experience of reading I'm Not Scared as "closer to that of such Italian neo-realist masterpieces as De Sica's Bicycle Thieves as they appear to us now, imbued with a lyrical but utterly unsentimental nostalgia for lost innocence". Michael Dirda of the Washington Post describes Ammaniti’s work as engaging, suspenseful and thrilling. Los Angeles Times critic Nick Owchar lauds Ammaniti’s construction of the plot and his success in capturing the horror of a story from a child’s perspective. Lawrence Venuti of the New York Times Book Review notes the many American cultural references and the influence of American novels on the style of I’m Not Scared. He argues that the novel provides deep insight into themes of class and geographical divisions in Italy, and he applauds the work of Jonathan Hunt in translating the novel to English while capturing the nuances of Ammaniti’s original narration from the child’s perspective. John De Falbe of The Spectator argues that I’m Not Scared offers a superficial portrayal of a horrible situation facing a young boy and that Ammaniti does not deeply analyze the ethical dilemmas faced by the protagonist.
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