My life was littered with awkwardnesses, estrangements, mutual disillusionments, abandoned projects.
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Together they set out to drive to the funeral while untangling old hurts, popping Oxy, and grappling with adulthood's disillusionments. —T.
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Pub date: March 26 Mary Laura Philpott's memoir-in-essays is like a reassuring pep talk from someone who's been there, full of wry observations about the expectations and disillusionments of adulthood.
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Most recently, the disappointments and disillusionments of the Johnson, Nixon, Ford, and Carter presidencies and the long frigid pall of the Cold War gave way for Ronald Reagan to awaken a new morning in America.
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Tapiau, 56, has been battered by deaths, disillusionments and divorce, events that have in turn shaped his answers to the questions that always arise for those who inherit an important old house: How much of the past should be respected?
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114 By surviving the child's anger and frustration with the necessary disillusionments of life, the good enough parents would enable it to relate to them on an ongoing and more realistic basis.Adam Phillips/Barbara Taylor, On Kindness (2004) p. 93-4 As Winnicott put it, it is "the good-enough environmental provision" which makes it possible for the offspring to "cope with the immense shock of loss of omnipotence".Quoted in Adam Phillips, On Flirtation (1994) p.
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Although the lyrics were initially about his own life and disillusionments, the 1990s hardcore punk scene was highly politicized and some people felt personally attacked, especially members of the militant straight edge branches who even send death threats to him and the band. In 2000, Ingram cited Phil Anselmo and Karl Buechner as his biggest vocal influences, and Lisa Loeb and Maynard James Keenan as the lyrical ones. After their 2005 reunion, he acknowledged Sufjan Stevens' personal approach to songwriting as his main inspiration.
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Similar themes of nostalgia, its potential risks, the relentless pressures of the business world, and the disillusionments that come with being an adult are explored in "A Stop at Willoughby", "Young Man's Fancy", "The Incredible World of Horace Ford", "Of Late I Think of Cliffordville", and to a lesser extent, "The Brain Center at Whipple's", as well as two Serling teleplays from before and after The Twilight Zone: The Kraft Television Theatre episode "Patterns" and the Night Gallery episode "They're Tearing Down Tim Riley's Bar".
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DESTROY ATHENS aimed to function as a progression through various themes, where elements contradict, collide or cancel-out each other constantly. Successive realizations and disillusionments make up a fragmented acknowledgement of a dead-end, a kind of world, a dystopic environment of conceptual Waste Lands. > “DESTROY ATHENS tells a story. A story about ruptures and dead ends, which > emerges from a completely empirical observation: we, each one of us, the > subject of every action and every conscience is built through the eyes of > others.
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Some of the child's primary experiences are positive and essential for the physical and mental growth of the child. Others may be traumatic: neglect, parental inadequacy or possible mental illness, physical or psychological violence, child abuse, even of a sexual nature, as well as the constant frustrations and disillusionments that lead the child to organize their defences and boost their phantasies. All these experiences cannot be repressed because the hippocampus, necessary for the explicit memory, which is in turn indispensable for repression, is not mature in early infancy (R. Joseph, 1996; Siegel, 1999).
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After years without contact, Ethel, an aging actress, asks her estranged daughter and granddaughter, Frankie and Clara, home for the weekend to attend an extravagant party. At 16, Clara has never met any extended family, and her grandmother’s eccentric nature is infectious. Clara is drawn deeper into her grandmother's fantasies and disillusionments, causing the rift in Clara’s relationship with her mother to widen. Meanwhile, Frankie is left to battle her own demons and face a love she left behind. These tensions culminate as Ethel’s ulterior motive for the weekend’s festivities force everyone to reconsider the roles they play in each other’s lives, and the worth of family as a whole.
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He is acquainted with a provider of occult services who he decides to contact for a trip back in time 40 years to Cliffordsville when his health begins to fail and he is forced to retire. Dreaming of the fortunes he will make with his foreknowledge of the future and of reconnecting with the girl he left behind when he fled Cliffordsville at age 30, he makes the journey after handing over his entire fortune to Satan (who already owned his soul and had for many years), only to find life in 1902 a continual parade of wide-ranging disillusionments and hardships that ends in misery.
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Although Shaw denied portraying either villains or heroes in his plays, he clearly pits the idealist against the realist in a manner which suggests the typological superiority of the latter. Often cynical, opinionated and characterized by independence (due to a diffuse mistrust of others), the realist is first and foremost a skeptic. In Men and Supermen, Shavian critic Arthur H. Nethercot divides the realist type further into Diabolonians (rebels who particularly enjoy shocking conventional and orthodox sensibilities), the Disillusioned (characters who undergo a series of disillusionments in order to become realists) and the Nature Worshipers (who acknowledge the power of Nature and its influence).
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