Even so, Britons seem to idealise marriage more than ever.
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They idealise business and loathe nimbyism and restraints on trade.
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They also adore the local, rail against "McDonaldisation" and idealise the pastoral.
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As Philipp Blom, a historian, notes, "people tend to idealise" the Habsburg empire, even though it was "ultimately torn apart by nationalism".
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And in part for that reason, today's Hellenes tend to idealise the fighting that raged 100 years ago over the future of then-Ottoman Macedonia.
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Most working-class people still idealise marriage, but think of it as something to be undertaken at some point in the future, or perhaps not at all.
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So as well as evoking a multicultural, sometimes violent period that Ms Tokarczuk believes Poles can over-idealise, "Ksiegi Jakubowe" is a genuine 21st-century fictional experiment.
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Where others see European nations as the products of centuries of exchange and interaction, identitarians idealise a mythical past in which borders were absolute and clear (even in Germany, where they have historically shifted as often as the gears on a BMW).
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Its commanders sometimes idealise a Communist republic to be made up swathes of India.
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The book takes its title from one of Amis' essays, an encomium to James Joyce's novel Ulysses. Amis characterizes that novel as Joyce's "campaign against cliché". Amis writes, > To idealise: all writing is a campaign against cliche. Not just cliches of > the pen but cliches of the mind and cliches of the heart.
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A Scientific American article on sex buyers summarises a limited field of research which indicates that Johns have a normal psychological profile matching the makeup of the wider male population, but view themselves as mentally unwell. Qualitative studies indicate that repeat buyers become romantically attached and idealise sex workers of choice as their perfect partners.
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A further recurring theme involves feeding people: Mrs. Rueel feeds not merely her three children but also, where necessary, all the neighbours. She is an exceptionally successful provider of sustenance. This is clearly a characteristic that the author uses to idealise her heroine despite the context of a setting that is in other respects realistic.
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Allegorical figures of painting, architecture and sculpture are also centred in the piece. The purpose of allegory is also to show the bond between science and the arts. Females were often pictured in the nude so as to idealise them and hold the audience's focus on the allegory itself, as can be seen in The Sacred Grove.
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Accessed 6 June 2006. Before and during World War II, Nazi propaganda and ideology made frequent use of the Teutonic Knights' imagery, as the Nazis sought to depict the Knights' actions as a forerunner of the Nazi conquests for Lebensraum. Heinrich Himmler tried to idealise the SS as a 20th- century reincarnation of the medieval Order.Christiansen, p.
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Bisson, pp. 132–34. Though the aim of chivalry was to noble action, its conflicting values often degenerated into violence. Church leaders frequently tried to place restrictions on jousts and tournaments, which at times ended in the death of the loser. The Knight's Tale shows how the brotherly love of two fellow knights turns into a deadly feud at the sight of a woman whom both idealise.
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He promised help to the Labour movement at any available opportunity. On 8 May 1906, during a meeting he chaired at Finsbury Technical College he pledged the commitment of the Clothworkers Company towards expanding opportunities among its young subscribers. It coincided with a New Liberal government eager to extend radical schemes, yet was utterly consistent with Sir Owen's generosity, fervour and drive to idealise education for all.
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The disciplinary hitting of the slave was considered to be for the master's own good. A prophetic hadith permitted corporal punishment and Ibn al-Jawzi stated that both slaves and wives should put up with physical mistreatment. The slave owner was also encouraged to not use excessive violence. While some idealise the lives of elite female slaves, many in practice suffered from abuse by both their owners and others.
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Unlike many historical novelists, he does not idealise his subjects. A few of the characters are noble, some rather nasty, many mixed in their motives. Some of the novels can be seen as funny, in a dry noir style. A recurring theme is the slow moral corruption of a character who begins with an exalted opinion of himself as noble, wise and brave but who gradually compromises himself morally.
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L. S. Klejn is a convinced adherent of liberal values, and an adversary of xenophobia and nationalism. He is a whole-hearted supporter of civil rights, but his democratic ideal is qualified: he does not idealise egalitarianism and anarchy. His humanitarianism is also qualified: in his view charity should not stimulate parasitism and so do harm to society. He is unsatisfied with the oversimplified polar contraposition between patriotism and rusophobia.
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Although Pushkin's biographers tend to idealise their relationship, it is known that he referred to her later as the "whore of Babylon" and wrote to one of his friends that "with God's help I screwed her the other day". In 1826, Kern divorced her aged husband. Ten years later, she married her 16-year-old cousin, Aleksandr Markov-Vinogradsky. Her last years were spent in such abject penury that she was constrained to sell off Pushkin's letters to her.
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Eliot warned against taking Kipling out of his time, and against exaggerating the importance of a particular piece or phrase which a reader might dislike. He considered that Edward Shanks had missed the point when he called the poem "Loot" (ws) "detestable". In Kipling's military poems, he had tried to describe the soldier (serving or discharged, both unappreciated at home), and not to idealise him. He was exasperated both by sentimentalism and by depreciation and neglect.
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For Hülsen it was crucial not to write philosophical books and treatises, but to express true philosophy into living speech and the practice of life. It was thus necessary to refrain from writing and to live in harmony with nature, family and neighbour. Although Hülsen was considered a part of the Schlegel Kreis for a short period, he did differ from the circle's defining traits in a number of ways. For instance, he did not idealise art or the medieval period.
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The author's attitude to his subject is clearly subordinate and one of admiration, yet he does not idealise Louis in the same way as, for example, Einhard does in his Life of Charlemagne. It has been suggested that the author exhibits a degree of disapproval towards clerics and the workings of the Frankish Church, lending weight to the view that he was not formally connected to the Church. Nevertheless, the most popular recent ideas (see below) do identify him as a cleric.
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By the mid-19th century, certain scholars were starting to question the importance of analogy and the status quo, choosing instead to idealise development and progress. In the law faculty, the liberal professor and future reviser of the Constitution of the Netherlands, Johan Rudolph Thorbecke personified this attitudinal shift. Following in Thorbecke's constitutionalist footsteps at Leiden were, notably, , and . Later in the 1870s opposition reformed against positivism around new treatments of classical notions, such as justice, through academics including Hendrik Lodewijk Drucker, and Tobias Asser.
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The first volume of Ruskin's Modern Painters was a defence of Turner, arguing that Turner's greatness had developed despite, not because of, the influence of Reynolds and a consequent desire to idealise the subjects of his paintings. By the 1840s, Turner was drifting out of fashion. Despite Ruskin's defence of his work as being ultimately "an entire transcript of the whole system of nature", Turner (who by 1845 had become the eldest Academician and deputy president of the Royal Academy) had come to be seen by younger artists to embody bombast and wilfulness, and to be a product of an earlier, Romantic period out of touch with the modern age.
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With this came the acute observation of physical and psychological reality that formed the ground both for his immense popularity and for his frequent problems with his religious commissions. He worked at great speed, from live models, scoring basic guides directly onto the canvas with the end of the brush handle; very few of Caravaggio's drawings appear to have survived, and it is likely that he preferred to work directly on the canvas. The approach was anathema to the skilled artists of his day, who decried his refusal to work from drawings and to idealise his figures. Yet the models were basic to his realism.
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Hebrew Scouts uniform Zionist youth movements, both in Israel and the diaspora, continue to play a large role in community organisation, Jewish education, welfare, politics and activism. While upholding and adjusting their individual movement ideologies, diaspora movements commonly idealise Jewish continuity and identity in opposition to cultural assimilation, and Zionism in the way of active community involvement while living in Israel (termed by some as aliyah nimshechet or continuing ascent), with importance placed upon leadership skills and personal development. In some countries, resistance in response to anti-Semitism is also a significant political focus. Movements generally focus on education for school-age youths, who are known as chanichim (Hebrew for educatees; singular chanich/a), approximately aged 8 to 18.
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This had proved a successful approach for artists in the pre-industrial period, where the main subjects of artistic commissions were portraits of the nobility and military and historical scenes. By the time of Victoria's accession to the throne this approach was coming to be seen as stale and outdated. The rise of the wealthy middle class had changed the art market, and a generation who had grown up in an industrial age believed in the importance of accuracy and attention to detail, and that the role of art was to reflect the world, not to idealise it. In the late 1840s and early 1850s, a group of young art students formed the Pre-Raphaelite Brotherhood as a reaction against the teaching of the Royal Academy.
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Further, Blanc had written a book in 1867, which Seurat read the year he began his studies at the École, and which was to strongly influence him during his formative years—the Grammaire des arts du dessin. Near the beginning of this book, Blanc had claimed that Nicolas Poussin’s The Finding of Moses was an exemplary case of how art should idealise nature, concluding his passage, ‘This is how a scene from everyday life suddenly becomes raised to the dignity of a history painting.’ This remark seems pertinent to the Bathers, which certainly shares a number of compositional elements with Poussin’s masterpiece of 1638. Both works show to the right a lowered male figure, and to the left a reclining male figure painted from behind.
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Shakespeare scholar David Scott Kastan also took the view that there were reasons to question the Cobbe portrait's provenance – whether it was in fact once owned by the Earl of Southampton or commissioned by him, as the Trust representatives believe – and to doubt whether the richly dressed man in the portrait was Shakespeare. "If I had to bet, I would say it's not Shakespeare", Kastan said. But even if it were, he said, the traditions of Elizabethan portraiture meant that it would be unwise to conclude that Shakespeare actually looked like the figure depicted in the portrait. "It might be a portrait of Shakespeare, but not a likeness, because the convention of portraiture at the time was often to idealise the subject", he said.
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Aglaya Ivanovna's noble and passionate nature leads her to idealise the Prince, turning him into a Don Quixote-like figure, particularly in relation to his attempts to 'save' Nastasya Filippovna. Although the Prince is fascinated by Aglaya and falls in love with her, at no time is he influenced by this idealisation or by any of her other misguided opinions. Aglaya's illusions and the Prince's real motivations are juxtaposed in a number of scenes or consecutive scenes. For example, in a scene from Part II Aglaya reads aloud Pushkin's poem "The Poor Knight", unambiguously indicating to the assembled company that she is identifying the Prince with the poem's subject, a noble Knight who goes off to fight heroically in the Crusades.
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The two are subsequently interrogated in "'Til Death Do Us Part", and she reveals to Worf that she is actually in love with Julian Bashir (Alexander Siddig). They are subsequently handed over to the Dominion as the Breen/Dominion alliance is announced. After Worf kills Weyoun (Jeffrey Combs), the pair are scheduled for execution, during which Ezri helps Worf acknowledge that he can't idealise Jadzia's memory, accepting that he and his wife had different views on intimacy. However, Damar (Casey Biggs), the leader of the Cardassian Union is concerned at what the new alliance might bring and wants to side with the Federation; he releases Ezri and Worf and sets them free to take a message back to Deep Space Nine to seek aid.
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Two of the leading figures in the emergence of Baroque painting in Italy were Michelangelo Merisi da Caravaggio and Annibale Carracci. Caravaggio (1571–1610), born and trained in Milan, stands as one of the most original and influential contributors to late sixteenth century and early seventeenth century European painting. Controversially, he not only painted figures, even those of classical or religious themes, in contemporary clothing, or as ordinary living men and women, but his inclusion of the seedier side of life (such as dirty feet) was in marked contrast to the usual trend of the time which was to idealise the religious or classical figure by treating it with the decorum considered appropriate to its status. He used tenebrism and stark contrasts between partially lit figures and dark backgrounds to dramatic effect.
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John Ruskin's seminal Modern Painters, the first volume of which was published in 1843, argued that it was the purpose of art to represent the world and allow the viewer to form their own opinions of the subject, not to idealise it. Ruskin believed that only by representing nature as accurately as possible could the artist reflect the divine qualities within the natural world. An upcoming generation of young artists, the first to have grown up in an industrial age in which the accurate representation of technical detail was considered a virtue and a necessity, came to agree with this view. In 1837 Charles Dickens began to publish novels attempting to reflect the reality of the problems of the present day, rather than the past or an idealised present; his writings were greatly admired by many of the rising generation of artists.
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Rudyard Kipling introduces, in the story The Three Musketeers (1888) three characters who were to reappear in many stories, and to give their name to his next collection Soldiers Three. Their characters are given in the sentence that follows: "Collectively, I think, but am not certain, they are the worst men in the regiment so far as genial blackguardism goes"—that is, they are 'trouble' to authority, and always on the lookout for petty gain; but Kipling is at pains never to suggest that they are evil or immoral. They are representative of the admiration he has for the British Army—which he never sought to idealise as in any way perfect—as in the poems collected in Barrack- Room Ballads (1892), and also show his interest in, and respect for the 'uneducated' classes. Kipling has great respect for the independence of mind, initiative and common sense of the three—and their cunning.
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