THERE is a particularly British tendency to romanticise valiant military failure.
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"That's why I dislike films like Harry Potter which tend to romanticise such places," Swinton said.
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Whereas you can look back at the business then and romanticise it in a way that's fun.
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Ms Moore's portrayal is more likely to make the viewer cringe, and the film refuses to romanticise her experiences.
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They know how the French romanticise their railways as a jewel of state planning, and disdain British-style privatisation.
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The proper way to deal with the special relationship is not to romanticise or rubbish it, but to re-galvanise it.
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"It's pretty easy to romanticise someone's life based on their Snapchat or Instagram," reflects Sarah, a junior at high school in Los Angeles.
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The tendency to romanticise Keane's heyday isn't exclusive to Manchester United fans, but the club's current players provide a convenient hook for their nostalgia of misery.
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As Fiona Maddocks observes in "Music for Life", an elegant collection of mini-essays published last year, people tend to over-romanticise last works, and there is some truth in that.
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Unlike other inside accounts of life on the trading floor, the two books do not romanticise the characters: even in Enrich's personally-informed account, it is hard to feel much sympathy for Hayes.
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Although he does not romanticise the criminal past, he notes that a few well-structured gangs such as the Gangster Disciples and Vice Lords used to fight to control territory and Chicago's drug trade.
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Aside from having to look at one of the richest and most influential men in the world while knowing that thousands of people have speculated that he has truly incredible sexual abilities, stories that romanticise Zuckerberg and his work now look quaint and naïve.
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Part of the reason why we think things are pretty shitty in clubland, apart from the fact that you've probably already read eight pieces this week that use the phrase "clubland" when everyone knows "clubland" only really refers to the still-thriving working men's club scene in Northern towns we've come to romanticise for a supposed earthiness that London lacks, is because we keep going to shit nights watching shit boring fucking DJs playing shit boring fucking records, because we've told ourselves that that's all we deserve.
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Tate considered Donna to be more equal to the Doctor because her character did not romanticise him, allowing her to question his morality more easily.
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According to Scott Fitzsimons they "employ electronic beats and synthesiser and embrace ... ska patterns". Chelsea Wheatley went on to perform under the pseudonym of Chela. She released an EP, Romanticise, through Kitsuné. Performing electro pop, she has also appeared on dance tracks by Clubfeet, Viceroy and Goldroom.
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A notable element of the battle is the Oropom tying themselves together with leather ropes. Oropom descendants romanticise the encounter, noting that; The Karimajong kept beating the Oropom and drove them further and further south. Finally the Oropom became tired of running. They began killing their cattle to make leather ropes out of their skins.
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In Answer to Various Bards (a.k.a. An Answer to Various Bards) is a poem by Australian writer and poet Andrew Barton "Banjo" Paterson. It was first published in The Bulletin magazine on 1 October 1892 in reply to fellow poet Henry Lawson's poem, In Answer to "Banjo", and Otherwise. In Up The Country, Lawson had criticised "The City Bushman" such as Banjo Paterson who tended to romanticise bush life.
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Wollstonecraft, Original Stories, Chapter 10. Original Stories is primarily about leaving the imperfections of childhood behind and becoming a rational and charitable adult; it does not romanticise childhood as an innocent and ideal state of being. The inset stories themselves emphasise the balance of reason and emotion required for the girls to become mature, a theme that permeates Wollstonecraft's works, particularly A Vindication of the Rights of Woman.
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On his character's decision to commit suicide Ben Hull said "Lewis's greatest fear was that one day he would become like his father, alcoholic and abusive - and he has". Hull said that Lewis does not "doesn't romanticise it in any way" when committing suicide. For the scenes Hull had to be "severely jaundiced and wear yellow contact lenses". Hull described Lewis's final scenes as "awful" and "really traumatic".
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392 She did not romanticise Britain's culinary past: "Farm and factory labourers, artisans and clerical workers, still lived on a very restricted diet ... their cooking facilities were so primitive and their equipment so scanty that only the most basic forms of cookery could be attempted".David (1970), p. 11 But her constant benchmarks were honest ingredients and uncomplicated cooking. She condemned—and explained the alternatives to—the artificial, the ersatz, the "notorious Chorleywood bread",David (1977), p.
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Banjo, of the Overflow is a poem by Australian poet Francis Kenna. It was first published in The Bulletin magazine on 27 August 1892 in reply to fellow poets Henry Lawson, Banjo Paterson and Edward Dyson. This poem formed part of the Bulletin Debate, a series of works by Lawson, Paterson, and others, about the true nature of life in the Australian bush. In Up The Country, Lawson had criticised "City Bushmen" such as Banjo Paterson who tended to romanticise bush life.
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In Defence of the Bush is a popular poem by Australian writer and poet Andrew Barton "Banjo" Paterson. It was first published in The Bulletin magazine on 23 July 1892 in reply to fellow poet Henry Lawson's poem, Up The Country. Paterson's rebuttal sparked the Bulletin Debate, a series of poems by both Lawson and Paterson about the true nature of life in the Australian bush. In Up The Country, Lawson had criticised "The City Bushman" such as Banjo Paterson who tended to romanticise bush life.
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Renowned WWE wrestler and Hollywood superstar John Cena also visited the Dubai Miracle Garden for the promotion of his movie Ferdinand in 2017. A giant floral statue of Ferdinand the bull was also brought to the garden. A scene of a Bollywood film Hamari Adhuri Kahani, starring Emraan Hashmi and Vidya Balan, was shot in the garden. The director, Mohit Suri, stated that though Dubai was generally known for its high-tech buildings and modern landscapes, he wanted to romanticise it and show its softer side.
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There are no accounts of the Hungarian casualties of the battle, because the German chronicles, annals and necrologues, which are the only sources, say nothing about this. Despite this, some modern Hungarian authors think Árpád and his sons died in this battle,Bátonyi Pál, A magyarok letelepedése a Kárpát-medencében, Acta Historica Hungarica Turiciensia 24, (2009)/2, p. 30 but this only an attempt to romanticise and mythicise the historical events by presenting the hero of the Hungarian Conquest as somebody who also sacrificed his life for his country.
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Sal Cinquemani of Slant Magazine described "Ultraviolence" as a "laconic, string-laden torch song". In the line "I can hear sirens sirens, he hit me and it felt like a kiss," Del Rey references the 1962 The Crystals song "He Hit Me (and It Felt like a Kiss)", and, according to Harriet Gibson of The Guardian, "appear[s] to romanticise brutality". A writer for the Music Times commented that the "violins, lightly thumping drums and Del Rey's angelic singing" gave the song a "church-y" feel, pointing out that the track presented her "title sound".
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Most of the scenes for the two days shooting took place in Meena Bazaar along with its views of the dhows on Dubai Creek. The final scene of the United Arab Emirates schedule, was shot on 17 November 2014, in Miracle Garden and Suri added that though the city was generally treated for its high- tech buildings and modern landscapes, he wanted to romanticise it and show its softer side. The film also features Abu Dhabi's Qasr Al Sarb desert resort. The team shot the rest of the film in Mumbai.
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There are several substantial farmhouses and the fragmentary remains of Borley Hall, once the seat of the Waldegrave family. Ghost hunters quote the legend of a Benedictine monastery supposedly built in this area in about 1362, according to which a monk from the monastery conducted a relationship with a nun from a nearby convent. After their affair was discovered, the monk was executed and the nun bricked up alive in the convent walls. It was confirmed in 1938 that this legend had no historical basis and seemed to have been fabricated by the rector's children to romanticise their Gothic style red brick rectory.
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Roger Ebert was more sympathetic in his review, where he described the film as having "effortless wickedness". His main appraisal is the fact that the film in no way attempts to romanticise any of the characters and further goes on to say, "it's interesting how this story and these people seem to have been living before the movie began and will continue after it is over; instead of a plot, we drop in on their lives". Ebert does, however, explicitly mention the similarities between this and the earlier Requiem for a Dream. This comparison may not have been lost on the filmmakers.
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The Wahehe reside primarily in Uhehe, an area that: With their armed opposition to German East Africa in mind, colonial descriptions would romanticise the Hehe as "these coarse, reserved mountain people […] a true warrior tribe who live only for war." Their power depended on the spear and on the disciplined force of their armed citizens. Even after firearms became more important the spear remained their chief weapon, for on the open plains the use of spears still had the advantage. The defense of a boma behind palisades or walls with rifles was not their strong point, tactics and a sudden mass spear attack was.
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The Indonesian film critic Salim Said writes that, at the time of production, it was rumoured that only two Alfa Romeos had been imported into the country, suggesting that Lono was well- networked. Said also suggests that Sjumandjaja had "fallen in love" with Lono, through whom the director could romanticise his memories of the revolution. According to Said, Sjumandjaja did not wish to see the character imprisoned but felt compelled to do so as he viewed Indonesia as a country which recognised the rule of law. He suggests that Sjumandjaja may have been inspired by the 1968 Hollywood film The Thomas Crown Affair, while the character of Lono is reminiscent of Robin Hood.
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He contributed to all five volumes of the Dictionary of New Zealand Biography. King was always sensitive to the fact that he was a Pākehā writing about the Māori world and always sought to establish close personal relationships with those he wrote about and their whānau, hapū and iwi authorities. He believed that all Pākehā had the same right to be called indigenous as Māori and disagreed with claims that only Māori have a spiritual association with mountains, lakes and rivers. He noted a recent tendency in literature to romanticise Māori life and indicated that certain aspects of Māori society in the pre-European era were harsher and less humane than the results of British colonisation.
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At the time, The Bulletin was a popular and influential publication, and often supported the typical national self-image held by many Australians, sometimes termed the "bush legend."Lawson and The Bulletin Henry Lawson: Australian Writer, Australian Government Culture and Recreation Portal, Accessed on 7 November 2006 Many Australian writers and poets, such as Banjo Paterson, were based primarily in the city, and had a tendency to romanticise bush life. On 9 July 1892, Lawson published a poem in The Bulletin entitled "Borderland", later retitled "Up The Country". In this poem (beginning with the verse "I am back from up the country—very sorry that I went,—"), Lawson attacked the typical "romanticised" view of bush life.
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Nestorius believed that no union between the human and divine was possible. If such a union of human and divine occurred, Nestorius believed that Christ could not truly be con-substantial with God and con-substantial with us because he would grow, mature, suffer and die (which Nestorius argued God cannot do) and also would possess the power of God that would separate him from being equal to humans. According to McGuckin, several mid-twentieth- century accounts have tended to "romanticise" Nestorius; in opposition to this view, he asserts that Nestorius was no less dogmatic, uncompromising than Cyril and that he was fully just as prepared to use his political and canonical powers as Cyril or any of the other hierarchs of the period.McGuckin, p.
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Reichardt's films all contain feminist ideas in both style and content, rejecting mainstream commercial film making methods and focusing on issues of gender (most of her films have female characters as the lead), but she herself rejects the label of a feminist filmmaker. She rejects mainstream methods by using small budgets, filming on location (the majority of her films are shot in Oregon), and refusing to romanticise the main characters and their struggles. Even in her films that have male characters as protagonists, she still addresses gender issues. In Old Joy, which stars two men and was spoken about in festivals as an LGBT film, the theme of male friendship is highlighted and addressed through the feminised qualities of sensitivity and vulnerability that are rarely seen in mainstream Hollywood cinema.
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Rosie Goldschmidt Waldeck, writing in 1943, also takes note of the image of the general who fought with common soldiers, with an indelible youthfulness and apparent invulnerability. Historian Sandra Mass considers the Rommel myth a hero cult, a synthesis of old and new hero cults and traditions culled primarily from Germany's largely imaginary colonial past, in particular the proletarian hero cult originally represented by Carl Peters and the bourgeois one represented by Paul von Lettow-Vorbeck. Rommel, as portrayed by this hero cult, was both chivalrous and ruthless, young and old, harsh and gentle, strong and righteous. Calder, Duffy and Ricci opine that Rommel's military brilliance provoked a masochistic tendency to romanticise a worthy opponent, that because he was skilled at his profession, he must have been an anti-Nazi hero.
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Chapter 6, "Riding the Prague Tram", describes Hitchens's experience of travelling in Communist Bloc countries before the fall of the Soviet Union and how this, combined with the behaviour of certain left-wing organisations in the UK, led to his becoming disillusioned with the British Left. He also carries out a lengthy critique of the Western Left's apologist stance towards Soviet Communism, including views held by Fabian Society members Beatrice and Maurice Webb; the attempt to exonerate and romanticise Lenin and Trotsky; and intellectual resistance to the works of Alexander Solzhenitsyn and Robert Conquest. In Chapter 7, "A Fire Burning Under Water", Hitchens describes the final stage in his becoming disenchanted with the British Left – the British Trades Union Congress's (TUC) alleged failure to support the Gdańsk shipyard workers challenging the Soviet-aligned government.
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Neptune City was generally well received by most music critics. Katherine Fulton of Allmusic noticed that "Atkins shows on this album that she has both the capability and potential" and praised the "lush arrangements on Neptune City, which [...] showcase the depth, range, and versatility of Atkins' alto voice, not to mention her songwriting prowess". Chris Jones of BBC Music wrote that Atkins "delivers glorious, over-the-top twang-drenched ballads that both romanticise her native New Jersey and yet still throw in a tough, dark heart of country noir" and described the album as "something akin to country, but also something weirdly post-modern", while praising its production and vocals. Susan Frances of AbsolutePunk wrote that "the whole album is tooled with melodic patterned frescos combining orchestral fields with pop/rock elements" and added that it "does justice to the real Neptune City".
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Gilsland Spa, a locally renowned mineral spring, was named from the Barony and the name was transferred from there to the village, although most of the population live on the Northumberland side, outside the original borders of the Barony. The ancient kingdoms of Strathclyde and Northumbria were eventually subsumed into what we now know as Scotland and England, but for most of the later mediaeval period the Borders suffered instability and lawlessness due to their mutual antipathy and the indeterminate nature of the border. There have been many valiant attempts to romanticise the assumed incessant violence, starting with Sir Walter Scott, who visited Gilsland and got engaged at the Popping Stone. As soon as the area was definitively pacified, with the Union of the Crowns and the suppression of the 1745 Jacobite rebellion, economic activity rapidly increased.
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Rising Sun Flag The Japanese government's refusal to ban the controversial Rising Sun Flag from Olympic venues has been characterized by some as going against the "Olympic spirit". Some East and Southeast Asian people consider the flag to be offensive due to its usage by the Imperial Japanese military during World War II, as well as its current usage by racist hate groups in Japan, such as Zaitokukai. The flag, which has been compared by its detractors to the Nazi swastika, the U.S. Confederate flag in modern times, and the Apartheid flag of South Africa, is sometimes associated with war crimes and atrocities committed under the Empire of Japan, as well as contemporary Japan's far-right nationalist attempts to revise, deny, or romanticise its imperialistic past. The flag is currently banned by FIFA, and Japan was sanctioned by the Asian Football Confederation (AFC) after Japanese fans flew it at an AFC Champions League match in 2017.
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Historians Ronald Smelser and Edward J. Davies in their work The Myth of the Eastern Front describe J.J. Fedorowicz as the leading publisher of war-romancing literature dedicated to the portrayal of the German war effort on the Eastern Front. The books include multiple photographs and are accompanied by cover art that, as with Kurowski's Panzer Aces series, "evokes heroism, determination and might of the German soldier and his weapons". According to The Myth of the Eastern Front, J.J.Fedorowicz has played an important role in publicising the works of German World War II veterans, such as Otto Carius, alongside the authors who the book describes as "gurus". In Smelser and Davies's definition, the gurus are writers who specialise in the Wehrmacht and, in particular, the Waffen-SS and are popular among the readers who "romanticise" the Eastern Front, These authors present an uncritical and ahistorical portrayal of the military and paramilitary formations of Nazi Germany that is in stark contrast to the realities of the war of conquest and racial annihilation.
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Rising Sun Flag The Japanese government's refusal to ban the controversial Rising Sun Flag in the Olympic sites has been criticized as going against the Olympic spirit, as the flag is offensive to East and Southeast Asian peoples due to its historical usage by the Imperial Japanese military during World War II, as well as its current usage by racist hate groups in Japan, such as Zaitokukai. The flag, often compared to Nazi swastika, is associated with war crimes and atrocities committed under the Japanese Empire, as well as contemporary Japan's far-right nationalist attempts to revise, deny, and romanticise its imperialistic past. The controversial flag is currently banned by FIFA, and Japan was sanctioned by Asian Football Confederation after Japanese football fans flew it at an AFC Champions League in 2017. In September 2019, the South Korean parliamentary committee for sports asked the organizers of 2020 Summer Olympics in Tokyo to ban the Rising Sun Flag, and the Chinese Civil Association for Claiming Compensation from Japan sent a letter to the International Olympic Committee in order to ban the flag.
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