It is free of cynicism, but almost never devolves to cheap sentimentalism or shmaltz.
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This is not sentimentalism on Mr. Castellucci's part, but it is strangely, deeply moving.
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Any other view of human nature is an exercise in magical thinking or sentimentalism.
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Melodrama, long maligned as failed tragedy or cheap sentimentalism, appears to be having a moment.
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The whole women's program failed and was dubbed sentimentalism by the speaker of the house.
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The second half, when it all comes crashing down, favors movie-of-the-week melodrama and sentimentalism.
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Mr. Lee, straining, ends up delivering a sentimentalism that undermines Mr. Church's performance and this film's promise.
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The movie's attitude toward its protagonist is fiercely devoid of sentimentalism and, at times, flat-out disapproving.
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BRUNI: I think you're wrong about Stallone, and he'll get the statuette because Oscar voters' sentimentalism will prevail.
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Enriquez's stories are historically aware and class-conscious, but her characters never avail themselves of sentimentalism or comfort.
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At the heart of Russian foreign policy sentimentalism is a tendency to view relationships between states as relations between leaders.
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Adding to the sentimentalism of the look, Markle accessorized with some of her late mother-in-law Princess Diana's jewelry.
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This is not Hallmark card sentimentalism but scientific fact: As babies our neural connections are built by love and care.
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Zumas has a perfectly tuned ear for the way society relies on a moralizing sentimentalism to restrict women's lives and enforce conformity.
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Scoblic's picturesque language, delineating nature more keenly than people, keeps sentimentalism at bay, animating the landscape from strawberry season to ice storms.
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The empty nihilism of "Joker" and the empty Anglo-sentimentalism of "1917," Sam Mendes's Oscar-thirsty war picture, are mistaken for profundity.
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As he presents it, the groundwork for the gathering has not been theologically sloppy, as critics allege, nor is it based on sentimentalism.
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The Romantic poets (Rimbaud, Baudelaire, Goethe) and Sufism that marked her youth also imbued a sense of awe, sentimentalism, and sacredness to her work.
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Majumdar has taken what could easily have devolved into sappy sentimentalism — your first child learning to walk — and transformed it into a pared down, imaginative possibility.
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The Moroccan writer-director Maryam Touzani, making her fiction feature debut, creates a persuasive, intimate world, and while she edges close to sentimentalism, the feelings ring true.
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Mr. Haynes is happy to set a wolf after Ben in the woods, a jaggedly shot chase bathed in midnight blue, but he refrains from easy sentimentalism.
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Zumas has a perfectly tuned ear for the way measures to restrict women's lives and enforce social conformity are couched in the moralizing sentimentalism of children's imagined needs.
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If Austria is best-known for schmaltzy sentimentalism and a refusal to acknowledge its Nazi heritage, the capital city of Vienna is celebrated for its Habsburg-era decadence.
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"Black Markets" has the usual mix: the frisson of danger, the sheen of immediacy, the claims of injustice, the tinge of sentimentalism, the scarcity of hard information or attribution.
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There can be something pitiless about Mr. Shults's gaze, but the steadiness of his look is that of the artist who refuses to sell the truth out for sentimentalism.
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Art, he said, needed to be a "tool" free of sentimentalism that served the state's aims, according to a biography of Goebbels written by the German historian Peter Longerich.
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It's about money and families and the ties that bind and cut, although because it was directed by Ridley Scott there isn't a jot of sentimentalism gumming the works.
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Earnestness without sentimentalism is what's called for in these electrifying and precarious times, I guess, which makes it a bit tough to talk about something so unserious as this.
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Though studded with moments of marvelous intensity, Maar's retrospective plants one foot in the world of radical, seedy, adventurous photo-artistry, and the other in a world of mawkish, sentimentalism.
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They argue earnestly about things like privilege, cultural imperialism, power structures and the male gaze; threaten to get tattoos with Adorno quotes; and drop references to "reactionary Cartesian sentimentalism" during arguments.
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It's easy to feel a pang of sentimentalism for the web that didn't matter, especially since digital spaces emit a sense of permanence, like every animated gif loop will inherently outlast you.
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It's a promising, poignant crisis that the director Anne Fletcher swamps with gauzy sentimentalism and cutesy comedy, particularly once Will decides to turn a beauty pageant into a means of personal revolt.
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It softens the cruder edges of the original, but the candor with which Erik Linthorst's script regards the characters' sexual desires — coupled with the winning performances of the actors — leavens any sentimentalism.
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An author who, for example, lacks a sense of irony is always bound to remain mediocre, and irony-less writers have a squeaky voice that achieves either slapstick or sentimentalism or just reportage.
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People hate Christina's World—and Wyeth's oeuvre—for its literalness, sentimentalism, and abject lack of metaphor, and The Killing of a Sacred Deer is guaranteed to make such critics squirm in their seats.
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Though the Georgetown and Indiana situations possessed unique characteristics, both demonstrated that the imperative to win frequently, consistently and in March at the highest level of college basketball has left little room for sentimentalism.
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But the movie works, in great part because the director Karyn Kusama, best known for her indie breakout "Girlfight," commits to the material's malice and keeps sentimentalism in check as fiercely as her hardworking star.
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Nasty, glib and often spikily funny before a late, unconvincing swerve into sentimentalism, it features a tight crew of very fine actors, including Oscar Isaac as Jack, a stranger who materializes before Thomas like a hallucination.
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Much as Heller did in "The Diary of a Teenage Girl," which folds animation into the live-action portion, she uses artifice in "A Beautiful Day" to help prevent this story from slipping into full-blown sentimentalism.
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Oscar Wilde famously quipped that sentimentalism is wanting to have an emotion without paying for it, but Little Dog has paid and paid, and the truths arrived at in this book are valuable precisely because they are steeped in feeling.
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Beauvoir abhorred sentimentalism in her writing and seemed constitutionally incapable of contriving a sudden epiphany after cresting a peak, but it turns out that in addition to all of her philosophical contributions she is a forgotten pioneer of this genre of memoir.
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That O'Connor was a devout, practicing Catholic who often decried what she saw as the sentimentalism and namby-pambyism of religious literature in her time is no secret to those who've read her writing in books like Mystery and Manners and her letters in The Habit of Being.
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When she writes that Landon's "Flowers of Loveliness" is "not blandly shallow but deeply shallow", or that what might first be read as "mawkishness" is really a "channel" for "suppressed personal rage", or that her "naive sentimentalism" reveals "bitter and cynical depths when voiced", the modern reader returns to the poems, reads them aloud and concludes: shallow, mawkish, sentimental.
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The great cause why modern humor and modern sentimentalism repel us, is that they are unwarrantably familiar.
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It celebrates the emotional and intellectual concepts of sentiment, sentimentalism and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction which began in reaction to the rationalism of the Augustan Age. Sentimental novels relied on emotional response both from their readers and characters.
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It celebrates the emotional and intellectual concepts of sentiment, sentimentalism, and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction which began in the 18th century in reaction to the rationalism of the Augustan Age.Richard Maxwell and Katie Trumpener, eds., The Cambridge Companion to Fiction in the Romantic Period (2008).
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Sentimentality originally indicated the reliance on feelings as a guide to truth, but in current usage the term commonly connotes a reliance on shallow, uncomplicated emotions at the expense of reason.Serafin and Bendixen, p. 1014 Sentimentalism in philosophy is a view in meta-ethics according to which morality is somehow grounded in moral sentiments or emotions. Sentimentalism in literature refers to techniques a writer employs to induce a tender emotional response disproportionate to the situation at handI.
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Her poetry was rejected by the establishment. She was accused of petty sentimentalism and threatened with censorship. She withdrew from literary life for years after this attack. Škerl spent the last years of her life in Maribor.
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In the same periodical, Karamzin also published translations from French and some original stories, including Poor Liza and Natalia the Boyar's Daughter (both 1792). These stories introduced Russian readers to sentimentalism, and Karamzin was hailed as "a Russian Sterne".
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"Savage" at that time could mean "wild beast" as well as "wild man".OED s.v. "savage" B.3.a. The phrase later became identified with the idealized picture of "nature's gentleman", which was an aspect of 18th-century sentimentalism.
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The film has been received generally positively by critics, holding a 60% approval rating on Rotten Tomatoes. The review in The Guardian newspaper noted the film as "...a heartfelt study of a man who tried to kill Hitler" The newspaper was also very complimentary about Christian Friedel's performance as Elser. However, the entertainment magazine Variety were less impressed, saying "... the absence of subtlety combined with predictable dollops of sentimentalism once again trivialize events in the name of making them understandable". In the Daily Telegraph review, the reviewer noted the film as having an "...overbearing sentimentalism and lacquered, Oscar-hungry sheen".
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A Child of Sorrow is a 1921 novel by the Filipino author Zoilo Galang. It is considered the first Philippine novel written in English. Critics have suggested that the novel was heavily influenced by the sentimentalism of the Tagalog prose narratives of the eighteenth and nineteenth centuries.
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Robert Muccigrosso ed., Research Guide to American Historical Biography (1988) 1:80- 85 He denounced romanticism; and especially its chief propagator, Jean-Jacques Rousseau. He warned that Rousseau was the chief negative influence over modern culture. He opposed overt sentimentalism, celebration of human perfection and utopian thinking of romanticism.
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The writer noted the song's theme of love, sentimentalism, and relationship melodrama. musicOMH Ben Hogwood perceived the lyrics as commentary on fame and "the trappings of it"; the writer singled out the first verse's line "I can't stop this hurtful shit from happening" as alluding to fame having personal consequences.
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Sandra M. Gustafson writes in her article, "Choosing a Medium: Margaret Fuller and the Forms of Sentiment", that Fuller's greatest achievement with "The Great Lawsuit" and Woman in the Nineteenth Century is the assertion of the feminine through a female form, sentimentalism, rather than through a masculine form as some female orators used.
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The Mad Doctor in Harley Street is a 1938 novel by F. J. Thwaites. A sequel to The Mad Doctor, it describes the doctor's efforts to get his cure recognised by the medical establishment in London. A contemporary review says that the novel "bubbles over with sentimentalism." The novel was adapted for radio in 1938.
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They especially eschewed the interval of the augmented second, part of the "gypsy minor" scale used typically in klezmer music. "Its character is depressing and sentimental", wrote music critic and composer Menashe Ravina in 1943. "The healthy desire to free ourselves of this sentimentalism causes many to avoid this interval."Menashe Ravina (1943), p 16.
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He was Deputy Chairman of the Quarter Sessions. It was noted that he was "A noted advocate with an unfailing gift for rhythmic language. As administrator of the Criminal Law was opposed to 'sickly humanitarianism and sentimentalism.'" Buszard married Louisa Threlfall, second daughter of John Mayor Threlfall of Manchester in 1864 and had a family.
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Berzsenyi was one of the most contradictory poets of Hungarian literature. He lived the life of a farmer, and wished to be close to the events of Hungarian literature. This contradiction, which he believed he could solve, made him a lonesome, introverted and bitter poet. His works show signs of classicism, sentimentalism and romanticism.
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As a prose writer, he is ranked among the epigones of sentimentalism. He was the publisher of the magazines "Moscow Spectator" (1806), "Aglaia" (1808–1812), and "Ladies' Magazine" (1823–1833). He was also the editor of the newspaper "Moskovskiye Vedomosti".According to the Russian Biographical Dictionary, he was an editor from 1813 to 1836.
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Călinescu, p.686 Radu D. Rosetti,Călinescu, p.593 N. Davidescu,Călinescu, p.697 and especially George Bacovia.Călinescu, p.706 Călinescu noted that Tradem and Bacovia shared important traits: "proletarian sentimentalism, a fracticious attitude, morbid nostalgia, sad «philosophies» and most of all the tone of a heartbreaking romanza". Refractarii has also influenced the non-Symbolist Caton Theodorian.Călinescu, p.
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Examples illustrated in Lay 1978. Lay's volumes of poems appeared mainly between 1927 and 1934. They are mainly collections of short lyrics in new Elizabethan manner, sometimes erotic, and, although rural and showing a countryman's sensibilities, without sentimentalism or any strong note of nostalgia. Cecil Lay married Joan Chadburn, daughter of the painter Haworth Chadburn, in 1932.
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Malagi's novels and stories are known for their use of lyricism and sentimentalism as a style. His stories can be classified into three major types. The first type explores man-woman relationship in the modern world. Stories like Dharini jote nannadondu kathe, Maatu yataneya diddi bagilu, Agamya agochara apratima jeevave and Baro geejaga belong to this category.
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Self-described "culture bearer" Jacqueline Cogdell DjeDje of the University of California, Los Angeles broke new ground in ethnomusicology with her study of "fiddle" music of the Luo of Kenya. Citing Kwame Anthony Appiah, she rejects "nativist nostalgia . . . largely fueled by that Western sentimentalism so familiar after Rousseau".Appiah, Kwame Anthony. 1992. In My Father’s House: Africa in the Philosophy of Culture.
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Gurra's writing activity spans in around 50 years. His initial work expressed a mixture of Nationalist and Romantic ideas conform the general line of the National Awakening, like many other Albanian writers and poets of the same era. Later works would be characterized by sentimentalism. As an emigrant, he was close to the problems and difficulties that the Albanian diaspora continuously dealt with.
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Chicago Sun-Times critic Roger Ebert praised the film, writing: Ebert closed his review with the comment, "It's a movie that is all heart."Ebert, Roger. "Hoosiers," Chicago Sun-Times (February 27, 1987). The New York Times' Janet Maslin echoed Ebert's sentiments, writing, Washington Post critics Rita Kempley and Paul Attanasio both enjoyed the film, despite its perceived sentimentalism and lack of originality.
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Despite the fact that Austen's novels were translated into many European languages, Europeans did not recognise her works as part of the English novel tradition. This perception was reinforced by the changes made by translators who injected sentimentalism into Austen's novels and eliminated their humour and irony. European readers therefore more readily associated Walter Scott's style with the English novel.Cossy and Saglia, 170.
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In the book Language on Vacation: An Olio of Orthographical Oddities, Dmitri Borgmann tries to find the longest such word. The longest one he found was "dermatoglyphics" at 15 letters. He coins several longer hypothetical words, such as "thumbscrew-japingly" (18 letters, defined as "as if mocking a thumbscrew") and, with the "uttermost limit in the way of verbal creativeness", "pubvexingfjord-schmaltzy" (23 letters, defined as "as if in the manner of the extreme sentimentalism generated in some individuals by the sight of a majestic fjord, which sentimentalism is annoying to the clientele of an English inn"). In the book Making the Alphabet Dance, Ross Eckler reports the word "subdermatoglyphic" (17 letters) can be found in Lowell Goldmith's article Chaos: To See a World in a Grain of Sand and a Heaven in a Wild Flower.
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Most of Trot's lyrical content is based on two popular themes, although they vary with the times: 1) love and parting, 2) longing for sweet home. Some see the origin of this sentimentalism in "colonial tragedy". But that may well be related to the ancient tradition of resentment () in Korean culture.About the term 'Han' see Daniel Tudor (2012): "Korea: The Impossible Country", Boston, p. 121.
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It has been described as prejudiced, imperialistic, orientalist, sentimentalist, colonialist, and under-theorized. Yanagi's interpretation of Korean history and art has been disputed. The "beauty of sorrow" was criticized by Koreans as early as 1922. In 1974, the poet Choe Harim published an influential article that established the "aesthetics of colonialism" and accused Yanagi's theory of imperialism, colonialism, sentimentalism, and a "superficial interpretation of Korean history".
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In her writing, she drew from her life growing up as an immigrant in New York's Lower East Side. Her works feature elements of realism with attention to detail; she often has characters express themselves in Yiddish-English dialect. Her sentimentalism and highly idealized characters have prompted some critics to classify her works as romantic. Anzia Yezierska in 1922 Yezierska turned to writing around 1912.
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He also translated several poems by Metastasio, Kleist, Racine, Hagedorn, and Pope into Slovene. He also wrote some original poems in a mixture of Classicism, Roccoco, and Sentimentalism. In 1799, Japelj became the director of the seminary in Klagenfurt, where he also covered other positions in the ecclesiastical and civil administration. He died in Klagenfurt in 1807, shortly after being appointed bishop of Trieste.
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" Some "members of republican clubs protested against what they characterized as exaggerated sentimentalism in the tributes, seeing in these monarchist maneuvers. They were lonely voices." Foreign reaction also revealed sympathy towards the monarch. The New York Times on 5 December praised Pedro II, considering him "the most enlightened monarch of the century" and also stating that "he made Brazil as free as a monarchy could be.
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He is frequently witty, always punchy and sometimes rapier-like, as he analyses the 'bunk' of his opponents to within an inch of its cant". In the Daily Express, Neil Hamilton reviewed the book positively, writing, "Theodore Dalrymple's excellent Spoilt Rotten offers some thought-provoking insights and explains how emotional constipation in our national psyche has become emotional diarrhoea". In a negative review in The Sunday Telegraph, historian Noel Malcolm suggested that Dalrymple "is spreading his net too widely, so that 'sentimentality' comes to stand for any moralising view that does not satisfy his own scrutiny; it's not that these things should not be criticised, merely that sentimentalism may not be the key to what is wrong with them". Malcolm also questioned Dalrymple's views on modern educational theory, writing "these ideas have long and complex histories, in which sentimentalism is only part of the story.
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While the poems of the Ariel Face feature extreme sentimentalism, platonic love, melancholy, among others, the poems of the Caliban Face are heavily morbid, sarcastic and ironic. From its initial publication in 1853, it would suffer many re-edits, getting to its current form in 1942. Some studies about this book: "O belo e o disforme", Cilaine Alves; "Risos entre pares", Vagner Camilo; "Uma lira de duas cordas", Rafael Fava Belúzio.
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Favret, "Sympathy and Irony" (OMS), 28. Mary glossed Percy's political radicalism as a form of sentimentalism, arguing that his republicanism arose from sympathy for those who were suffering.Wolfson, "Mary Shelley, editor" (CC), 194; Fraistat, "Shelley Left and Right", Shelley's Prose and Poetry, 647, Favret, "Sympathy and Irony" (OMS), 18, 29. She inserted romantic anecdotes of his benevolence, domesticity, and love of the natural world.Wolfson, "Mary Shelley, editor" (CC), 203.
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Henzelmann, pp.360-64 Eloisa reads Abelard's letter: a 1779 print of Angelica Kauffmann’s painting In Russia Pope’s “Eloisa to Abelard” appealed to the literary Sentimentalism that served as a prelude to Romanticism. The first translation was Epistola Eloizy ko Abelardu, tentatively ascribed to Mikhail Kheraskov, which was published five times between 1765-91.Daniela Rizzi, "Kheraskov, translator of Pope", Study Group on 18th Century Russia, Newsletter 34, Cambridge 2006, pp.
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Retrieved 19 July 2015. He also wrote to her expressing admiration for a poem of hers, "Helen", which has since been lost, as has much of her other poetry. A later generation saw "Wertherism" in her poetry, in the sense that its sentimentalism was influenced by Goethe's epistolary novel The Sorrows of Werther (1774, rev. 1787).George Neilson, writing in The Glasgow Herald of 15 March 1919, quoted in ODNB.
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Dissatisfaction among residents rose over Circleville's layout, however. Some believed the design was "childish sentimentalism", and others complained that the lots were too irregular and inconvenient, and that a circular plan wasted space that could become profitable. As well, the space around the central courthouse was unpresentable. People from the countryside would hitch their horses around the courthouse, which would draw hogs and domestic animals to the area and surrounding city.
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As a preacher, Doehring combined eloquence with education and populism, and was not afraid of "kitsch sentimentalism".Wilhelm Hüffmeier: Die Hof- und Domprediger als Theologen [The preacher at the cathedral and court as a theologian] (hereafter "Hüffmeier"), in: Plöse (see below), pp. 139-154, here p. 151 He saw preaching as "always concrete, never abstract" and wanted to be like Martin Luther and never shy away from the problems of his time.
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Le Sanglot de l'Homme blanc (The White Man's Tears), published by the Éditions le Seuil in May 1983, was a controversial opus. The author describes what he sees as the anti-Western and pro-Third-World sentimentalism of some of the Left in the West. The essay had an influence on a whole trend of thought, especially on Maurice Dantec and Michel Houellebecq. The title is a variation on Kipling's "White Man's Burden".
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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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Eighteenth- century fancy pictures were an antecedent of Victorian sentimentalism; J. E. Millais' paintings of children, such as his My First Sermon and My Second Sermon, modelled by his young daughter, were called fancy pictures.Kumiko Tanabe, "Hopkins's Obsession with Beauty and Fancy: The Influence of the Parnassian Movement and the Fancy Picture of J. E. Millais", in The Interconnections between Victorian Writers, Artists and Places, ed. Kumiko Tanabe, Newcastle upon Tyne: Cambridge Scholars, 2019, , pp. 48–66, p. 55.
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Of his longer novels there may be mentioned the "Dos Rivales" and "Una Madre", both rather tedious compositions. In his short tales he is most successful when he indulges in the sentimental; he is less attractive when he gives utterance to his pessimistic feeling. At times his sentimentalism and pessimism become even morbid. A number of his journalistic articles have been brought together in several of the volumes of his collected works, as "Hojas sueltas", "Estudios sociales", etc.
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But traces of conventional patterns of the Italian style can also be found in works by Mozart, Beethoven and Schubert, as treated by Liszt. Examples are Mozart's opera Don Giovanni and songs like Beethoven's "Adelaïde" and Schubert's "Ave Maria". Liszt's works on French subjects, among them his fantasies on Meyerbeer's operas, were to be suspected to be as vulgar as the style of Berlioz. Everything reminding of Chopin's sentimentalism was as well to be put aside.
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Reviews of Bapu also appeared in the Indian ReviewIndian Review, December 1949. (1949) and The Aryan PathThe Aryan Path, October 1957, by E.P.T. (1957). In his Gandhi bibliography, Pandiri describes Bapu as "filled with carefully observed and recorded details of Gandhi's daily life", stating that "Barr's narration is valuable since it is tender and yet free of sentimentalism". Weber described Bapu as "touch[ing] on [Gandhi's] motherly relationship with the author", and devoted several pages to narrating Barr's life, drawing largely on Bapu.
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Marković published a series of literary works, most important of which are the epics and the dramas in national-romanticist tradition. As opposed to the formalistic and racionalist conception of philosophy, "Marković his personal aspect, his sentimentalism and desireful ponderings ensconces under the veil of poetry." Mostly dealing with the historical motifs, Marković engaged in the ongoing battle for the affirmation of Croatdom against Hungarian and German domination. Idyllic epic Dom i svijet ('The home and the world') elaborates on contemporary themes.
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Dickens has been praised by many of his fellow writers – from Leo Tolstoy to George Orwell, G. K. Chesterton, and Tom Wolfe – for his realism, comedy, prose style, unique characterisations, and social criticism. However, Oscar Wilde, Henry James, and Virginia Woolf complained of a lack of psychological depth, loose writing, and a vein of sentimentalism. The term Dickensian is used to describe something that is reminiscent of Dickens and his writings, such as poor social conditions or comically repulsive characters."Oxford Dictionaries – Dickensian".
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He was a precocious child, and a morbid and impractical, though versatile, man, with a facility in writing verse on all manner of subjects and in nearly every known meter. His sentimentalism appealed to a wide circle, but his was one of the tapers which were extinguished by James Russell Lowell. He had also a reputation as a geologist. Percival entered Yale College at the age of 16, and graduated at the age of 20 at the head of his class.
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However, the bid to purchase Fort Humboldt for the public met with local opposition. For example, an editorial in the Blue Lake Advocate stated: "The whole scheme is a silly outburst of a maudlin sentimentalism which is simply ridiculous and is the laughing stock of the community. To take $32,000 from the taxpayer for the state to buy a few acres of land suitable only for a potato patch or a truck garden will be paying too much" (4 February 1906).
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The narrative of The Lost Cause allowed the North and the South to emotionally re-unify.Caroline E. Janney, "The Lost Cause". Encyclopedia Virginia (Virginia Foundation for the Humanities, 2009) accessed 26 July 2015 It brought sentimentalism, by political argument, and recurrent celebrations, rituals and public monuments that allowed Southern whites to reconcile their regional pride with their Americanness. It also provided conservative traditions and a model of masculine devotion and courage in an age of gender anxieties and ruthless material striving.
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He is passionate in his denunciation of everything which, like mysticism, tries to veil reality. He is, in the words of historian Carlton J. H. Hayes "almost Lucretian in his anger against religion"Hayes, A Generation of Materialism, 1941, p. 128 which would withdraw the secret of the universe from our direct gaze. His substitute for religion is a doctrine in many points akin to Auguste Comte and Ludwig Andreas Feuerbach, the former of whom he resembles in his sentimentalism.
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At the turn of the 20th century, the American scholar Sylvester Primer characterized this play as full of "irreligious and obscene sentimentalism," and Gil y Zárate tried to recall it. The playwright's most productive period was in the 1830s and 1840s; while his plays during this period were extremely popular, these have not been considered of lasting value. His play, Guzmán el Bueno. Drama en Cuatro Actos, set in "medieval days of Spanish history," was considered to be his most substantial.
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Juan Carlos Blumberg claimed he wanted justice for his son's murderers, but even more importantly, a working system to ensure that such crimes stopped being common and that criminals were punished. He quickly became a model for victims' suffering families, and a media icon. The latter role brought upon him a large amount of media sentimentalism and sensationalism. Soon he also took a political stance, directly asking for legislators to harden crime laws he saw as sparing certain criminals from rightful punishment.
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Differing interpretations have been given for the meaning of the photograph. Art historian Erin C. Garcia wrote that Ray "emulated the melodrama that compensated for the lack of dialogue in silent films" in Larmes and likened the model's eyes to "insect-like creatures with hundreds of legs", and another critic wondered whether the image was "ridiculing female crocodile tears, or pouring scorn on the men who are taken in by such sentimentalism". A 1995 sale of Larmes valued the image at between $200,000-250,000.
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Kalashnikov has often been criticized for lack of objectivity and abuse of sentimentalism in his writings. Kalashnikov targets primarily younger Russian. He has also been criticized for making numerous contradictions. For example, in some of his writing, Kalashnikov praises Stalin and the Soviet system, yet in other writings, he espouses sharp anti-communist arguments.Maxim Kalashnikov - The Battle for Skies In September 2009 President of Russia Dmitry Medvedev urged the government to study Kalashnikov's ideas for speeding the development of the country’s innovative economy posted at LiveJournal.
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She was influenced by Mihai Eminescu, from whom she borrowed motifs, images and rhythms, reproducing their atmosphere. However, she went beyond mere imitation: her lines were charged with sincerity, spontaneity and a characteristically feminine delicacy and grace. German Romantic poets such as Nikolaus Lenau and Heinrich Heine, whom she knew very well, were another influence, as seen through her light melancholy, pained regret caused by incomprehension, faded love and resignation. Her tone was consistently one of romantic sentimentalism, and she surpassed all prior Transylvanian female lyric poets through her musicality, elegant language and discretion.
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"Life work of a master: Alistair MacLeod's stories are among the best in the world." The Ottawa Citizen, April 30, 2000, p.C14. The essayist Joshua Bodwell wrote about discovering MacLeod while traveling in Cape Breton just months before his first child was born, and then later reading "The Boat" aloud to her near her tenth birthday in his piece "The Great Salt Gift of Alistair MacLeod's "The Boat."" The English literary critic, James Wood, on the other hand, criticized what he saw as "a certain simplicity, even sentimentalism" in many of the stories in Island.
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Leal's depiction of Mena challenges this notion. Leal notes that due to Mena's use of her married name Chambers, Mena was overlooked as a Chicano writer until writers like Raymund Paredes discovers some of her stories. Paredes criticized Mena's condescending view of the Indians in Mexico. He refers to Mena as a “talented story-teller whose sensibility unfortunately tended towards sentimentalism and preciousness.” Leal interprets Paredes’ comment to convey that Mena's “decorum“ in depicting the plight of Indians, made her work have a “trivial and condescending” attitude towards Indians.
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Major Owen Hatteras (1912-1923) is a composite personage and pseudonym created and employed by H. L. Mencken and George Jean Nathan for The Smart Set literary magazine and adapted by Willard Huntington Wright during his short tenure as editor. The pseudonym was used to critique American (“Puritan”) traditions and ideals, such as marriage, religion, and academe, while protecting Mencken and Nathan's own reputations. First with the “Pertinent & Impertinent” column and eventually the “Americana” column, Hatteras observed and denigrated American institutions, frivolity and sentimentalism, materialism, racism, censorship, and conservatism.
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One writer was so impressed by Lee's detailed explanations of the people of Maycomb that he categorized the book as Southern romantic regionalism.Erisman, Fred (April 1973). "The Romantic Regionalism of Harper Lee", The Alabama Review, 27 (2). This sentimentalism can be seen in Lee's representation of the Southern caste system to explain almost every character's behavior in the novel. Scout's Aunt Alexandra attributes Maycomb's inhabitants' faults and advantages to genealogy (families that have gambling streaks and drinking streaks),Bruell, Edwin (December 1964). "Keen Scalpel on Racial Ills", The English Journal 51 (9) pp. 658–661.
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During Catherine's reign the leading playwrights included Denis Fonvizin, who ridiculed the rusticity of provincial gentry and their thoughtless imitation of all things French; Vladislav Ozerov, who authored a great number of Neoclassical tragedies with touches of sentimentalism; and Yakov Knyazhnin, whose drama about a popular uprising against Rurik's rule was declared Jacobin and publicly burnt in 1791. Even Catherine's favourite poet, Gavrila Derzhavin—who sought in his odes to combine amusement with instruction—would see some of his poems banned from print during the last years of her reign.
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She contributed to various in children's periodicals such as "Firefly", "Children's joy," "Children's World", "Drugarche", "Children's Life", "Iveta", "Nightingale ","Merry band", "Window" and others. After 1944, she was widely published in the most popular Bulgarian newspapers and journals, as well as in the children's magazine "Nightingale", "Squad" "Children, art, books," and others. "Violets", Gabe's first lyrical poetry book, demonstrates Secession sentimentalism and a deep understanding of symbolism. Her works have been translated in Argentina, Austria, Great Britain, Vietnam, Germany, Greece, Canada, Cuba, Lebanon, Peru, Poland, Romania, Russia, Slovakia, Ukraine, France, Czech Republic.
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The rules of morality, therefore, are > not conclusions of our reason. Hume's moral sentimentalism was shared by his close friend Adam Smith, and the two were mutually influenced by the moral reflections of their older contemporary, Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics." Hume also put forward the is–ought problem, later known as Hume's Law, denying the possibility of logically deriving what ought to be from what is.
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Wacousta is a novel by John Richardson. Published in 1832, it is sometimes claimed as the first Canadian novel, although in fact it is preceded by Julia Catherine Beckwith's St Ursula's Convent; or, The Nun of Canada (Kingston, 1824). Wacousta is better categorized as the first attempt by a Canadian-born author at historical fiction. However, it is one of the first novels written by a Canadian-born author about Canada, and, in spite of its overwrought sentimentalism, it has been treated as a seminal work in the development of a Canadian literary sensibility.
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Giussani also teaches that the principal goal of a Christian life is to grow in maturity in the relationship with God. According to Giussani, this becomes possible when one sees all of reality as an incarnation of one's own individual relationship with God. Where some forms of Christianity attempt to grow in faith by emphasizing emotional intensity and sentiments (sentimentalism) and others by the rigours of moral perfectionism (moralism), Giussani teaches instead that maturity comes through a growing awareness that all of life's circumstances present an opportunity to better know God.
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Park in Buchwald (Bukowiec),19th century, artificial ruin of abbey, decayed after 1945 Enthusiastic contemporaries described the Hirschberg valley of the 19th century as one "big English garden". Already at the end of the 18th century Hirschbergs director of town planning, Schönau, created several gardens on the surrounding hills of the city. Around 1800 the first parks emerged in Ruhberg (Polish: Ciszyca) and Stonsdorf (Polish: Staniszów). These early parks were affected by Sentimentalism, as the art of garden design was especially suitable to stimulate deep feelings like melancholy, teariness, amazement or joy.
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At the opening night of Cibber's Love's Last Shift at Dury Lane Theater in January 1696 spectators experienced a new genre. They were genuinely surprised by the unexpected reconciliation and the joy of seeing this, "spread such an uncommon rapture of pleasure in the audience that never were spectators more happy in easing their minds by uncommon and repeated plaudits and honest tears." This enthusiasm was aroused by the virtues of the characters, creating a sense of astonishment in the audience because they allowed them to feel admiration for people like themselves. This feeling became the hallmark of sentimentalism.
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Richard Steele stated that sentimental comedies, "makes us approve ourselves more" and Denis Diderot advocated that sentimentalism helps spectators remember that all nature is inherently good. Sentimentalists met resistance with playwrights of true comedy, who also had a moral aim but strove to reach it by exhibiting characters from which the audience should take warning instead of emulate. Sentimental comedy influenced and became absorbed into a new genre called domestic tragedy beginning around the mid-18th century. These tragedies intended to use real-life situations, settings, and prose to move an audience and foreshadowed the realism to come in the 19th century.
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The western novels Little Women and A Little Princess were translated into Japanese in 1906 and 1910, respectively, in order to educate the girls to become "good wives, wise mothers". These works also helped introduce the concepts of laotong, sisterhood, sentimentalism, and romance to young female audiences in Japan, with Jo of Little Women in particular becoming a prominent example of a tomboy character. Class S was also influenced by the Takarazuka Revue, an all-women theater troupe established in 1914. The revue featured women actors playing male roles referred to as who would romance female characters.
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The Wide, Wide World is a work of sentimentalism about the life of young Ellen Montgomery. The story begins with Ellen's happy life being disrupted by the fact that her mother is very ill and her father must take her to Europe, requiring Ellen to leave home to live with an almost- unknown aunt. Though Ellen tries to act strong for her mother's sake, she is devastated and can find solace in nothing. Eventually the day comes when Ellen must say goodbye to her mother and travel in the company of strangers to her aunt's home.
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She and her husband were friends with many of the main literary figures of their time, including Willa Cather, Mary Ellen Chase, William Dean Howells, Henry James, Rudyard Kipling, Harriet Beecher Stowe, Alfred Tennyson, Oliver Wendell Holmes, Mark Twain, Sarah Wyman Whitman, Henry Wadsworth Longfellow, Nathaniel Hawthorne, Lydia Maria Child, Charles Dudley Warner and John Greenleaf Whittier. Fields remains a somewhat puzzling figure. Her writings reflect a traditional orientation toward sentimentalism and the cult of true womanhood. However, she was a supporter of "women's emancipation", and her association with Jewett and others suggests a less traditional side.
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With his poetry, non-fiction, scientific and religious prose, as well as with his translations, Noli has played a fundamental role in the development of the modern Albanian. His introductions to his own translations of world literature made him Albania's foremost literary critic of the inter- war period. He wrote the plays The Awakening and Israelites and Philistines and in 1947 he published in English the study Beethoven and the French Revolution. Albanian literature between the two Wars did not lack manifestations of sentimentalism (Foqion Postoli, Mihal Grameno) and of belated classicism, especially in drama (Et'hem Haxhiademi).
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With a mix of Classicism, Sentimentalism and Romanticism, the Lithuanian literature of the first half of the 19th century is represented by Maironis, Antanas Baranauskas, Simonas Daukantas and Simonas Stanevičius. During the Tsarist annexation of Lithuania in the 19th century, the Lithuanian press ban was implemented, which led to the formation of the Knygnešiai (Book smugglers) movement. This movement is thought to be the very reason the Lithuanian language and literature survived until today. 20th-century Lithuanian literature is represented by Juozas Tumas-Vaižgantas, Antanas Vienuolis, Bernardas Brazdžionis, Antanas Škėma, Balys Sruoga, Vytautas Mačernis and Justinas Marcinkevičius.
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He provided guitar and backing vocals on "Here Comes the Sun", as well as backing vocals on "(If This Is Love) Give Me More". During the tour, Harley recorded a number of concerts, which he used to create the double live album Face to Face: A Live Recording, which was released in 1977. It reached #40 in the UK and includes six tracks from Love's a Prima Donna. The album's concept revolves around the theme of love, including "soldier loneliness, true love, lost love, mother-and-child love, valentine sentimentalism and a fan's infatuation with a musician".
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There he was heavily influenced by Freemasonry, as well as by the fashionable literary trends of English Sentimentalism and German Sturm und Drang. He also met Nikolay Karamzin, the preeminent Russian man of letters and the founding editor of the most important literary journal of the day, The Herald of Europe (Вестник Европы). In December 1802, the 19-year-old Zhukovsky published a free translation of Thomas Gray's "Elegy Written in a Country Churchyard" in Karamzin's journal. The translation was the first sustained example of his trademark sentimental-melancholy style, which at the time was strikingly original in Russian.
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The arrest and trial been interpreted differently over time, from innocent Victorian sentimentalism to a wilful ignoring of the men's sexuality by the courts to ensure they were not convicted. Recent examinations have been from the perspective of transgender history. The case was a factor that led to the introduction of the 1885 Labouchere Amendment which made male homosexual acts punishable by up to two years' hard labour. Boulton and Park both continued performing on stage after the trial, and both worked for a while in the US. Park died in 1881, probably of syphilis; Boulton died in 1904 from a brain tumour.
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Michael A. Slote is UST Professor of ethics at the University of Miami and an author of a number of books. He was previously professor of philosophy at the University of Maryland, and at Trinity College Dublin. He argues that virtue ethics, in a particular form which draws on the concept of an ethics of care, offers significant intuitive and structural advantages over deontology, utilitarianism, and common-sense morality. He has also recently endorsed the meta-ethical view of moral sentimentalism in opposition to moral rationalism (see his articles from 2003, 2004, 2005a and his books (2007 and 2010)).
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Most recently he expanded his work on sentimentalism into a philosophy of mind (book 2014). In his latest work he also stresses the importance of receptivity as a virtue, a value and as a psychological characteristic (article 2014 and book 2013). The significance of receptivity feature was first considered by Nel Noddings in 1984, but did not receive further attention in the ethics of care neither was it used to criticize typical Western philosophical values. In The Impossibility of Perfection, he argues against moral perfection as it was endorsed by Aristotle and the Enlightenment and defends a more realistic view of moral issues.
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Applied ethological research into the behaviour of animals in captivity made it clear that the intensive use of animals had negative effects on the animal's health and well-being. Nevertheless, concern for the well-being of animals had to be purged from anthropomorphism and sentimentalism. This point of view is taken for example in a report by the Dutch Federation of Veterinarians in the EEC (FVE, 1978) concerning welfare-problems among domestic animals. This document states that: > although the interests of animals often conflict with the demands of > society, society remains responsible for the welfare of the animals > involved.
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Though it avoids sentimentalism, a strongly nostalgic and melancholic tone pervades the narrative as the Seth character searches for peace and meaning in his life. The narrative is presented as confessional and revelatory: it displays the protagonist's intepersonal problems and self- doubts, and at one point he is depicted as naked. He often talks of his obsession with the past—his own childhood and earlier eras—either through dialogue with friends or in captions as he wanders the streets. Seth's interpersonal encounters tend to be one-sided, revealing his reactions to and judgments of those around him.
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In September 1815, Mickiewicz enrolled at the Imperial University of Vilnius, studying to be a teacher. After graduating, under the terms of his government scholarship, he taught secondary school at Kaunas from 1819 to 1823. In 1818, in the Polish-language ' (Wilno Weekly), he published his first poem, "Zima miejska" ("City Winter"). The next few years would see a maturing of his style from sentimentalism/neoclassicism to romanticism, first in his poetry anthologies published in Vilnius in 1822 and 1823; these anthologies included the poem "Grażyna" and the first- published parts (II and IV) of his major work, Dziady (Forefathers' Eve).
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Both of Wollstonecraft's novels also critique the discourse of sensibility, a moral philosophy and aesthetic that had become popular at the end of the eighteenth century. Mary is itself a novel of sensibility and Wollstonecraft attempts to use the tropes of that genre to undermine sentimentalism itself, a philosophy she believed was damaging to women because it encouraged them to rely overmuch on their emotions. In The Wrongs of Woman the heroine's indulgence on romantic fantasies fostered by novels themselves is depicted as particularly detrimental.Johnson, 60, 65–66; Kelly, 44; Poovey, 89; Taylor, 135; Todd, Women's Friendship, 210–11.
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Specific events such as Black Friday and the Conciliation Bills are also represented, at times mirroring Votes for Women or echoing speeches made by the real-life counterparts to characters. The novel makes use of religious themes to create a conversion novel. Visceral experiences push Edith to revise her moral zeitgeist and social standards. The novel sets out to garner sympathy for the militant suffragettes by humanizing the movement and relating in a sentimental writing style already familiar to her readers. The novel combines sentimentalism and realism to contrast the women’s lives before and after involvement with the suffrage movement.
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Until then themes were often based on European works even if not performed by foreign actors. Romanticism at that time was regarded as the literary style that best fitted Brazilian literature, which could reveal its uniqueness when compared to foreign literature. During the 1830s and 1840s, "a network of newspapers, journals, book publishers and printing houses emerged which together with the opening of theaters in the major towns brought into being what could be termed, but for the narrowness of its scope, a national culture". Romanticism reached its apogee between the late 1850s and the early 1870s as it divided into several branches, including Indianism and sentimentalism.
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Fernández del Pino Alberdi, Iparraguirre o la expresión poetica del carlismo, [in:] Tiempo de historia IV/42 (1978), pp. 52-57 On the Catalan side, one has to note Lo cant de las veritats (1857) by an anonymous and so far unidentified author; it represents probably the first case of Carlist theme acknowledged in popular Catalan literature and is a blend of romantic sentimentalism, philosophical didactics and adventure story, half prosaic and half in rhymes.Joaquim Auladell, Carlins a la primera novel- la catalana moderna, [in:] L'Erol 76 (2003), p. 40 In the European Romantic literature, always in pursuit of a myth, Carlism was not very popular.
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The aim is good, however, only when reason guides it for the benefit of the majority, but that is not absolute good. When reason rises to the conception of universal order, when actions are submitted, by the exercise of a sympathy working necessarily and intuitively to the idea of the universal order, the good has been reached, the true good, good in itself, absolute good. But he does not follow his idea into the details of human duty, though he passes in review fatalism, mysticism, pantheism, scepticism, egotism, sentimentalism and rationalism. In 1835 Jouffroy's health failed and he went to Italy, where he continued to translate the Scottish philosophers.
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The critic Frederick Crews argued that Marcuse's proposed liberation of instinct was not a real challenge to the status quo, since, by taking the position that such a liberation could only be attempted "after culture has done its work and created the mankind and the world that could be free", Marcuse was accommodating society's institutions. He accused Marcuse of sentimentalism. The psychoanalyst Joel Kovel described Eros and Civilization as more successful than Life Against Death. The psychotherapist Joel D. Hencken described Eros and Civilization as an important example of the intellectual influence of psychoanalysis and an "interesting precursor" to a study of psychology of the "internalization of oppression".
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The reviewer for Manga-News noted that although the fifth volume concerned a more serious initial scenario and could be read independently of the others, that the storyline was more of the same silly humor and exaggerated violence. He felt that in the sixth volume, a "naive sentimentalism" clashed with the general ambiance of the series. In the seventh volume, there is a fight between Suzuki's students and Kuro in the desert, which the reviewer for Manga-News describes as inappropriate. In the ninth volume, the reviewer for Manga News felt that Chieko and Goro steal the stage from the main characters, and that the tenth volume was unfocused.
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It may fairly be described as a sentimental novel: Temple Thurston himself wrote that "To many, from the first page to the last, it had not the faintest conception of reality, and indeed has earned for me the classification of sentimentalist". This was in the Author's Note to the sequel, entitled The World of Wonderful Reality, published a decade later in 1919. His obituary in The Times (20 March 1933) stated that "there were those who might suggest that sentimentalism was too evident in Temple Thurston's work". As well as being a vehicle for Edwardian romanticism, the novel shares the Roman Catholic faith of its author with its main characters.
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Godkin shaped the lofty and independent policy of the Post and The Nation, which had a small but influential and intellectual class of readers. However, he had none of the personal magnetism of Horace Greeley, for instance, and his superiority to the influence of popular feeling made Charles Dudley Warner describe The Nation as "the weekly judgment day". He was an economist of the school of John Stuart Mill, urged the necessity of the abstraction called economic man, and insisted that socialism, if put into practice, would not improve social and economic conditions in general. In politics, he was an enemy of both sentimentalism and loose theories in government.
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Anemia was shown at the Venice Film Festival on September 9, 1986. Curti stated the film received "generally perplexed, if not downright bad reviews". Piero Zanotto of La Stampa stated that the film's narrative was a series of "linear encounters with oneirism, eroticism, horror, sentimentalism, period-evoking flash backs all tied together by an extremely thin but logical thread of the events lived by the protagonists" and concluded that: "As for the pleasantness of the result for the viewers... we have strong doubts". The film has not received theatrical distribution and was first shown on Rai Tre television in Italy on October 27, 1990.
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Die Zerstörung von Lisabon (1756) He studied at Göttingen, where he took the degree of a doctor of medicine, and established his reputation by the dissertation, De irritabilitate (1751). After traveling in the Netherlands and France, he practised as a physician in Brugg, and wrote Über die Einsamkeit ("Of solitude", 1756, 1784–85) and Vom Nationalstolz ("Of national pride", 1758). These books made a great impression in Germany, and were translated into almost every European language. In Zimmermann's character there was a strange combination of sentimentalism, melancholy and enthusiasm; and it was by the free and eccentric expression of these qualities that he excited the interest of his contemporaries.
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His questions beside the questions of the Imagist in England or France was also what he called the plasticity of the image in poetry.فرارو: دیدن جهان مرا منقلب میکند. - مصاحبه با محمدرضا اصلانی Although his style, sometimes, is pretty similar to some of his contemporaries like Ahmadi or Farrokhzad but being highly under the influence of Kandinsky, as a poet of new wave, he believed that style of the artist forms around the essential needs and emotions of his soul. For the same reason his poetry does not have the musicality of Nima's poetry and also does not have the emotional variation and sentimentalism of the Ahmadi's poems as well.
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The "Ultra-Romanticism" changed the ways of the Romanticism in Brazil. Values such as nationalism and valorization of the Indian as the Brazilian national hero, a constant theme of the previous Brazilian Romantic generation, are now almost, if not completely, absent. This new generation, heavily influenced by German Romanticism and works by Lord Byron and Alfred de Musset, among others, now focalizes in obscure and macabre themes, such as pessimism, the supernatural, Satanism, longing for death, past and childhood, and the mal du siècle. Love and women were heavily idealized, platonic and almost always unrequited, and the presence of a strong egocentrism and exacerbated sentimentalism in the poetry is clearly noticed.
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It drew inspiration from the recent events of World War II (and later of the Korean War), with an accent placed on human values expressed in the most desperate situations, the sentimentalism of the action being in contrast with the spectacularly realistic depiction of weapons and vehicles. The Hazañas' success made the editor issue another in the series, as Hazañas Bélicas Extra, increased in content that due to Boixcar's collaboration with several other artists on the project. Boixcar was at ease with other themes, as shown by his contributions to the series Mundo Futuro ("Future World", from 1956), Flecha Negra ("Black Arrow") and Murciélago ("Bat").
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Rebecca Harding Davis's literary style is most commonly labeled as realism. However, her literary works mark a transition from romanticism to literary realism, so they combine elements of Sentimentalism, Romanticism, Realism, and Naturalism. For instance, "Life on the Iron Mills" uses sentimental elements such as a narrator who directly addresses the well defined reader, a didactic purpose, and characters in extreme situations for the purpose of emotionally stirring the reader to action. The short story also uses Romantic elements such as a statue symbolizing a spiritually hungry woman and owned by the narrator, reminiscent of the relic found in the custom house by the narrator of Nathaniel Hawthorne's The Scarlet Letter.
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Modernism continued to evolve during the 1930s. Between 1930 and 1932 composer Arnold Schoenberg worked on Moses und Aron, one of the first operas to make use of the twelve-tone technique, Pablo Picasso painted in 1937 Guernica, his cubist condemnation of fascism, while in 1939 James Joyce pushed the boundaries of the modern novel further with Finnegans Wake. Also by 1930 Modernism began to influence mainstream culture, so that, for example, The New Yorker magazine began publishing work, influenced by Modernism, by young writers and humorists like Dorothy Parker,Caren Irr, "A Gendered Collision: Sentimentalism and Modernism in Dorothy Parker's Poetry and Fiction" (review). American Literature, Volume 73, Number 4, December 2001 pp. 880–881.
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" By the time of Red Beard (1965), "women in Kurosawa have become not only unreal and incapable of kindness, but totally bereft of autonomy, whether physical, intellectual, or emotional… Women at their best may only imitate the truths men discover." Mitsuhiro Yoshimoto has noted that Kurosawa's films often offer a paradoxical bond between good and evil male protagonists, in which the distinction between them becomes blurred. Outside this "Möbius strip of male bonding," any woman "functions as a catalyst of sentimentalism by neutralizing" this duality. "Without being able to produce any value by herself," Yoshimoto writes, "the woman in Kurosawa's films is often the embodiment of passivity threatening the solipsism of the split male subject.
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Country Music: The Rough Guide called the production of the title track, "bigger and sentimentalism more obvious, even manipulative". The title track peaked at No. 1 on the Billboard Country Chart and won her a Grammy Award for Best Female Country Vocal Performance the following year. In addition, the album became McEntire's first release to certify gold in sales by the Recording Industry Association of America (and later was certified Platinum). At the end of the year, McEntire won Entertainer of the Year from the Country Music Association, the highest honor in the awards show. McEntire in Washington, D.C., November 2000 McEntire released a second album in 1986 (her tenth overall), What Am I Gonna Do About You.
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The Washington Post, October 8, 1998. D5 Deborah Solomon, in The New York Times Magazine, asserted that MOBA's success reflects a trend in modern art among artists and audiences. The arrival of abstraction and modern art in the early 20th century made art appreciation more esoteric and less accessible for the general community, showing that "the American public ... think[s] of museums as intimidating places ruled by a cadre of experts whose taste and rituals [seem] as mysterious as those of Byzantine priests." Bad art is in vogue, as a movement that rejects the anti-sentimentalism that marked earlier disdain for artists such as Norman Rockwell or Gustave Moreau, according to Solomon.
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Although the hierarchy of genres continued to be respected officially, genre painting, landscape, portrait and still life were extremely fashionable. The writer Denis Diderot wrote a number of times on the annual Salons of the Académie of painting and sculpture and his comments and criticisms are a vital document on the arts of this period. One of Diderot's favorite painters was Jean-Baptiste Greuze. Although often considered kitsch by today's standards, his paintings of domestic scenes reveal the importance of Sentimentalism in the European arts of the period (as also seen in the works of Jean-Jacques Rousseau and Samuel Richardson.) One also finds in this period a kind of Pre-romanticism.
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The historical and military paintings of William B. T. Trego were widely published after his death (according to Edwin A. Peeples, "There is probably not an American History book which doesn't have (a) Trego picture in it"). Portrait painters in the U.S. in the 19th century included untrained limners such as Ammi Phillips, and painters schooled in the European tradition, such as Thomas Sully and G.P.A. Healy. Middle-class city life found its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. As a result, he was not notably successful in his lifetime, although he has since been recognized as one of the most significant U.S. artists.TFAOI.com.
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Portrait of a nihilist student by Ilya Repin From the period 1860–1917, Russian nihilism was both a nascent form of and broad cultural movement which overlapped with certain revolutionary tendencies of the era, for which it was often wrongly characterised as a form of political terrorism. Russian nihilism centered on the dissolution of existing values and ideals, incorporating theories of hard determinism, atheism, materialism, positivism, and rational egoism, while rejecting metaphysics, sentimentalism, and aestheticism. Leading philosophers of this school of thought included Nikolay Chernyshevsky and Dmitry Pisarev. The intellectual origins of the Russian nihilist movement can be traced back to 1855 and perhaps earlier, where it was principally a philosophy of moral and epistemological skepticism.
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Princeton University Press, Princeton, N.J. ; Woodstock p.205 echoing Barthes, Susan Sontag in On Photography accused Steichen of sentimentalism and oversimplification: ' ... they wished, in the 1950s, to be consoled and distracted by a sentimental humanism. ... Steichen's choice of photographs assumes a human condition or a human nature shared by everybody." Directly quoting Barthes, without acknowledgement, she continues; "By purporting to show that individuals are born, work, laugh, and die everywhere in the same way, The Family of Man denies the determining weight of history - of genuine and historically embedded differences, injustices, and conflicts.'Sontag, S. (1977) On Photography. Penguin (Harmondsworth), UK Allan Sekula in 'The Traffic in Photographs' (1981)Sekula, A. (2004).
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Although Pisarev was among those who celebrated the embrace of nihilism, the term realism may have done away with the connotations of subjectivism and nothingness that burdened nihilism while retaining the rejection of metaphysics, sophistry, sentimentalism, and aestheticism. In a notably later political climate, Alexander Herzen instead presented nihilism as a product of the that the had adopted. Contemporary scholarship has challenged the equating of Russian nihilism with mere skepticism, instead identifying it with the fundamentally character of the nihilist movement. In fact, the nihilists sought to liberate the Promethean might of the Russian people which they saw embodied in a class of prototypal individuals, or new types in their own words.
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School Library Journal wrote: "Willie Nelson differs (from) rock artists framing their music with a country & western facade — in that he appears a honky-tonk stardust cowboy to the core. This album abounds in unabashed sentimentalism, nasal singing, lyrics preoccupied with booze, religion, and love gone bad, and stereotyped Nashville instrumentation (twangy steel guitars, fiddles, and a clean rhythm section characterized by the minimal use of bass drum and cymbals, both of which gain heavy mileage with rock performers). Stephen Thomas Erlewine wrote in his review for Allmusic: "Willie Nelson offered his finest record to date for his debut – possibly his finest album ever. Shotgun Willie encapsulates Willie's world view and music, finding him at a peak as a composer, interpreter, and performer.
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And as for probable reasoning, Hume famously contends that we observe nothing in an action besides its ordinary non-moral qualities—experience reveals no moral qualities unless one looks to the moral feelings in one's own mind, so that virtue and vice are (like the secondary qualities of modern philosophy) "not qualities in objects, but perceptions in the mind". This first section ends with the famous is-ought paragraph. Hume is thus left endorsing a moral sentimentalism somewhat like that of Hutcheson: "Morality... is more properly felt than judg'd of". The moral evaluations in our mind are impressions—"nothing but particular pains or pleasures"—and Hume's task is to explain how certain kinds of "action, or sentiment, or character" produce these special moral sentiments in us.
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But a problem arises: since pleasant or painful feelings can be produced by inanimate objects, why doesn't sentimentalism succumb to the same objection Hume has just raised against rationalism? First, he contends there are many different kinds of pleasure and pain, and that the moral sentiments (which arise "only when a character is consider'd in general, without reference to our particular interest") have a distinctive feeling, noticeably different than the feelings called up by inanimate objects (or matters of self-interest). Second, he reminds us that the four indirect passions are produced by pleasant or unpleasant qualities in ourselves or other persons, not inanimate objects. This objection dispatched, Hume closes with two points about the psychological origin of moral sentiments.
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Manuel Antônio Álvares de Azevedo (September 12, 1831 – April 25, 1852), affectionately called "Maneco" by his close friends, relatives and admirers, was a Brazilian Romantic poet, short story writer, playwright and essayist, considered to be one of the major exponents of Ultra-Romanticism and Gothic literature in Brazil. His works tend to play heavily with opposite notions, such as love and death, platonism and sarcasm, sentimentalism and pessimism, among others, and have a strong influence of Musset, Chateaubriand, Lamartine, Goethe and – above all – Byron. All of his works were published posthumously due to his premature death with only 20 years old after a horse-riding accident. They acquired a strong cult following as years went by, particularly among youths of the goth subculture.
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The pleasant simplicity and idyllic sentimentalism of these collections delighted an uncritical public, and de Trueba met the demand by supplying a series of stories conceived in the same ingenious vein. In his more ambitious attempts at writing a novel, as in his work dealing with El Cid of history and legend, he failed signally; he was too conscientiously a recorder of the past and left his imagination no free play. He remains an amiable writer of second rank, but no one can read without sympathy and appreciation his pretty little songs fragrant with love for the landscape of his northern Spanish home. He deserves serious notice among the earlier writers who helped to develop the novel of manners in the Spain of the 19th century.
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Rafael Riqueni's music takes flamenco as a basis, plus classical music influences among other contemporary styles, a process easy to identify with his first album, and definitely stated in Mi Tiempo. In flamenco guitar specialist Norberto Torres words: “Riqueni´s music is close to romanticism aesthetics with factors like: contrast to previous musical forms and modes, difficult and expanded processes, sentimentalism, and a new concept for harmonies, rhythm, melody and design. Ramón Rodo Sellés, talks about innate musicality and unique playing style One of Riqueni´s main characteristic is his capacity as a solo concert player, without the need of a backing group. Riqueni is also considered to have developed a personal style away from the dominant Paco de Lucia spectrum in flamenco contemporary guitar.
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There is also a great deal of disagreement amongst critics as to the essential meaning of the speech. John Dover Wilson, for example, sees it as nothing more than a parody, Shakespeare mocking the work of his contemporaries by writing something so bad. He finds no other tonally analogous speech in all of Shakespeare, concluding it is "a bundle of ill-matched conceits held together by sticky sentimentalism."Dover Wilson (1948: liii–liv) Similarly, Eugene M. Waith determines that the speech is an aesthetic failure that may have looked good on the page but which is incongruous in performance.Waith (1984: 61) However, defenders of the play have posited several theories which seek to illustrate the thematic relevance of the speech.
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Moreover, its frank and sympathetic portrayal of the Garies' mixed-race "marriage" would likely have offended progressive readers on both sides of the color line. Critical perspectives on the novel since its 1969 republication have been mixed. While Webb is often faulted for his sentimentalism and his apparent embrace of white middle-class values, he has also been credited for his realistic portrayal of the tense relations between whites and blacks in Philadelphia, one of the most racially integrated cities in the United States at mid-century and one with an active abolitionist movement. It had been a major destination of Irish immigrants since the mid-century and, faced with their own struggles against discrimination, they competed with blacks for jobs, housing and respect.
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Chimera, ink drawing by Dimitrie Paciurea The Symbolist movement in Romania, active during the late 19th and early 20th centuries, marked the development of Romanian culture in both literature and visual arts. Bringing the assimilation of France's Symbolism, Decadence and Parnassianism, it promoted a distinctly urban culture, characterized by cosmopolitanism, Francophilia and endorsement of Westernization, and was generally opposed to either rural themes or patriotic displays in art. Like its Western European counterparts, the movement stood for idealism, sentimentalism or exoticism, alongside a noted interest in spirituality and esotericism, covering on its own the ground between local Romanticism and the emerging modernism of the fin de siècle. Despite such unifying traits, Romanian Symbolism was an eclectic, factionalized and often self-contradictory current.
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Szymanowska composed around 100 piano pieces. Like many women composers of her time, she wrote music predominantly for instrumentation she had access to, including many solo piano pieces and miniatures, songs, and some chamber works. Her work is typically labeled, stylistically, as part of the pre-romantic period ' and of Polish Sentimentalism. Szymanowska scholar Sławomir Dobrzański describes her playing and its historical significance as follows: > Her Etudes and Preludes show innovative keyboard writing; the Nocturne in B > flat is her most mature piano composition; Szymanowska's Mazurkas represent > one of the first attempts at stylization of the dance; Fantasy and Caprice > contain an impressive vocabulary of pianistic technique; her polonaises > follow the tradition of polonaise-writing created by Michal Kleofas Ogiński.
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Author Luis Sanchez views the album as "the score to a film about what rock music doesn't have to be. For all of its inward-looking sentimentalism, it lays out in a masterful way the kind of glow and sui generis vision that Brian aimed to expand in a radical way with Smile." Music critic Tim Sommer, referencing other albums that are often labeled "masterpieces", such as OK Computer (1997), The Dark Side of the Moon (1973) or Thick as a Brick (1972), commented that "only Pet Sounds is written from the teen or adolescent point of view." It has been viewed by some writers as the best pop rock album of all time, including Sommer, who deemed it "the greatest album of all time, probably by about 20 or 30 lengths".
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Bartók started with the statement, it was most astonishing that a considerable, not to say an overwhelming part of the musicians of his time could not make friends with Liszt's music. While nearly nobody dared to put critical words against Wagner or Brahms, it was common use to call Liszt's works trivial and boring. Searching for possible reasons, Bartók wrote: :During his youth he [Liszt] imitated the bad habits of the musical dandies of that time – he "rewrote and ameliorated", turned masterworks, which even a Franz Liszt was not allowed to touch, into compositions for the purpose of showing brilliance. He let himself getting influenced by the more vulgar melodic style of Berlioz, by the sentimentalism of Chopin, and even more by the conventional patterns of the Italian style.
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The Paul Whiteman Orchestra was the most popular and highest paid dance band of the day. In spite of Whiteman's appellation "The King of Jazz", his band was not a jazz ensemble as such, but a popular music outfit that drew from both jazz and classical music repertoires, according to the demands of its record-buying and concert-going audience. Whiteman was perhaps best known for having premiered George Gershwin's Rhapsody in Blue in New York in 1924, and the orchestrator of that piece, Ferde Grofé, continued to be an important part of the band throughout the 1920s. Whiteman was large physically and important culturally —"a man flabby, virile, quick, coarse, untidy and sleek, with a hard core of shrewdness in an envelope of sentimentalism", according to a 1926 New Yorker profile.
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It should also be borne in mind that a curving line or phrase-mark (similar to a slur mark) is the usual way, in vocal notation, of indicating to the singer that the vowel sound of a word should be carried over or ligatured upon two or more consecutive notes (as in a roulade), and that in such usage legato and not slurring is always intended unless the slur is specifically indicated. Although portamento (in the sense of slurring) continued to be widely used in popular music, it was disapproved of for operatic singing by many critics in the 1920s and 1930s as a sign of either poor technique, or of bad taste, a mark of cheap sentimentalism or showiness.Potter 2006, 543–44. This is not valid criticism of a performer when portamento is explicitly specified in the score or is otherwise appropriate.
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" In his book Coming Home Again, Geoffrey S. Proehl wrote that Kaminer's work belonged within a "critique of American sentimentalism," placing it within the same context as Leslie Fiedler's Love, Death and the American Novel, and Ann Douglas's The Feminization of American Culture. In A Disease of One's Own, John Steadman Rice criticized Kaminer for using the term "recovery movement" in ways that "artificially lump new twelve-step groups, such as Co-Dependents Anonymous, together with established groups like Alcoholics Anonymous." Kaminer herself was criticized as a result of the book, with some labeling her "in deep denial," or "part of the backlash." In her book Diseases of the Will, Mariana Valverde described some of the arguments put forth in the book as "a clever polemic against recovery from the point of view of an enlightened rationalism.
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It was a rejection of the marxist aim of politicising art. Art for art's sake affirmed that art was valuable as art in itself; that artistic pursuits were their own justification; and that art did not need moral justification, and indeed, was allowed to be morally neutral or subversive. As such, James McNeill Whistler wrote the following in which he discarded the accustomed role of art in the service of the state or official religion, which had adhered to its practice since the Counter-Reformation of the 16th century: "Art should be independent of all claptrap – should stand alone...and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism and the like." Such a brusque dismissal also expressed the artist's distancing of himself from sentimentalism.
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Life in the Iron Mills must be considered a central text in the origins of American realism, American proletarian literature, and American feminism, according to Jean Pfaelzer. The story was revolutionary in its compelling portrait of the working class's powerlessness to break the oppressive chains of industrial capitalism. Author of The Utopian Novel in America, 1886-1896 (1984) and many articles on Davis, Pfaelzer edits the volume's literary selections and supplies the substantial critical introduction, which maintains that Davis inherited the sentimental literary tradition but nonetheless wrote "common stories" that "exposed the tension between sentimentalism, a genre predicated on the repression of the self, and realism, a genre predicated on the search for individual identity." Davis's realistic depiction of the gritty, hellish mills and the impoverished workers' lives is far removed from the material advantages of the upper classes often portrayed in domestic fiction.
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Virginia Woolf had a love-hate relationship with his works, finding his novels "mesmerizing" while reproving him for his sentimentalism and a commonplace style.. Around 1940–41 the attitude of the literary critics began to warm towards Dickens, led by George Orwell, Inside the Whale and Other Essays. March 1940, Edmund Wilson, The Wound and the Bow, 1941, and Humphry House, Dickens and his World.Philip Collins, "Dickens reputation". Britannica Academica But even in 1948, F. R. Leavis, in The Great Tradition, asserted that “the adult mind doesn't as a rule find in Dickens a challenge to an unusual and sustained seriousness”; Dickens was indeed a great genius, “but the genius was that of a great entertainer,”Oxford Reference, subscription required though he later changed his opinion with Dickens the Novelist (1970) (with Q. D. (Queenie) Leavis): "Our purpose", they wrote, "is to enforce as unanswerably as possible the conviction that Dickens was one of the greatest of creative writers".
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With the philosophy of Heidegger and the poetry of Holderlin as well as Mallarmé, but more specifically influenced by the idea of wahdat al wujud (unicity of Existence) found among Islamic philosophers, Askari sought a poetry which would be unveil the "being" of the individual, and was thus critical of the overtly romantic and emotional outbursts of many of his contemporaries and of classics.Mehr Afshan Farooqi, Urdu Literary Culture: Vernacular Modernity in the Writing of Muhammad Hasan Askari, Springer (2012), pp. 158–162 He blamed the absorption of Western philosophy and thinking by Indian Muslims for downgrading poetry to sentimentalism, and wanted to go back to the Islamic sources and Sufi aesthetics, congratulating the works of the Deobandi scholar Maulana Ashraf Ali Thanwi on the Qur'an and Rumi as representative of this brand of poetics.Mehr Afshan Farooqi, Urdu Literary Culture: Vernacular Modernity in the Writing of Muhammad Hasan Askari, Springer (2012), p.
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From the start, the passionate letters, in book form, were a European publishing sensation (in part because of their presumed authenticity), with five editions in the collection's first year, followed by more than forty editions throughout the 17th century. A Cologne edition of 1669 stated that the Marquis de Chamilly was their addressee, and this was confirmed by Saint-Simon and by Duclos, but, aside from the fact that she was female, the author's name and identity remained undivulged. The original letters were translated in several languages, including the German – Portugiesische Briefe (Rainer Maria Rilke) – and Dutch – Minnebrieven van een Portugeesche non (Arthur van Schendel). The letters, in book form, set a precedent for sentimentalism in European culture at large, and for the literary genres of the sentimental novel and the epistolary novel, into the 18th century, such as the Lettres persanes by Montesquieu (1721), Lettres péruviennes by Françoise de Graffigny (1747) and Julie, ou la nouvelle Héloïse by Jean-Jacques Rousseau (1761).
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These books do not display the apocalyptic style which, partly borrowed from Lamennais, characterizes Michelet's later works, but they contain in miniature almost the whole of his curious ethicopolitico- theological creed—a mixture of sentimentalism, communism, and anti- sacerdotalism, supported by the most eccentric arguments, but urged with a great deal of eloquence. The principles of the outbreak of 1848 were in the air, and Michelet was one of many who condensed and propagated them: his original lectures were of so incendiary a kind that the course had to be interdicted. However, when the revolution broke out, Michelet, unlike many other men of letters, did not attempt to enter active political life, and merely devoted himself more strenuously to his literary work. Besides continuing the great history, he undertook and carried out, during the years between the downfall of Louis Philippe and the final establishment of Napoleon III, an enthusiastic Histoire de la Révolution française.
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Carmen Isabel Carvajal Quesada was born on 15 January 1888 in San José, Costa Rica and attended the Superior School for Girls, graduating in 1904. She began working at the San Juan de Dios Hospital in 1906 as a novice, but decided religious life was not her calling, and instead began working as a teacher and writer. She started sending articles to newspapers such as Diario de Costa Rica, La Hora and La Tribuna; and magazines like Ariel, Athenea and Pandemonium and teaching throughout the country. In 1918, she published her first novel En una silla de ruedas (In a Wheelchair), which portrays national customs and manners through the eyes of a paralyzed boy who grows up to become an artist, with a strong dose of sentimentalism and intimations of the bohemian life of San Jose. In 1919, during a teacher's protest against the dictatorship of Federico Tinoco Granados, Lyra galvanized the crowd and in their anger, they burned the government news office.
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Hume begins Book 3 by examining the nature of moral evaluation, offering a critique of moral rationalism and a defense of moral sentimentalism: in the terms of his overall system, Hume is arguing that the evaluations in our mind are impressions, not ideas. His main target is the rationalism of such philosophers as Clarke and Balguy, which posits "eternal fitnesses and unfitnesses of things, which are the same to every rational being that considers them", in effect classifying morality alongside mathematics under "relations of ideas". Hume's principal arguments against this rationalism rest on Book 2's thesis that there is no opposition between reason and the passions: reason alone cannot motivate us, and "passions, volitions, and actions" cannot be in agreement or disagreement with reason. This thesis "proves directly", he writes, that an action's moral status cannot consist in the action's agreement or disagreement with reason, and it "proves indirectly" that moral evaluation, which has a practical influence on us and can "excite passion[s] and produce or prevent actions", cannot be "the offspring of reason".
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