Colonel Brandon - A retired officer and friend of Sir John Middleton who falls in love with Marianne Dashwood and acts kindly, honorably, and graciously towards the Dashwoods throughout the novel Mrs. Dashwood - The kind and loving mother of Elinor, Marianne, and Margaret and second wife to Henry Dashwood. She has inherited no fortune of her own but wants the best for her daughters and shares Marianne's romantic sensibilities. Elinor Dashwood - The nineteen-year-old eldest daughter of Mr. and Mrs. Henry Dashwood and the heroine of Austen's novel. Elinor is composed but affectionate, both when she falls in love with Edward Ferrars and when she comforts and supports her younger sister Marianne. Henry Dashwood - The father of John Dashwood and, by a second marriage, of Elinor, Marianne, and Margaret Dashwood.
" .. ". Nikolais fondness of poetry is also deemed silly as he starts to quote verses by Pushkin in Chapter 2 " , -- , : , , , !" which is abruptly ended by Bazarovs request for matches. The aesthetic sense of the gentry is shown as Nikolai plays Schubert's "Erwartung" on his cello - albeit being not that skilful. As of Pavel he is beautifully appointed room is more likely a reflection of his social status and Anglomania than of any particular aesthetic sensibilities. Bazarov feels some kind of pity towards Pavel, he finds that a man must be his own master, not trapped in the aristocratic emotionality. the true aristocrats - the anglomaniacs, westernists, the ,,Pechorin types". Larding their chatter with foreign phrases typical to the gentry.. e destruction of patriarchal and monarchical illusion Religion allied with feudalism, odd aristocratic sentimentality, Bucolic life. 3
June 1837 until her death on the 22nd of January 1901. The reign was a long period of prosperity for the British people, as profits gained from the overseas British Empire, as well as from industrial improvements at home, allowed an educated middle class to develop. Her middle class wiews were called ,,Victorian values". They were discipline in the family, the sobriety and puritanism of the public life. Some scholars extend the beginning of the period--as defined by a variety of sensibilities and political games that have come to be associated with the Victorians--back five years to the passage of the Reform Act 1832. Calls for reform had been mooted long before 1832, but perennially without success. The Act which finally succeeded was proposed by the Whigs led by the Prime Minister Lord Grey. It met with significant opposition from the Tories, especially in the House of Lords. Nevertheless, as a result of public pressure, the bill was eventually passed. The Act
prominent colonial families. Until 1830s the convicts were harshly punished for almost no reason, flogging being the most common penalty. During the 1850s, the settlement was boosted by gold rushes. Gold was first found at Bayhurst in 1851. Scarcity of labour (tööjõupuudus), the vastness of the bush, and new wealth based on farming, mining and trade all contributed to the development of uniquely Australian social institutions and sensibilities. The idea of unifying all the states first came to Earl Grey in 1847. It was only on January 1, 1901, that the Australian colonies federated to become the Commonwealth of Australia. As neither Sydney nor Melbourne was an acceptable new capital, a new city Canberra was built as a result of an architectural competition. Geographical position. The Commonwealth of Australia is on the Southern Hemisphere. The tropic of Capricorn goes through Australia. It is the only continent
poet antisymbolist who makes a use ironic of the ideas and symbolist techniques (1991, 34). In fact, one of his first poems, “Femmes Damnées” (1943), is an adaptation sui generis of the “Femmes Damnées” of Baudelaire, whereas Hartley (1988, 135) finds in “If, My Darling” an echo of “Spleen” of Baudelaire. Ana Balakian defines the baudeleriano symbolism as “to refinement of the art of ambiguity to express the indeterminate in human sensibilities and in the natural phenomena” (1993, 1256), and certainly, at some moments Larkin it approaches the undetermined thing: in that last strophe of “High Windows” or in the end of “Here”; in those “warp tight-shut” (T316: 38) or in those “sand-clouds, thick and close” (T316: 42) of “Dockery and Are”; or in that “peak that stays in view to wherever the go” (T284: 43) of “The Old Fools”. There is certain attempt here to express the uncertain, what one
seonduv) või siis kommunikatsiooniajaloost (ideede ja teabe ringluse uurimine möödaniku kultuurides). Tundeajalugu 1980.1990. aastatel esile kerkinud tundeajalugu ei ole selgepiiriline suund, vaid selle all käsitletakse võrdlemisi eri-ilmelisi nähtusi: meelte, tundmuste, tunnete, tajude jne ajalugu. Ehk siis kõiki psühholoogilisi nähtusi, mida on võimalik historiseerida. "Tundeajalugu" on vaid üks võimalik katusmõiste. History of senses, sensory history, history of sensibilities, history of emotions jne. Lähtekoht Inimeste tajud ja tunded on olulises osas kultuuriliselt konstrueeritud ja ajas muutuvad. Tunded ei ole pelgalt bioloogilised nähtused. Tunded on samuti kultuurilised nähtused ja neid saab historiseerida, ajalooliselt uurida. Igal ajastul valitseb oma ,,tunde- ja tajureziim", mille raames me võtame vastu, näitame välja ja tõlgendame erinevad tundeid ja tajusid. Aistingulisi teateid tajutakse läbi aegade erinevalt.
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