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Brian D. Earp and Julian Savulescu

-deception. Moreover, it makes perfect sense why he would feel that way given all the horrors he had been through in the war. And yet in his current situation the fear was inappropriate: it was out of tune with the celebration that was happening in his actual environment. In other words, it was separating him from the reality of the world outside his head and putting up barriers between him and his wife. So what could be done? In the eight years since coming home from Iraq, Lubecky tried to kill himself five times. He was taking more than forty pills a day to control his depression

in Love is the Drug
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Manchester: seeing like a city
Paul Dobraszczyk and Sarah Butler

’s 2005 song ‘Station Approach’: ‘coming home I feel like I designed these buildings I walk by’. Yet, for many, there’s a sense that something has irrevocably changed. In this new century, the urban core of Greater Manchester has been in the throes of its most significant transformation since the Second World War. With purportedly more cranes in 2019 than any other city in Western Europe gracing the skyline of the city centre and the inner edges of Salford, dozens of high-rise apartment buildings and offices are being constructed at a frenetic pace: the culmination of

in Manchester
Exploring the experiences of migrant children in Irelandc
Allen White, Naomi Tyrrell, Fina Carpena-Méndez, and Caitríona Ní Laoire

’s Experiences of Migration (conducted by Dr. Naomi Tyrrell (née Bushin)). • Strand C: Latin American Migrant Children in Ireland (conducted by Dr. Fina Carpena-Méndez). • Strand D: Coming Home? Children in Returning Irish Families (conducted by Dr. Caitríona Ní Laoire, also Team Leader). The strands included children from the main migrant streams (asylum seekers, EU and European Economic Area labour migrants, non-EU labour migrants and returning Irish migrants) that have constituted in-migration into Ireland over the last fifteen years. In addition, they included children who

in Migrations
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Anish Kapoor as British/Asian/artist
Alpesh Kantilal Patel

Orientalist characterization of the ‘magic of art’ as a phenomenon that is non-Western and not contemporary. Two years after Smith’s article was published, Kapoor had his first major retrospective of his work in India in 2010.45 The exhibition was spread across two locations, the National Gallery of Modern Art in New Delhi and Mehoob Film Studios in Mumbai, the only venue in the city large enough for Kapoor’s work. The headlines announcing the exhibition are telling: ‘Finally, the art world’s most theatrical exponent is coming home – Return of the Prodigal’, ‘An artist

in Productive failure
G. Honor Fagan

, indeed, the national trauma. Today, movement means travel or working abroad or ‘coming home’. The Irish media portray Ireland’s citizens as the ‘young Europeans’, computer literate, confident, citizens of the world. Migration, then, cannot have a simple meaning as a symptom of globalisation. It can signify expulsion or, as in Ireland today, success. The diaspora was once an integral element of Irish identity. Today, there is a move to ‘bring it home’ but home is not what it used to be. The Ireland of today has seen the full effect of the deterritorialisation of culture

in The end of Irish history?
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Zoë Thomas

Making’, www.royalacademy., accessed 25 September 2018. Nevile Wallis, ‘Joan Hassall – The Charm of Wood Engraving’, Sphere (23 June 1956), p. 450. John Hassall designed posters such as ‘A Suffragette’s Home’ which portrays a man coming home after ‘a hard day’s work’ to find his children distressed and alone, the house a mess, and his wife having left a note, pinned on a ‘Votes for Women’ poster, saying she had gone out. Joan Hassall, ‘Introduction’, in Joan Hassall: Engravings and Drawings (ed.) David

in Women art workers and the Arts and Crafts movement
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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

, because I’m from León]. Yet in a reunion with Basque actors from Vacas –​Txema Blasco and Kandido Uranga, with whom he will make a film within the Basque film that is the postmodern Baztán –​Gómez admits to ‘un sentido de relajo, de estar a gusto por dentro, como volver a casa, y es que hace veinticinco años que no volvía desde que hicimos Vacas, ¿no?’ [a feeling of relaxation, of feeling good inside, as if I were coming home, and I haven’t been back here since we made Vacas twenty-​five years ago, right?]. Blasco and Uranga good-​humouredly tease him about his non

in Performance and Spanish film
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Ana María Sánchez-Arce

, the dim back rooms’ (2009: 457). This description encapsulates the complexity of Volver , a film that can be read on many levels, from a naive enjoyment of its relationship to Spain’s Españoladas tradition and recording of local manners to an inquisitive evaluation of the problematic recycling of nostalgia and closure for family and collective history. As Smith notes, ‘“Volver” means “going back” or “coming home”. And [… it] stages at least six returns: to comedy, to women, to his native La Mancha, to his actress-muses Carmen Maura and Penélope Cruz, to the theme

in The cinema of Pedro Almodóvar
The poetry of Sinéad Morrissey, Leontia Flynn, Mary O’Malley, and Michael Hayes
Katarzyna Poloczek

with astonishment: It’s a startling new Ireland, but why shouldn’t it be? I myself left the best part of twenty years ago and the finest thing about coming home is the rawness and the newness. I dislike what has been lost, but why whine about it? Why hold tight to the past when we have this sort of future? (McCann, 2007: viii) Commenting upon the recent wave of immigration to Ireland, John Brannigan (2009: 3) outlines its distinctive features. Among these, he enumerates its extensive scope (‘the scale of contemporary migratory movement’), the creation of diverse

in Literary visions of multicultural Ireland
Encounters with the Other in Dermot Bolger’s The Ballymun Trilogy
Paula Murphy

ease in their adopted country. Eileen describes the emigrants who returned to Ireland on the ‘builder’s holiday’, the first two weeks in August, as follows: ‘Every year, you sensed that this place felt a little less like home for them. People looked forward to them coming home but felt an unspoken relief when they left again’ (Bolger, 2010: 124). Oscar in Act Two is also caught between two countries, at home in neither. He has left behind two 155 Paula Murphy wives in Turkey, ‘[t]he one I left behind the first time I went away and the one I married when I tried to

in Literary visions of multicultural Ireland