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"Shades of Emotional Impressions (Echoes of Eternal Love)" is a captivating collection of English poems that delves into the timeless themes of love and romance with grace, sensitivity, and emotional depth. Written by Dr. Raj Kumar Goswami, this anthology invites readers on a journey through the many facets of love – from the intoxicating thrill of infatuation to the quiet comfort of enduring companionship. Each poem in "Shades of Emotional Impressions" is a lyrical exploration of the human experience, offering readers a glimpse into the complexities of the heart and soul. Through evocative imagery, rich symbolism, and poignant language, Goswami captures the essence of love in all its beauty and complexity, inviting readers to embark on a journey of self-discovery and reflection. The poems in this collection are imbued with a profound sense of intimacy and vulnerability, as Goswami fearlessly lays bare his own experiences and emotions on the page. From the tender moments of connection shared between lovers to the profound sense of separation, each poem resonates with authenticity and raw emotion, reminding readers of the universal truths that bind us all together. "Shades of Emotional Impressions" is a testament to the enduring power of love and its ability to transform and inspire us. Whether you are experiencing the joy of new love, the pain of heartbreak, or the quiet contentment of lasting affection, this collection offers solace, insight, and affirmation. With its timeless themes, exquisite language, and heartfelt sincerity, "Shades of Emotional Impressions (Echoes of Eternal Love)" is sure to captivate and enchant readers of all ages. Whether you are a seasoned poetry enthusiast or a newcomer to the genre, this book is a must-read for anyone who has ever been touched by the magic of love.
How to speak of colors and odors? In many cases, we have to think about an adequate description of a perceived odor or shade of color. Words are not fluently available.The contributions discuss color and odor perception and its linguistic representation from different disciplinary angles: from neurobiology, neuropsychology, psycholinguistics, cognitive linguistics and philosophy. They show that linguistic representation of colors and odors depends highly on cultures of communication. Experts are skilled in discerning finer differences between their sense impressions and have at their disposal a special language which non-experts do not master. The color and odor vocabulary is rare, if there is no cultural habit to communicate the very sense impression. In cases where individuals have to speak of their sensory experiences more precisely they often turn to metaphors. The contributions discuss the lack of inter-individual conventions of naming and describing odors – compared to the more expanded linguistic representation of colors.
Set against the backdrop of well-known works by the artist, Henri Matisse, rhyming text tells a story from the artwork.
An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.
Including a wealth of vivid detail and ranging over theology, poetry, painting, heraldry, fashion, and daily life, this book elucidates the attitudes toward color in medieval times and the effect these attitudes still have on modern society.
I should say first of all that the only emotions I propose expressly to consider here are those that have a distinct bodily expression. That there are feelings of pleasure and displeasure, of interest and excitement, bound up with mental operations, but having no obvious bodily expression for their consequence, would, I suppose, be held true by most readers. Certain arrangements of sounds, of lines, of colours are agreeable, and others the reverse, without the degree of the feeling being sufficient to quicken the pulse or breathing, or to prompt to movements of either the body or the face. Certain sequences of ideas charm us as much as others tire us. It is a real intellectual delight to get a problem solved, and a real intellectual torment to have to leave it unfinished. The first set of examples, the sounds, lines, and colours, are either bodily sensations, or the images of such. The second set seem to depend on processes in the ideational centres exclusively. Taken together, they appear to prove that there are pleasures and pains inherent in certain forms of nerve-action as such, wherever that action occur. The case of these feelings we will at present leave entirely aside, and confine our attention to the more complicated cases in which a wave of bodily disturbance of some kind accompanies the perception of the interesting sights or sounds, or the passage of the exciting train of ideas. Surprise, curiosity, rapture, fear, anger, lust, greed, and the like, become then the names of the mental states with which the person is possessed. The bodily disturbances are said to be the "manifestation" of these several emotions, their "expression" or "natural language;" and these emotions themselves, being so strongly characterized both from within and without, may be called the standard emotions. --William James
Western thought has often dismissed shadows as fictional, but what if fictions reveal original truths? Drawing on an anti-Platonic tradition in critical theory, Lawtoo adopts ethical, anthropological, and philosophical lenses to offer new readings of Joseph Conrad’s novels and the postcolonial and cinematic works that respond to his oeuvre. He argues that Conrad’s fascination with doubles urges readers to reflect on the two sides of mimesis: one side is dark and pathological, and involves the escalation of violence, contagious epidemics, and catastrophic storms; the other side is luminous and therapeutic, and promotes communal survival, postcolonial reconciliation, and plastic adaptations to changing environments. Once joined, the two sides reveal Conrad as an author whose Janus-faced fictions are powerfully relevant to our contemporary world of global violence and environmental crisis.
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Learn how to generate and develop successful story ideas that fulfill the unique storytelling challenges of animation shorts between 2-5 minutes in length.