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The rhythms of nature awaken Connie - daffodils, pheasant chicks - and soon she and Parkin become lovers. Connie's trip to France, with her father and sister, bring the lovers to a nuanced resolution.
If Ramuz as a young poet, before he became a novelist, recognised his own poetic mission in Paris, then Paris itself, as later described in a short essay Paris (notes d’un Vaudois), appears to be the urban metaphor of his poetic ideal.The forest is also the place where she discovers her own sensuality.The actors are brilliant, they magnificently show all sorts of emotions on their faces and the love-making scenes are all made with much reserve, with subtlety... I loved this Connie, I could relate to her and I loved the long pauses and the looks between the two leads, the big shots on the hands, on some legs or other parts of the body and some refined clothes. This movie reminds me a little of some scenes of The Piano by Jane Campion and if you enjoyed The Piano, I am sure you will like this French adaptation. It is a little long, more than 2 hours and a half, I think but if you are used to watching long BBC period dramas like me, you will have no fear in watching this!Therefore, plant-related blends and compounds such as nagietek, lemonata, or kora dębowa will be put here under scrutiny and analysed with the aid of the four-space network model.Keywords: Conceptual Integration Theory, cognitive semantics, conceptual blends, dynamicity Aleksandra Paliczuk University of Silesia, Ul.
Edward Albee's Who's Afraid of Virgina Woolf raises some questions about the nature of power, language, and their intersection.