Dodatkowe przykłady dopasowywane są do haseł w zautomatyzowany sposób - nie gwarantujemy ich poprawności.
I want audiences to develop a sense of pastness, to transport themselves back."
In the latter case, but not in the former, the pastness is part of the content believed.
At this early stage in the period the spiritual continuity of the field is seen as guaranteed by its pastness and completeness.
It should revel in the pastness of the past, the strange music of its diction.
On the other hand, while dilapidated structures give a sense of pastness, they provide little sense of what the building might actually have looked like.
They embody what Eliot meant when he said that historical awareness depends on knowing not just the presence but also the pastness of the past.
He selects the style of a particular period and inserts it into the present like a token of pastness.
There may be a specific feeling which could be called the feeling of "pastness," especially where immediate memory is concerned.
The aorist usually implies a past event in the indicative, but it does not assert pastness, and can be used of present or future events.
A novel of this sort also needs characters, unlearned but perceptive, who can sense immediately the power of pastness and feel its effects.
And historical awareness, T. S. Eliot said, means acknowledging the pastness of the past as well as its presence.
The connotations of pastness in the above extract can be inferred from the context, because of the reference to nineteenth-century botanists.
So, in memory, the pastness lies, not in the content of what is believed, but in the nature of the belief-feeling.
Let Scrooge and all that-that pastness of life-let it go, let it blow off.
He goes on to say 'The pastness of the past, then, depends upon a historical sensibility which can hardly begin to operate without permanent written records'(ibid.).
T.S. Eliot urged modern audiences to be conscious of the pastness of the past as well as of its presence.
In his novel "Remembering Babylon," a strange creature appears from the past, and everywhere there are landscapes and perspectives that put the very idea of pastness in question.
The pastness of the past is lost - and with it the humanizing lesson that people in history, although every bit as intelligent as ourselves, thought and lived in ways very different from our own.
Such reproductions may give people the illusion that they are showing respect for history, when in fact, as the architecture critic Alan Colquhoun has observed, they are simply indulging a taste for "pastness."
James states that it is this way of apprehending the immediate past that is "the ORIGINAL of our experience of pastness, from whence we get the meaning of the term"("Psychology," i, p. 604).
Good history, for kids as well as adults, reveals the unalterable pastness of the past - the past as a foreign country, with its own logic, laws, pleasures and sorrows, woven together in an intricate pattern of human achievement and defeat, creativity and banality.
Pushing gently against an academy that studies the pastness of the past and the myriad biographical, historical or nationalistic ways we presume to construct it, Buell emphasizes "the power of the insights of the here and now," which, he declares, can "trump the formulations of the past."
Specifically, he argues that since every event that occurs will at one time be the future, at another time be the present, and at a third time (and forever henceforth) be past, every event exemplifies or instantiates every temporal property: futurity, presentness, and pastness.
We may say, then, that images are regarded by us as more or less accurate copies of past occurrences because they come to us with two sorts of feelings: (1) Those that may be called feelings of familiarity; (2) those that may be collected together as feelings giving a sense of pastness.