romanticism
romansogeth
romanticization oor Kornies
romanticization
en
The act or process of romanticizing.
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romanticism
Da ywgenev tus.langbot langbot
romanticism
Nyns yw res dhis fistena.langbot langbot
Cornwall is variously referred to as a duchy, region, sub-region, county3, as a perpetual destination. This is an outsider view of ‘other’ that attracts visitors in their droves, a place-myth based upon ‘picturesque romanticization’ (Moseley 2018, p.110) conjured by a hundred unhindered years of romantic travelogue, period drama location and seasonal tourism journalism. Often Cornish production is seen through the prism of its history or its landscape as backdrop. Some local producers indicated that there was place for modern storytelling and for connecting with other Celtic cultures, such as Wales or Brittany. Cornwall has been granted minority status within the UK but it remains an open question as to whether there is a market for such filmed Cornish storytelling both within and without CIOS4 (Saffery Champness 2018, p.55).
Tom a omwolghas.langbot langbot
romanticization
Ow gwreg yw honna.langbot langbot
romanticism
Yn poynt da, meur ras. Ha genes sy?langbot langbot
romanticism
Ple’ma Kernow?langbot langbot
romanticism
Yw res dhymm gul neppyth moy?langbot langbot
Cornwall is variously referred to as a duchy, region, sub-region, county, as a perpetual destination. This is an outsider view of ‘other’ that attracts visitors in their droves, a place-myth based upon ‘picturesque romanticization’ (Moseley 2018, p.110) conjured by a hundred unhindered years of romantic travelogue, period drama location and seasonal tourism journalism. Often Cornish production is seen through the prism of its history or its landscape as backdrop. Some local producers indicated that there was place for modern storytelling and for connecting with other Celtic cultures, such as Wales or Brittany. Cornwall has been granted minority status within the UK but it remains an open question as to whether there is a market for such filmed Cornish storytelling both within and without CIOS4 .
Gwell yw genev leverel.langbot langbot
romanticism
A welydh an den po an bleydh?langbot langbot
romanticism
A leveris Tom dhe Varia y vos demedhys?langbot langbot
romanticism (n.) cultural movement focusing on characters, motifs, and settings drawn from the legendary past romansogeth; cultural movement characterized by individuality, subjectivity, and inspiration romantegyeth
Dha weles.langbot langbot
romanticism
Pes, my a’th pys.langbot langbot
romanticism
Yma dhedha dew vab hag unn vyrgh.langbot langbot
Cornwall is a Nation. Cornwall is a Nation. Kernewek, the Cornish language, is recognised as a minority language under the European Charter for Regional or Minority Languages (ECRML, 2003). It was reclassified by UNESCO in 2010 as ‘critically endangered’ and in the process of revitalisation, with the number of people taking a Cornish language exam with the Cornish Language Board KESVA averaging 18% YOY growth from 2016–20181, bucking the worldwide trend of diminishing linguistic diversity. Cornish is a living, growing language. The decision to recognise the unique identity of the Cornish, now affords them the same status under the FCPNM2 as the UK’s other Celtic people, the Scots, the Welsh and the Irish (UK Government, 2014). The Cornish have their own stories to tell, that should be told in their own voices: a proud history and unique culture, a distinctive language, a demanding present and an inventive future. A particular perspective on the world that is shared by families and communities in pubs, social clubs, village halls, with theatre and music, at feasts and festivals around the year, the length and breadth of Kernow. But to an outside eye, Cornish culture is practically invisible, and where it is visible, it is diminished to a ‘local curiosity’ to view as part of the commodified Cornish lifestyle or visitor experience. Cornwall is variously referred to as a duchy, region, sub-region, county3, as a perpetual destination. This is an outsider view of ‘other’ that attracts visitors in their droves, a place-myth based upon ‘picturesque romanticization’ (Moseley 2018, p.110) conjured by a hundred unhindered years of romantic travelogue, period drama location and seasonal tourism journalism. Often Cornish production is seen through the prism of its history or its landscape as backdrop. Some local producers indicated that there was place for modern storytelling and for connecting with other Celtic cultures, such as Wales or Brittany. Cornwall has been granted minority status within the UK but it remains an open question as to whether there is a market for such filmed Cornish storytelling both within and without CIOS4 (Saffery Champness 2018, p.55). The sanctioned narrator, the external voice of authority, tells the Cornish who they are, defines the terms of their existence, that they don’t really exist (Daily Mail, 2010), that they’re so lucky to live in such a beautiful part of the world. Beyond the ‘colonial, appropriating tourist gaze’ (Moseley 2018, p.193), in an encountering with a view wider than a postcard, a divergent economic reality is revealed: smart energy farms, the housing crisis, digital tech clusters, indices of multiple deprivation, the space industry... bringing into focus a far more complex picture than ‘pasties and cream’ Cornwall. The Council of Europe Advisory Committee Fourth Opinion on the implementation of the FCPNM by the United Kingdom adopted on 25 May 2016 highlights this indictment, that: so far the BBC has tended to group Cornwall as part of South West England and in an arbitrary manner blending out Cornish issues... The Advisory Committee regrets the minimal profile of Cornish on mainstream media. The 5 minutes a week of Cornish programmes broadcast by the BBC on Radio Cornwall was criticised by interlocutors as being totally insufficient – in terms of style, content and length (Council of Europe 2017, p.31) In the BBC Royal Charter’s General Duties (14) Diversity section (5) of 2016 it states ‘The BBC must support the regional and minority languages5 of the United Kingdom through its output and services and through partnerships with other organisations’ (DCMS, 2016).
Bras yw an keun ma.langbot langbot
14 sinne gevind in 4 ms. Hulle kom uit baie bronne en word nie nagegaan nie.