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Touching Tales of Turks, Germans, and Jews: Cultural Alterity, Historical Narrative, and Literary Riddles for the s. Leslie A. Adelson. Some would call it the.
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The inner LEDs seen through the holes made in the cones brought discreet, seductive lighting. The work by Moritz Waldemeyer for Kayoubi was a refined exercise in technology. The resulting effect was of great charm, brought out by the screen surrounding the installation to define a private emotional space.
We want to show that Alcantara , an extraordinary material that is the result of proprietary technology, can be presented in an infinite range of applications. The liaison with art and design is fundamental, because artists become the interpreters of this material, which stimulates their creativity.
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In turn, they suggest new business potentialities. Vannadasan creates in his stories an aesthetic distance from the characters he knows very intimately, and sets out to narrate their personal world through a loving attention to external details.
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In all the fifteen stories in the collection, Vannadasan names his characters either by their kin relationships or by their nicknames. A person named Gandhi is never referred to as mere Gandhi but always as Gandhi Annan. Similarly, Mookkamma is always Mookkamma Atchi grandmother.
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Thus, drawing the reader into an intimate space of storytelling, Vannadasan sets out to sketch the characters as if they are in a painting. As his pen name — Vannadasan meaning a devotee of colours — he invites the attention of the reader to the intricate and colourful details of everyday life. Nothing escapes his observant eye. From the black polyethene cover used for selling fish to the purple leaf that is used for packing curd rice, Vannadasan captures them in their delicate strokes so that they contribute to the mood and the theme of the story.
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He surprisingly never attempts to describe the inner psychological turmoil or the thoughts of his characters. For Vannadasan, everything is there out in the open as acts, interactions, gestures, and spoken words. The interiority of his characters emerges from the aesthetically distanced intimacy. Vannadasan is never judgmental.
The narrator refuses to judge the stranger and requests him to choose the best pomegranates for him. He says that at that moment the stranger is only a buyer of guavas and he himself a buyer of pomegranates.