Sentence examples for evocation of the past from inspiring English sources

Sinclair's evocation of the past, so vivid in his previous books, proves equally problematic.

But that bewitching evocation of the past, underscored by what that narrator calls "dream music that is both heard and imagined," encapsulates Brian Friel's ravishing memory play.

In "Remembrance of Things Past," the narrator refers to the changes in direction of the music, and for some Fauré biographers "Ballade" is an evocation of the past.

This isn't about vintage or literal old-school flourishes; it's about true nostalgia, about an emotional evocation of the past that may be triggered by a gesture (feathered hair, a worn-in boot, a cut of a jean) but not contained by it.

Roger Haines's production, first seen at West Yorkshire Playhouse in 2011, does its best to overcome this through its simple evocation of the past: a trip to a Norwich tailor is evoked through a line of clothes hangers and, as in the book, the climactic discovery of Marian and Ted in flagrante is suggested by the opening and closing of umbrellas.

In The Long March and other characteristically multilayered productions such as Rus (a history of Russia) and The British Seafarer (1980), Mason aimed at what he called "total audio": a thematic, quasi-symphonic use of sound through which he believed he could communicate a far richer and more nuanced evocation of the past than could ever be achieved by a linear, narrator-led presentation.

Using a story as wispy as a fable, Malick constructed one of the most mesmerisingly beautiful evocations of the past ever laid on celluloid.

The result, paradoxically, is that there are sequences where the invented world of Westeros can seem more realistic than the evocations of the past to be found in many a historical novel.

His poems, by and large, declined into rhymed ruminations, his large house in Wiltshire closed its curtains on contemporary life, and even his memoirs, for all their brilliant evocations of the past, might be construed as a form of escape.

Here, of course, Koolhaas was conflating one element of our fixation on the old, a tendency to make new things that are cute, glib, easy evocations of the past, with another element, which is the way we have gone beyond individual landmarks to preserve whole chunks of real cityscapes as historic districts.

The evocation of the Classical past became less fantastic and more heroic in the humanist circles of Pierre Bersuire and Petrarch; their interests helped to attract copyists and artists to the papal court of Avignon.