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Energize & Win. Nixon's main task is to prod the Republican organization into action. But he also has given some sort of consistent pattern to a shapeless G.O.P. campaign. The pattern, as it emerged last week: Communism...

Author: /time Magazine | Title: National Affairs: The Bogeyman | 11/1/1954 | See Source »

...Burma and Indonesia wanting to swing over to China." And the influential Times of India seemed to be writing an epitaph over Nehru's dream of a protected Area of Peace when it acknowledged that "it would be something unusual for Communist China to reject the traditional Communist pattern of expansion...

Author: /time Magazine | Title: CHINA: Welcome for Jawaharlal | 11/1/1954 | See Source »

Through the dark '305, Vogue cut its pattern to the times, counseled readers to concentrate on "more taste than money." When World War II broke, it dutifully reported on Paris fashions until its staff fled the city. Schiaparelli's last Paris collection, said Vogue bravely, had been "especially ingenious . . . With metal and leather taken by the Army, she fastened her coats with dog leashes." In bombed-out London, British Vogue continued to publish, carried ads for "especially designed protection costumes ... of pure oiled silk . . . available in dawn, apricot, rose, amethyst, Eau de Nil green and pastel pink...

Author: /time Magazine | Title: The Press: Fifty Years on the Crest | 11/1/1954 | See Source »

...come apart. They were dropped from balloons or from the top of a hangar. At last one of them broke up in just the way that Yoke Peter did. Its center section spun down to the ground, where its fragments were distributed on the ground in the same pattern that the fragments of Yoke Peter had made on the bottom of the Mediterranean...

Author: /time Magazine | Title: Science: The Fate of Yoke Peter | 11/1/1954 | See Source »

...damaged in World War II), stained glass, chalices, monstrances and vestments, and paintings and statues which ranged from the representational to the altogether abstract. Perhaps the most impressive of the lot was an austere Crucifix by Ponomarew Szekely, in which Christ was symbolized by no more than an abstract pattern carved into, and subtly complementing, the face of the Cross. But the majority of the works on exhibition proved to be as dour as St.-Sulpice was sweet. In struggling to be different, the contributing artists succeeded mainly in seeming strange...

Author: /time Magazine | Title: Art: The Salon & the Industry | 11/1/1954 | See Source »

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