Word: plot
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Dates: during 1970-1979
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...COMING OF AGE. Simone de Beauvoir recounts the plot of the ancient Japanese novel Narayanan. It tells of the primitive custom, the "Feast of the Dead", the execution of village elders who have become a burden on their children or have merely reached on untenable age. "Do the sacrificed elders often have a reaction of dread and rebellion?" de Beauvoir asks. She thinks evidence proves they do. Yet spanning the centuries as well as the distance between East and West, she concludes that old that old age has become life's parody in all societies, an end so degrading that...
Around him swirl a vast collection of characters: the eccentric genius in grain futures, the Texas oil man (named Tanker!), blackmailers, thieves, underground Communists, wives, children -and mistresses, mistresses, mistresses. There is no plot, only the fitfully told story of Jules' inevitable catastrophe. Mostly to affront the pretensions of a speculator he despises, Jules bets on the pound shortly before it collapses. Though there is still time to hedge, Bertillon of Bertillon goes down with his pride...
...identify them," said Chou. Another group of conspirators took off from the Peking suburbs at roughly the same time in a helicopter, the Premier revealed, but they were forced down by the air force. "Many secret documents were discovered on board, and among them we found evidence of their plot...
...audience nor, in fact, the office holder. Despite its suffix, chairman is no more sexist than the French designation of "boat" as masculine, or the English custom of referring to a ship with feminine pronouns. Chairman is a role, not a pejorative. Congressman is an office, not a chauvinist plot. Mankind is a term for all humanity, not some 49% of it. The feminist attack on social crimes may be as legitimate as it was inevitable. But the attack on words is only another social crime-one against the means and the hope of communication...
...PLOT EXISTS only as an excuse for a commentary on English life. The juxtaposition of ridiculous assertions, pursuit of any sane comment to an absurd extreme, and traditional shots at all symbols of Britannic complacency dominate the play without any competition from attempts at character development or plot conflict. It all manages to be very entertaining, and the actors, in this production deliver their lines quickly enough to build up a perverse momentum that carries the play through all but its most brutal moments...