Word: victorian
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Dates: during 1970-1979
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...document, one each for each participant in Hebrew, Arabic and English. White House crews had already tended the greening patch of grass at the site of the ceremony, placed a low riser on the spot and then tenderly carried from the second-floor Treaty Room the sturdy Victorian table that had been pur chased in the time of Ulysses S. Grant. Used by the Cabinet up to the day of Teddy Roosevelt, the table had witnessed some important business. Calvin Coolidge used it for the signing of the Kellogg-Briand Pact, which condemned war as a means of settling international...
...19th century trader. One of the foundation's major enterprises is a marine research center which is trying to preserve the endangered humpbacks, of which there are perhaps only 850 left. (By dialing 667-9316 you can hear them "singing.") The foundation has also restored to Victorian primness the home of the Baldwin family, pioneer missionaries and landowners of whom the natives still say: "They came here to do good and did right well." Near by, Baldwin ghosts may note with horror, aging flower children -"bamboo tourists"-dicker for Maui Wowie. Thanks to the tourist boom, Lahaina today...
BONJOUR LA, BONJOUR is sophisticated soap opera--the kind aimed at people who gag on the tepid nonsense shown on daytime television but thrill to tales of middle class soul rot served up as "serious" drama or Victorian novels...
...heavy-handed that you can almost see Clark's cinematic brain at work. First you take Jack the Ripper, a colorful killer with his gory methods, and popular with the masses as well. Jack does his work at the right place and in the right time, too, Victorian England--perfect. When Holmes meets Jack the Ripper, the temptation to indulge in gruesome special effects overwhelms the directors. No matter that the story line, a mish-mash of all the Jack the Ripper identity theories, is so complex and capricious as to make Conan Doyle's brand of deliberate and subtle...
Magritte died in 1967, aged 68, but his work continues to serve its modern audience rather as the sultans of Victorian academic painting, the Friths and Poynters and Alma-Tademas, served theirs a century ago-as storytellers. Modern art was supplied with mythmakers, from Picasso to Barnett Newman. But it had few masters of the narrative impulse, and Magritte, a stocky, taciturn Belgian, was its chief fabulist. His images were stories first, paintings second, but the stories were not narratives in the Victorian manner, or slices of life or tableaux of history. They were snapshots of the impossible, rendered...