Word: altars
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...Chameleon" cushion system (see color page), it is apparent that the functionalist concerns of the Bauhaus are receding. Some emphasis has shifted to furniture as dream or fetish or ikon. Thus Gae Aulenti designs a variable bookcase/shelf/sleeping-platform unit that, glittering in vermilion fiber glass, resembles a Mayan sacrificial altar; while Sottsass's red ceramic vase has the archaic look of a ziggurat...
...reigning constitutionalist, who called the White House claim "absurd." Noncommittal until then on the Kleindienst confirmation, Ervin made it plain that he would not vote to confirm until Flanigan appears before the committee. "If the President wants to make his nominee for Attorney General the sacrificial lamb on the altar of executive privilege," he rumbled ominously, "that will be his responsibility and not mine...
...tree she imagines planted by Lucrezia Borgia. The connotations of that name reveal in her no dried-up spinster, but the malevolence of cruel sexuality. All her dewyeyed clinging to a golden past is merely the weapon she uses to emasculate Giorgio's overworshipful maleness at the altar of a bitchgoddess. Not only cold, she is consciously evil. Raising her eyes to meet Giorgio's tormented shock of recognition through the garden-house window, when he discovers her with Malnate, she stares back at him with the full meanness of her decayed sensibilities. With a magnificently erotic gesture, she tosses...
...possibility of that. For a roommate she draws a grim little trollop named Biscuit Besqueth, who talks baby talk to the oaf she is trying to railroad to the altar. Down by the pool, pale Fortune's batty advances are repelled with casual, callous disdain by the glistening sun worshipers. The author has mastered all the sledgehammer nuances of brutalizing speech: the deadening obscenities, the tag lines from talk shows, the dreary threats and boasts...
...first new production since taking over, Davis has presented Mozart's The Marriage of Figaro and shown that he can do very well at the altar by himself. The production -attractively staged, dramatically paced-has delighted everybody: audiences, critics and-through Davis' simultaneously released Philips recording-listeners on both sides of the Atlantic. Davis suits tempo to text and voice to orchestral volume in a way that captivatingly illuminates the twin ingredients that make Mozart's music the miracle that it is -the hushed fury at its core, the tripping joy at its surface...