Word: construction
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Dates: during 1980-1989
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Idioms and details, though are hardly enough of a foundation on which to construct a personal essay. Rather, as Hoagland points out in a short piece in the book specifically on the form of the essay, the critical ingredient is the quality of mind the essayist impresses on the work. Of course, this is no different from any form of literary expression Yet, the personal essay differs from the short story in the way it communicates its truth a difference which roughly mirrors that between plain speech and storytelling. Even the most inept can usually keep from bludgeoning beyond recognition...
Sorry, Repentance and redemption remain at the center of the Judeo-Christian ethic, and one can construct a neat political universe based on the phenomenon of apologia. Some points on the spectrum of political apologists, ranging from Left to Right, include Noam Chomsky. Anthony Lewis '48. Henry Kissinger '50, and Norman Podhoret. Without passing judgement on the issues for which these apologists apologize, or the calculations of interest lurking beheath, one can safely conclude that the art of apology persists...
...message was underscored by a similar plea from the Brigades' reputed mastermind, Enrico Fenzi, 43, a onetime professor of Italian literature at the University of Genoa who was arrested in Milan last year. Wrote Fenzi: "In ten long bloody years, the armed struggle has demonstrated its inability to construct any political program whatever. The Red Brigades chapter is tragically closed...
...late 1960's, when students occupied buildings and protests kindled campuses the country over. His reaction to the riots and counter-riots of his undergraduate years carries through to the related phenomenon of terrorism--exemplified, for Cantor, by the kidnapping of Patty Hearst. He applies the Nietzchean construct of a "theater of sacrifice," a drama enacted by a small group of performers for the edification--or manipulation--of a mass audience. A related essay on Hamlet expands the idea of "history as dumbshow," the struggle for power and kingship functioning like a mechanism without motives which keeps fortune's wheel...
...problems is at times interesting, even in its honesty. There are no euphemisms in this film. Director Alms Parker creates scenes of domestic violence that show exactly how the destruction of china and glass is only an attempt to preserve the fragile emotional architecture that overcivilized types like these construct within themselves. When George faces off with Faith's working-class lover in the final scene, the genteelly mad writer smashes his world of material comforts to bits in order to get back at his rival--who, lacking such possessions to act as intermediaries, answers with direct, personal violence...