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Beneath its distinctive decor, the conspicuous helmet was a cap of riveted metal leaves, weighing up to 11 lbs. and meant to protect a man's skull against sword and club. But was ever a martial object more drenched in symbolic fancy? The helmet had to convey no meaning to the warlord's troops except its own singularity. It was the exact reverse of a "uniform"; it was a portable spectacle. Its shape was not determined by the kind of functional rules that governed the making of a samurai's main emblem, the katana or long sword, whose basic form...

Author: /time Magazine | Title: Art: Move Over, Darth Vader | 4/18/2005 | See Source »

Viewed today, the choice of motif sometimes looks entirely whimsical: a pumpkin done in black lacquer and silver leaf, or an iron eggplant. Sometimes they are ironically lowly: a rustic straw bag done in gold-and-silver-inlaid iron, or a common rice bowl. Some convey (at least from inside a glass case) a feeling of sacerdotal calm rather than ferocity, like a wonderful 17th century helmet in the form of a courtier's hat, rising like an inverted keel some two feet above the head and decorated in a tortoiseshell pattern of black and honey-colored lacquer. Others seem...

Author: /time Magazine | Title: Art: Move Over, Darth Vader | 4/18/2005 | See Source »

...grinding ax, economic competence, was potentially blunted by the collapse of Britain's last major carmaker, MG Rover; the government quickly announced a $284 million package to help with the consequences of 5,000 lost jobs. Opposition parties grumbled about the need for an official inquiry, but failed to convey how they would have saved the long-suffering firm. But the most amusing sideshow since the start of the campaign has been the sight of Blair and Brown ostentatiously parading their rekindled love, hoping the double act will reassure voters who have soured on Blair but seem inclined to vote...

Author: /time Magazine | Title: That's Showbiz | 4/17/2005 | See Source »

...with Foer, whose novel uses an array of unusual visual and literary devices to convey the characters’ fragmentation, Potter’s film is not a straightforward storytelling expereince. Most startlingly, all the dialogue is in iambic pentameter...

Author: By David G. Evans, CONTRIBUTING WRITER | Title: Potter Questions Post-9/11 Capitalism | 4/15/2005 | See Source »

...agenda, for now, seems to involve some deceptively risky experiments with form, as well as a complete rejection of realism in favor of that empathy and emotion he wants so badly to convey. Foer doesn’t care what it takes to get to the reader, he says, and he doesn’t care how unrealistic his scenarios and characters...

Author: By Leon Neyfakh, CRIMSON STAFF WRITER | Title: BOOKENDS: Will the Real Jonathan Safran Foer Please Stand Up? | 4/13/2005 | See Source »

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