Word: coquettishness
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...plus meilleur livre is the 19th century The Physiology of Taste by Anthelme Brillat-Savarin, with entries on the erotic properties of truffles and rules of exemplary dinners: "Let the number of guests not exceed twelve ... the men witty and not pedantic, the women amiable and not too coquettish; the dishes exquisite but few ... the signal to leave not before 11, and everyone in bed at midnight...
...stiff, sexual repression. Daisy, said one Philadelphian publisher in rejecting the long story written in 1878, was "an outrage to American girlhood." Yet, Daisy is not an outrage: She is the one alive person in the story amidst a virtual morgue of grey propriety. She's also coquettish, a flirt of the worst sort, and a damnable tease. But throughout the story one is never sure if it's not just a reaction to what is expected of her, if in America she wouldn't be the life of the party. In Henry James's Europe, the locale for most...
...Lowell production, directed by John Clarke, wisely pays as much attention to acting as to music. Kimberly Daniel, as Zerbinetta, the leader of the comedians, personifies this fusion of dramatic and musical excellence. She manages to be coquettish while singing some of the most difficult coloratura writing in the literature. Her duet with the Composer (Loretta Giles) is the high point of the prologue, doing full justice to what Strauss called one of the finest things he ever wrote...
...helped very much by Rosemary Harris, whose Blanche is not coquettish enough to suggest any sexual chemistry. She seems too exclusively fanciful ever to be emotionally vulnerable. Blanche's sister Stella (Patricia Conolly) is born to the Southern man or, all right, but we have to take her visceral need for Husband Stanley on faith. Only Philip Bosco gives a performance of perfect pitch, as the shy wooer, "Mitch," who almost marries Blanche until Stanley blurts out the story of her promiscuous past...
...lacks the range of acting emotion necessary to sustain the human relationships at anything more than a superficial level; a serious flaw in the latter part of the film is her inability to warm up to the very man with whom she is supposedly in love. Her self-consciously coquettish treatment of everyone from the maid to her father is proof that her virtually identical performance in The Last Picture Show was no accident, but a fact of her nature...