Word: deaths
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Dates: during 2010-2019
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...Courage of Others,” Texas band Midlake strays from the energetic alternative rock of previous releases towards a folk-inspired, pastoral sound. Lead vocalist and songwriter Tim Smith attempts to conjure a wintry atmosphere with delicate acoustic guitar and lyrics about cycles of death and rebirth. Unfortunately, while he does manage to capture a sense of stillness and bleakness, there is no suggestion of spring to come, and the gloomy minor key sustained throughout leaves the listener wanting to hibernate rather than go for a romp in the snow...
Writing not long after the death of Leonardo da Vinci, art historian and biographer Giorgio Vasari described the late master’s “Mona Lisa,” placing special emphasis on the lady’s uncanny simper. “And in this work of Leonardo’s there was a smile so pleasing, that it was a thing more divine than human to behold; and it was held to be something marvelous, since the reality was not more alive,” he wrote. The sublime expression of “La Joconde?...
...come back. They came in excited and out of breath.” Sosa’s only exhibition of sincere sorrow comes when Valentina’s head is shot off during one confrontation. It is surprisingly easy to sympathize with the narrator; his offhand treatment of death renders the murders meaningless, and his intimate loneliness—as a man who relies on snakes for warmth—is more pitiful than disturbing. By comparison, the version of the crimes given by the media and the police seems like a bumbling, confused mess of tenuous hypotheses. Their powerlessness...
Appointed in 1990 by President George H. W. Bush, Souter came to be regarded as a moderate liberal during his 19-year tenure on the federal bench. By the middle of his term, Souter frequently voted with liberals on issues including the death penalty, worker rights, and limits on abortion restrictions...
...than not, the female is figured as a perpetual victim: as the passive, the “done to,” and the “acted upon” rather than the actor. Women cannot represent but are, instead, represented, their subjectivity eroded to the point of death. Seducing the audience with the macabre-made-sexy, such images remain complicit with the stereotypic representations they relate, reinforcing, rather than disrupting, cultural myths of the feminine as immanence and contingency. Replayed again and again, these pictures remain more powerful than their attendant plotlines—so powerful, in fact...