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...artists and independent intellectuals of the 1950s and early '60s. Their approach was off-center, cool in every sense. In Andy Warhol's first shows, in 1962, he exhibited enormous paintings of Coke bottles and Elvis Presley and Marilyn Monroe. The subject was pop, but determinedly devoid of high-culture anger. Roy Lichtenstein's jumbo cartoon-panel paintings, complete with mawkish dialogue fragments and ersatz Benday dots, were jollier expressions of the same idea...

Author: /time Magazine | Title: Pop Goes the Culture | 6/16/1986 | See Source »

Palme's assassination sent a wave of revulsion across Sweden, which for decades has advertised itself as a model society largely devoid of the social strains that create such wrenching political violence. Stunned Swedes tossed red roses on the murder site; some placed candles on the sidewalk. By Saturday morning, the lines of mourners wound around the block. On a wall a banner was hung, reading: WHY MURDER A TRUE DEMOCRAT? "It is an almost unbelievable shock," said Ulf Adelsohn, leader of the conservative opposition in the country's one-house parliament. "Sweden will never be the same after this...

Author: /time Magazine | Title: Sweden Bloody Blow to an Open Society | 3/10/1986 | See Source »

...correctly--and not anti-Semitically, that while the Jewish intellectuals emphasized their own cultural independence, they played fast and loose with the cultural independence of Blacks by advocating integration. As long as Black intellectuals continued to defer to their Jewish colleagues, according to Cruse, the Black community would be devoid of the kind of intellectual scrutiny that defined the Jewish community...

Author: By David J. Barron, | Title: Crisis After Cruse | 3/1/1986 | See Source »

...narrative continues to suffer unexplained breakdowns, lapsing into semi-poetic word association, noises, and archaic spelling. These breakdowns jar all the more powerfully as they occur within passages of complete textual self-control. They undermine the text's tacit claim of logic leaving a wasteland devoid of any structure, any shelter...

Author: By Thomas A. Christenfeld, | Title: Ivan the Terrifying | 3/1/1986 | See Source »

...romance, becoming more engrossed in his role as the scene progresses. Forsythe, however, seems wholly incapable of playing a teenager. The effect is somewhat ridiculous, as it appears that an adult woman is begging a self-conscious youth to initiate her into womanhood. In addition, the scene is so devoid of real emotion that by its conclusion one has to wonder why Luba has included Paul as one of the important men in her life...

Author: By Jeffrey J. Wise, | Title: An Uncertain Clarinet | 2/28/1986 | See Source »

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