Word: displays
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Dates: during 1980-1989
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SASC also felt compelled to add a new twist to the shantytown concept, the "Ivory Tower," so that its display might not be perceived as an uncreative imitation of other schools' divestiture movements. This tower also exhibits the inherent contradiction in SASC's argument. In its "Letter," SASC writes that "the Ivory Tower, another familiar symbol, represents the distance, the apartness, and the isolation of universities. Yet our university cannot be a removed entity." Instead, it is the divestiture movement which is erecting its own ivory tower by supporting self-indulgent moral isolationism. One of the few manners in which...
...Laxwomen put on their flashiest scoring display, though, with 14:21 remaining in the second half. Anne Needham, after receiving a pass over the middle from McBride, notched the first of Harvard's three goals in a 75 second span...
...ancient Lahore, the home of the Punjabis, who dominate the military and bureaucratic elite that rules Pakistan. The political risk paid handsome dividends. Benazir Bhutto, 32, was greeted by hundreds of thousands of frenzied supporters, who enveloped her motorcade and staged a daylong demonstration that was the largest display in memory of discontent with the military government of President Mohammed Zia ul-Haq. "Zia is a dog," chanted the demonstrators again and again. "We love Benazir...
...instant classic: the upbeat Ain't We Got Fun is rendered with icy irony by a prison-yard crew. Their chant is slow and syncopated, with beats of silence between syllables to underscore the sarcasm; their steps are punctuated by the swish and rattle of chains. The costumes display Fosse trademarks: white gloves, hats, spangled tuxedos. So do the dances, with their hip and shoulder rolls, backward exits and slithering one-hand gestures down the torso. The first-act climax, a mob convulsion set to Beat Me, Daddy, Eight to the Bar, recaps the form-in- formlessness trick that Fosse...
...singular draftsman. Lopez's pencil drawings, both tiny and enormous --Water Closet, 1970-73, is 8 ft. high--display a command over the medium unique in 20th century realism. Who else has achieved such finesse of tone, such a steely grasp of hallucinatory detail within the ordinary, such a disdain for visual clutter? At their best, the drawings are a mesmerizing conjunction of opposites. On one hand, the patient surface, rubbed and reworked to a silvery bloom punctuated with dark points of attention, anxiously tender and very seductive to the eye; on the other, a kind of silent rawness...