Word: dooming
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Dates: during 1980-1989
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...continued stalemate in itself could doom hopes for a prompt recovery from the deepening recession. Convinced that those huge deficits will keep interest rates high, businessmen are thus far unwilling to bet their buck on new investments and expanded production. Washington's waiting game, in short, carries risks that are not just political. -By Ed Magnuson. Reported by Laurence I. Barrett and Neil MacNeil/Washington
During the Middle Ages, the ancient sanctity of salt slid toward superstition. The spilling of salt was considered ominous, a portent of doom. (In Leonardo da Vinci's painting The Last Supper, the scowling Judas is shown with an overturned saltcellar in front of him.) After spilling salt, the spiller had to cast a pinch of it over his left shoulder because the left side was thought to be sinister, a place where evil spirits tended to congregate...
...Nixon's first term, rational discourse on Viet Nam had all but stopped. The issue posed was who was "for" or "against" the war-a phony question. Nixon was determined to end our involvement, and in fact did so. What he refused to do was to doom to a bloody Communist tyranny millions who had relied upon us. He believed that abject failure would vindicate neo-isolationist trends at home. He was convinced that an America so weakened would dishearten allies and embolden adversaries. And he was proved right. The collapse in 1975 not only led to genocidal horrors...
...terms of its ability to involve and to entertain Agnes of God deserves unstinting praise. The production is clean, neat and generally falls disappointingly short of its mark. Its full throated advocacy of faith and its lack of respect for ambiguity doom it to failure as a drama of ideas. The verdict of the fashionmonger on Agnes of God as a potential trend-setter should be negative. There may yet be life in the psycho-drama form, but it wants a Prince Charming, not this unevenly constructed work, to make it awaken...
...been hung side by side. A departure for Ruisdnel, these paintings depcit an allegorical subject. Moonlight strikes a tomb, a ruined cathedral looms in the background, dead beeches litter the foreground, shrouded women walk among the graves, all of which suggests the hopeless mortality of man and his inevitable doom. But Ruisdael is not entirely morbid, and he inclines a faint but perceptible rainbow on the horizon--a glimmer of hope and he possibility of rebirth...