Word: emblemized
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Social Goals. Fraser, too, is an emblem of that unity. Like Woodcock, he is a man in the mold of Walter Reuther, the visionary U.A.W. president who was killed in an air crash seven years ago. Once a metal finisher in a De Soto plant, Fraser became a boy-wonder local president and was Reuther's administrative assistant for most of the 1950s. As a union vice president in 1970, he seemed a likely choice to inherit "the Redhead's" post, but lost out when the union's executive board recommended Woodcock by one vote. More gregarious...
...influential figure. Frank Stella's Red River Valley (1958) and Washington Allston's Diana in the Chase exemplify these two trends in the Fogg collection. The interests of art appreciators and art historians have often conflicted at the Fogg, but the present hanging of the lobby is an emblem of their cooperation...
...first bulletin decided Bally was actually Mario Cuevas, a Mexican runner who finished second in 1976. Cynics would say that to most Americans a Turk looks like a Mexican, but Bally did have a half-moon and star on his racing jersey, which is hardly a Mexican emblem. To be charitable, one could say the mistake was made because no one could believe the unheralded Bally had run a 2:15.44. After all, Veli Bally is not a household word, even if he was the only Turk entered in this year's BAA Marathon. (Try saying that name three times...
Lancelot tells another hurricane story as an emblem of his apocalyptic intentions and in counterpoint to the movie and all it represents. A moment of brilliant clarity hit a middle-aged couple in the face of the hurricane: they realized and said out loud how bored they were with their lives and each other, made terrific love during the storm, and "took a good hard look at each other on a sunny Monday morning and got a divorce." Lancelot's and Percy's hurricanes are meant to sweep out the artificial hurricane of false elation and superficial radicalism that...
What the English then wanted in ceramics was "hardness, whiteness and translucency"; Leach's work opposed this taste. Its clear volumes and rigorous "drawing" are a legacy from Chinese Sung dynasty pottery. But the emblem of his style-and his favorite possession-is a Korean rice bowl, made by a 19th century village potter on an irregular wheel. "That is as it should be," he says, caressing the roughly glazed clay. "The plain and unagitated, the uncalculated, the harmless, the straightforward, the natural, the innocent, the humble, the modest: where does beauty lie if not in these qualities? More...