Word: finall
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Dates: during 1980-1989
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...country since the death of Chairman Mao Zedong in 1976 would use the occasion to cede control to younger, reform-minded leaders. In the end Deng Xiaoping resigned from some powerful posts, but he will still remain in a key military position and will continue to be the final arbiter of Chinese political life...
...whether Deng's program would move forward, was a ringing endorsement of modernization. But Zhao watered down that optimism by noting it would take longer than expected to make the reforms work. Moreover, Deng's dreams of transferring power to a loyal successor remained largely unrealized. Although the final makeup of the Politburo, its Standing Committee and the party Secretariat will not be known until early this week, it appears that the top positions will be divided almost evenly between reformers and conservatives. The result will be continuing stalemates that only Deng can break. Said a Western diplomat in Beijing...
...which children are beaten by drunken parents, humiliated by everyone, and, above all, forced to exist in a world of aching loneliness: a child in a wheelchair dreams of riding a bike, another child makes an imaginary phone call to a schoolmate who has rejected him. In the final scene a child is confronted by his tormentors; instead of slinking away, he turns to the audience and utters a defiant...
...stage for his candidacy, Kim Dae Jung bolted from the Reunification Democratic Party that he forged in April with Kim Young Sam. The final split came after Kim Dae Jung rejected the younger Kim's proposal to have the Reunification Democrats pick a single candidate. In an eleventh-hour appeal, Kim Young Sam then sent an aide to urge the more volatile Kim Dae Jung to remain inside the party. When that plea also failed, Kim Young Sam declared that he viewed the elder Kim's defection with "extreme regret." Taking 27 of the party's 70 National Assembly members...
...this point it is clear how much, subliminally or not, Giacometti has meant to Rothenberg. This probing for form through a web, a mist of approximate lines, so that the never-quite-final shape becomes a palimpsest of recorded attempts to fix it, echoes Giacometti's own anxiety before his subjects. How can the artist be sure, and make you sure, what is there? For Rothenberg the problem becomes worse, because she chooses subjects in movement, the opposite of Giacometti's hieratic stillness. It does not always come off, but when it does you are made sharply aware...