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Word: fleshing (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
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Usage:

...these are cameos; faces in the crowd. The supporting roles-the backbone of the British repertory system, and one of the many small glories of the British cinema-give flesh, size and human dimension to the sometimes overwhelming scale of the spectacle. Among them...

Author: /time Magazine | Title: Magic in the Daylight | 8/3/1981 | See Source »

...delegates also agreed to outlaw "cold" (or nonexplosive) harpoons on minke whales, starting with the 1982-83 season. Conservationists claim these weapons prolong the animal's final agony, but the Japanese insist that faster-killing grenade-tipped harpoons damage too much of the flesh and are dangerous to the hunters. The decision gives them time to develop a less damaging, safer explosive harpoon...

Author: /time Magazine | Title: Environment: Battling for the Leviathans | 8/3/1981 | See Source »

While half of America skips lunch, or pledges to, and bemoans the thousand extra ounces flesh is heir to, one glamorously employed elite has a perfect excuse for staying plump. Fat actors and actresses-those who won their fame with an expansive physical image-often feel they must stay heavy to keep working...

Author: /time Magazine | Title: Show Business: As a Matter of Fat . . . | 8/3/1981 | See Source »

...impish, impudent sense of humor that recalls Hitchcock's macabre comedy The Trouble with Harry. But the most passionate Brian De Palma-and maybe the real one-is the child of Vertigo, Hitchcock's essay on the fatal power of obsessive love. In plot skeleton and flesh tones, De Palma's Obsession was a remake of Vertigo, and the prom scene in Carrie suffused its heroine in a mood of crimson romanticism. Blow Out, for all its borrowings from political and cinematic fact and fancy, is one more story of an obsessive idealist lost in a lush...

Author: /time Magazine | Title: Cinema: Bad Crash | 7/27/1981 | See Source »

Rodin had very few inhibitions; flesh, both his own and others', was a source of inexhaustible fascination to him, and the erotic fury one often senses in his squeezing and manipulation of the clay was by no means a metaphor. One of his friends recorded a conversation with Rodin in his old age, as the sculptor talked about an antique copy of the Venus di Medici that stood in his studio: "He spoke in a low voice, with the ardor of a devotee, bending before the marble as if he loved it. 'It is truly flesh...

Author: /time Magazine | Title: Art: The Old Man and the Clay | 7/6/1981 | See Source »

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