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None of this is to say that Sylvian Plath did not want to die. Death possessed her more than life. But that in 1963 she intended only to flirt with death, to retreat from it, absolved by it, clears her poetry of much of the bitterness her suicide read into it, and allows the poetry an inkling of self-love in all the self-hatred. It means that it is no longer possible not to read her anymore, especially her last and most fleshless skeletons, now that there is the slender reed of her self-love to sustain the reader...

Author: By Tina Rathborne, | Title: Sylvia Plath's Inferno | 10/18/1971 | See Source »

...affair of man and boy was a metaphor for Europe's decaying society. But Visconti takes the veneer and calls it furniture. With infinite tedium, he pores over every facet of Tadzio's Botticelli visage; with stupid distortion, he makes the boy, played by Bjorn Andresen, a flirt whose eyes flash a come-on to his helpless elder, like some midnight cowboy off the Via Veneto. He even concocts an elaborate bordello scene in which Aschenbach is shown as a heterosexual failure-a moment that proves as barren of meaning as it is of style...

Author: /time Magazine | Title: Cinema: Soul Destroyed | 7/5/1971 | See Source »

However, after introducing his wife Relinda. "the lady who trapped the King of the World." and calling her up to stand with him on the podium (because, he said, he had seen some men trying to flirt with her. He later warned them, "Boy, you'd rather be caught in Vietnam with a BB gun.") Ali made a clear distinction as to which black man can fight the best and why. He made a poetic predic-tion for the Frazier rematch, "... then Ali lands with a right, what a beautiful swing/ and the punch lifts Frazier clean...

Author: By Tony Hill, | Title: The People's Champion of the World | 5/5/1971 | See Source »

...films- The Bine Angel and The Devil is a Woman, the first and last movies, respectively, of her six-year association with Josef von Sternberg. In most of her work, Dietrich is notable mainly for her almost martial sense of loyalty to her man. She may flirt in Morocco with everything in trousers (and sometimes those in skirts, when she herself is wearing white-tie-and-tails), but in the end, she follows Gary Cooper off into the desert still wearing her stiletto heels. Again, in Shanghai Express, she gives herself to Warner Oland only to save Clive Brooks' life...

Author: By Richard Steadman, | Title: Women in Film | 3/19/1971 | See Source »

...teens they prized autos that could chug along at barely one-mile-an-hour so they could flirt with walking girls. In the '20s they flaunted hip flasks, wore raccoon coats, necked in rumble seats, and said, "excuse my dust." In the '30s they sat on flagpoles, danced marathons, leaned on WPA shovels and attended Pink meetings. In the '40s they ate live goldfish and carried books to avoid carrying rifles. In the '50s they staged panty raids, crowded 18 into five-passenger cars, burned rubber and played chicken. In the '60s they let their...

Author: /time Magazine | Title: Letters: Nov. 23, 1970 | 11/23/1970 | See Source »

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