Word: forme
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Dates: during 1970-1979
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German cowboy and Indian buffs may be more accurately informed about the American West than Americans are, as the young West Berliner claimed [June 18], but the American West lives on today in the form of the frontier myth-a very potent influence, for better or worse, on the American national character. Be our view of the Old West ever so phony, we are living...
...city without leadership, but Congress was anxious to provide some sense of forward movement. When Democratic Representative Bill Moorhead of Pennsylvania introduced a bill last January to produce 500,000 bbl. a day in synthetic fuels by 1985, he won little support; but when the gas lines began to form, as Moorhead put it, they "ignited the bill." Almost overnight, he found he had 170 cosponsors, including many Republicans...
...gasoline, the first and most important step is to brake gasoline demand. Rationing would seem to be the politically expedient method. A New York Times-CBS News poll in early June found that three out of five Americans would prefer rationing to shortages and skyrocketing prices. Yet any form of rationing would tend to be inequitable and a bureaucratic nightmare. Even during World War II, when the U.S. was united as never before or since, gasoline rationing was marked by corruption, favoritism and loopholes. Today, rationing would be enforced by the same Department of Energy folks who have done...
...futurism"; and when Octobrist painters shouted the slogan, "In the name of our tomorrow, let us burn Raphael!" they were adopting Marinetti's febrile rhetoric against the art of the past. In those years, even Marc Chagall was the painter he would never be again: the delight in form rather than nostalgia as the stuff of poetry that pervades a work like Self-Portrait with Seven Fingers, 1913, is very far removed from the flossy kitsch-Judaica of his past 30 years...
...nature of modern art and the aims of socialism was everywhere. "Each part of a futurist picture," Natan Altman argued, "acquires meaning only through the interaction of all the other parts"; its task was not to depict, but to explain dialectical relationships. Illegible in themselves, the fragments of form live "a collective life," like the faces in "a proletarian procession...