Word: hugo
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Dates: during 1980-1989
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...museums. Let us make a clean sweep of the art of the past!" Fat chance. Such manifestos had already been part of the rubric of modernism -- or of a certain kind of modernism -- for the best part of half a century, since the Futurist Filippo Marinetti and the Dadaist Hugo Ball exhorted the young to burn their museums for the sake of the new age to come. And they led, on iron rails, to the museum itself...
...Harlan, who retired in 1971 at the age of 72, became nearly blind at the end of his tenure, but "those last five years made him one of the greatest Justices in history," says Stanford Constitutional Scholar Gerald Gunther. On the other hand, Harlan's longtime colleague and adversary Hugo Black, who did not retire until just before his death at 85, seemed to decline. "The nicest thing you could say is that he was not as vigorous in his last years," says Columbia Law School Dean Benno Schmidt...
With his hunched, narrow shoulders, his chin tucked resolutely into his chest, and his slinky, slouched walk, Bernhard Hugo Goetz looks rather like a human question mark. The inner man bears the same punctuation: Victim or victimizer? Hero or malefactor? Loner or leader? He is gentle, but demonstrably violent. Personable, but introverted. Idealistic, but cynical. He desires privacy, but has courted publicity. He is humble, but strangely messianic. He lives in New York City, but claims to loathe it. He is not indicted for attempted murder; he is indicted for attempted murder. In his public statements and interviews...
...with "the Hindu soul... something like a separate sex." Schwab's retrospective vision is itself a richly dense landscape with illuminating details such as Shelley's "pantheism" and Leibnitz's "Oriental lobe." Schwab invokes, with impressive authority, a wide ranging cast of intellectual and artistic figures from Chateaubriand and Hugo to Herder and Schopenhauer, in an imaginative attempt to reconstruct the vivid mood of self-awakening...
...kind. He denounces their tendency toward "formal creation." The chapter, "An Extended Orient: Exoticism" criticizes at length the borrowing of imagery by the French as sheer indulgence. Gautier's Avatar is dismissed as the work of an exploitive dilettante with a "strikingly apparent gift for painting generalized pictures." Similarly, Hugo's Orientales is dismissed as "meager picturesque Orient imposed upon Montparnasse landscape...