Word: iconization
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Solzhenitsyn was an icon of freedom to the Western world, but he did not return the esteem it heaped on him. As a man of enormous Christian faith, he regarded the West as spiritually deteriorated, and he sometimes baffled supporters and critics alike with his reactionary criticisms of Western democracy. In a searing speech to Harvard's graduating class of 1978, he observed that "a decline in courage may be the most striking feature that an outside observer notices in the West today...
...real fun begins when you tap on the icon called "App Store" and start browsing the hundreds of add-on applications that have been developed just for the iPhone. You'll find tons of games (I like JirboBreak, a free game inspired by the Atari classic Breakout) and mobile versions of popular websites like Pandora, Facebook, MySpace and the New York Times. Most apps will cost you, but the vast majority are $9.99 or less. The apps work on the old iPhones too, but you'll enjoy them a lot more on the iPhone 3G because many of the programs...
...perhaps the best. First portraying Bozo in 1952, Harmon later acquired the rights to the character and trained others to portray him. As his wife Susan recalls, "At one time he had 183 different Bozos all going at the same time in this country!" His dedication to the icon and ability to make people laugh were pervasive. "You would be sitting at dinner, and he would do the Bozo laugh for you," his wife says. "He was a born entertainer." Harmon...
...experts in Florence in May, a few days after bin Laden's most recent Internet postings. The officials told me they've found no evidence of al-Qaeda operations in their countries. If bin Laden has any role in the jihad, say the Europeans, it is merely as an icon. Alain Grignard, Belgium's top terrorism investigator, says bin Laden is now a "Robin Hood figure; 100 people are inspired by him, but very few respond to do what he wants...
...Never more so, perhaps, than when you're dealing with Francisco José de Goya y Lucientes, seen by many as a founding figure of modern art, and by most Spaniards as an icon of nationalism and revolutionary politics. Mena speaks from personal experience. When she was asked to write the catalog description for The Colossus for a Prado's exhibition in 1989, she already had doubts, but she knew that the painting was an untouchable part of Goya's oeuvre. "Less was known about Goya then," says Mena, "and what was known was not to be questioned...