Word: interplays
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Dates: during 1960-1969
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...literary level, The Leopard offers a magnificent interplay of ironies. Sometimes the satire strikes at the right: in one stunning vignette, Director Visconti (who in private life is the Count of Modrone) executes a mortal lampoon of the old nobility. The Prince and his family, after a long and dusty journey, go straight to church, and there the camera finds them grey with dust and incense and fatigue, propped in their gloomy niches like medieval effigies, like spirits of the dead come back to haunt the living. Sometimes the laugh is on the Left: at the Ponteleone Ball, which fills...
...pedestrian ramp which passes through the center of the building appears in the designs which Le Corbusier submitted for the Palace of the Soviets in 1931, and was previously included in the Savoye Villa of Poissy, France. The interplay of levels which has come to characterize many of Le Corbusier's recent buildings is largely missing from the Visual Arts Center. The sculptured gracefulness of the Chapel of Ronchamp and the Phillips Pavilion of the Brussels World's Fair finds itself in an abbreviated form in the circular wings of the center and in a distant sort...
...purpose was solemn. Arnold often indulged in levity that disturbed the specific gravity of fellow Victorians-and led to a cartoon by irreverent Max Beerbohm (see cut') mocking them both. The cultural history of man, he wrote in Culture and Anarchy, his most famous essay, is an interplay between what Arnold called Hebraism-the urge of conscience to follow the best moral light man has-and Hellenism-the spirit of inquiry that constantly questions conscience to be sure that it does not mislead, that the best light is not superstitious darkness. He foresaw that the 19th century...
...situation with the rush of her own peculiar eloquence. A reader can cheerfully follow David and Liz through the awe of contemplating the baby's hand, the terror of watching its first illness, the slowly emerging awareness of what shape their marriage may finally assume. And in the interplay between the generations lies a lingering dynastic question: How much do we inherit from the past; how much can we disown...
...whirling in his head, and when stone and wood were no longer flexible enough, he switched to welded metal. Though his sculpture often seems to have an organic life of its own, it is not inspired by nature, and he believes that no association should interfere with the tense interplay between mass and void. "In open sculpture," says Ferber. "the space and the forms are equally important. The eye travels around and inside them. There is no business of front or back because the eye goes right through...