Word: karis
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...five months the two mountain men, Don Nichols, 53, and his son Dan, 20, had eluded lawmen in the remote Montana wilderness near Bozeman. Many residents figured that the fugitives, wanted for the July kidnaping of Kari Swenson, a member of the U.S. biathlon team, and for the murder of a man who helped rescue her, had fled the frigid region before the onset of winter. But not Sheriff Johnny France, who had attended the same high school as the elder Nichols. "I'm a mountain man too," he insisted. "It will take one to catch...
...small band of interferon researchers were able to produce or get their hands on enough interferon to analyze its nature, but the stuff was far too scarce or any significant tests on humans. Most of the credit for relieving that acute shortage goes to a stubborn Finnish virologist, Kari Cantell, who proudly admits that "interferon has been my hobby and main scientific interest for over 20 years." Cantell began his career by studying the role of leukocytes, or white blood cells, in fighting infection. He became intrigued when he learned from other researchers in 1961 that these cells could produce...
...sitting in the corner of a sleazy cafe, Contemplating hari-kari and auto...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically -- the Woman as Other -- to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Central...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically--the Woman as Other--to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Harvard Square...