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GARLIC AND SAPPHIRES RUTH REICHL When Reichl became the New York Times' food critic in 1993, she swiftly set about dismantling the work of her predecessors. To pages previously devoted to fussy French cuisine she introduced Japanese soba and Korean bulgoki, and she handed out stars to places earlier critics wouldn't have gone to wearing surgical gloves. She wore disguises so she could experience the service that ordinary people (i.e. non-food critics) get. Reichl writes dazzlingly about food, of course, but she also explores how liberating it can be to dress up as somebody else. She liberates...
...multi-event venue," in steel, stone and glass, flexible enough to accommodate everything from intimate dinner parties up to product launches or big corporate talkfests. The gleaming open kitchens are among many original touches, and the venue's artwork?everything from Yuan Dynasty calligraphy to a huge sculpture by Korean artist Lee Jae Hyo?is chosen with exquisite taste. Why let the event planners book your next conference in some stale old ballroom when you can be housed in this modernist marvel...
...only attracted to Asian women, it’s not so much a fetish as a preference.”‘KUNG FU FIGHTER’Interracial dating is more problematic for Asian men, says Edward Y. Lee ’08, who is Korean American.Asian men do not typically date outside of their race because they are stereotypically viewed as “very un-masculine,” Lee says. He points out that few Asian men play for American professional sports teams. And in movies, he says, Asian men still only play two roles...
...gleaming open kitchens are among many original touches, and the venue's artwork - everything from Yuan Dynasty calligraphy to a huge sculpture by Korean artist Lee Jae Hyo - is chosen with exquisite taste. Why let the event planners book your next conference in some stale old ballroom when you can be housed in this modernist marvel...
...have tricky moments. Sander Schwartz, president of Warner Bros. animation division - part of the Time Warner corporation that owns Time - tells of a U.S. director who called two retakes on a scene in which a character was to be shown "talking to himself". Instead of a voiceover, his South Korean animators drew him with his lips moving. The next showed him talking to a mirror. Schwartz says studios now use videoconferencing and dedicated websites to troubleshoot such miscommunications. A bigger challenge may be finding experienced illustrators. Says Mohan: "We have no problem understanding the script. But what...