Word: manors
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...Varieties. He turned from collector to zookeeper in 1959, when he and his wife Jacquie acquired a splendid 15th century Norman manor on the island of Jersey. The 32 green and rolling acres are warmed by the Gulf Stream, and animals have spacious cages with privacy when they want it. The prize whiteeared pheasants from Peking strut amid 100 varieties of flora from their native China. The zoo's keepers (including four who have B.Sc. degrees and one with a Ph.D.) invent projects to prevent the animals from becoming bored...
...real goal at the manor is babymaking. This is a zookeeper's greatest challenge, since many animals refuse to cooperate even under conditions that seem ideal−to the human eye. Durrell recalls the case of a Congo peacock and peahen that kept trying unsuccessfully to mate. "One day I noticed that their feathers were getting too dry, so we sprayed them with water. Suddenly, bang! Success!" Durrell also warns against expecting animals to take an automatic liking to each other. "We humans seem to think we have a monopoly on love. How would you feel if you were...
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...
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...