Word: mardi
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Dates: during 1960-1969
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Kinzel's study is further proof of a contemporary psychological premise -advanced by such theorists as Northwestern University's Edward T. Hall and Medical Center of Mount Zion's Mardi J. Horowitz-that man unconsciously projects a sphere of personal space that admits no trespass by strangers. Whenever this zone is penetrated without permission, the occupant responds by defending it, often with violence. Kinzel believes that the dimensions of the circle may provide a clue to the violence potential of its inhabitant: the larger the circle, the more intolerant its inhabitant to invasion of his personal space...
...second line--as the crowd people dancing behind a parade is called--had grown to maybe a thousand people. It was tremendous. There was a second line stretching for three blocks behind the band. It was just like the Mardi Gras. Above the head of the people, brightly decorated umbrellas began to appear. Some were very elaborate, with fine, plush layers of feathers on them. One had a big black doll dressed up like a carnival queen fastened to the top. Tassles, fringe, sequins. Green, bright yellow, and lavender were the dominant colors. One umbrella was deep red with black...
...long, no matter how good the stories. Last week a sensitive-and not always flattering-portrait of a New York City policeman was buried deep in the program. Sander Vanocur's evocative interview with Clay Shaw, portraying Shaw as Kafka's loseph K. in the Mardi Gras world of New Orleans, was the night's ninth story. First Tuesday's 50-minute investigation of the Army's chemical-biological warfare program, by far the best single story produced by either video magazine, came on after some overlong exotica on Turkey's whirling dervishes...
Wednesday, February 12 SINGER PRESENTS THE BEAT OF THE BRASS (NBC, 9-10 p.m.).* Herb Alpert and the Tijuana Brass tootle through the U.S., stopping in such places as Ellis Island, New Orleans during Mardi Gras, and the chil dren's zoo in Los Angeles. Repeat...
...Nudist Campers evokes the critical judgment rendered by Martin Esslin, author of The Theater of the Absurd, that "the modern theater aspires to the condition of the brothel, but it cannot deliver the goods." At Jim Haynes' Arts Laboratory, every night is an esthetic Mardi Gras, and one obsessive concern of the "artists" is to make expressive art objects of themselves. They are human happenings, and as such may spell the death of art rather than its birth. For them, durability seems like death. Their credo is not "Life is short. Art is long" but "Life is short...