Word: men
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Dates: during 1960-1969
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...capture the strategic supply port of Antwerp, and perhaps end the war in the West with a negotiated peace. Hitler thought of it as another Dunkirk and code-named it "Wacht am Rhein [Watch on the Rhine]." Allied archives would later refer to "the Battle of the Ardennes." To men who were there when the offensive began 25 years ago this week, it was "the breakthrough" or "the Battle of the Bulge"-and a time of sheer nightmare...
...emancipation of women actually meant the masculinization of women. In a real but relatively limited sense, that meant acquiring a man's education and doing a man's job. The trickier task was to appropriate the realms of a man's mind and will, areas that men have guarded with far more fear and hostility than they have ever displayed about their clubs, offices and colleges...
This is the threat that Hedda poses to the men in her life. She is a woman with a strong masculine component. She identifies with her late father, an army general. She not only cherishes her father's pistols; she uses them, a symbolic and physical annexation of male prerogatives. As a very young woman, Hedda had been a kind of platonic muse to Eilert Lovborg (David Newman), a brilliant but dissolute writer and thinker. Out of temperamental fatigue ("I have danced practically all my life-and I was getting tired . . . My summer was up"), she has married...
...singularly lovely women of the U.S. stage. Her head and profile are sculpted with the exquisite delicacy of a Tanagra figurine. Her performance is infused with intelligence. She is the embodiment of a woman who outwardly entices and inwardly rejects. She judges and rejects the men around her not because they are men, but because they do not measure up to her ideal. Her state of mind is not one of hysteria and frustration, but of wry, detached, ironic amusement, though occasionally her inability to suffer fools gladly brings out the sharp flick of her tongue. Rebecca Thompson...
...scrupulously contained performance, Rebecca Thompson's Hedda is remarkably affecting and finally tragic. In part, this is due to Ted van Griethuysen, whose deliberate gravity of direction achieves cumulative emotional intensity. Hedda moves inexorably toward tragedy in that her ultimate foe is not the world of mere men but what O'Neill called "the God of Things as They Are." She regards suicide as the perfect act of courage because it is her non serviam to that god, her defiance of human fate...