Word: mirrors
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Dates: during 1960-1969
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...ruling that could well put an end to the acquisition of newspapers in outlying towns by metropolitan dailies, the U.S. Supreme Court last week upheld a lower-court decision that the Times-Mirror Co. of Los Angeles must divest itself of two papers it bought in 1964, the San Bernardino Sun and the Telegram. The company contended that there had been little competition for readers or advertising between its Los Angeles Times and the San Bernardino papers, published 60 miles east of Los Angeles. But in a novel application of the Clayton Antitrust Act, the judge ruled that the purchase...
Samaras traces back his fascination with rooms to youthful visits to Manhattan's Metropolitan Museum, where he used to stand entranced in the period rooms. "There was no reference to today," he recalls. "You were overwhelmed, even seduced, into a past age." His mirror rooms fulfill a similar function today by allowing the viewer to experience weightlessness and the expanding universe of tomorrow. Red Grooms traces back the genesis of his Chicago to his boyhood efforts in Nashville to duplicate the Ringling Bros. Circus in his own backyard and to his student days in Italy, where he toured with...
...foundation for an exploration into the diverse often-abstract preoccupations of their auteurs. Both Lady Jane and Stranger are as much about their creators as their subjects. They prove if nothing else, that the films of people whose cameras are too small for anyone but themselves to run intimately mirror the force of that director-cameraman-cutter...
Balthazar, second novel of Lawrence Durrell's Alexandria Quartet, begins portentously with these lines from De Sade's Justine: "The mirror sees the man as beautiful, the mirror loves the man; another mirror sees the man as frightful and hates him; and it is always the same being who produces the impressions...
...essentially a fellow traveller with Bach. Because Indjic failed to convey this essence his performances of the two sonates were generally uninteresting and at times annoying. Nor did Indjic seem to be aware of the overall structure of the works. The first movement of Op. 111 is an uncanny mirror of Beethoven's temperament--taking ideas and treating them by turns with violence and lyricism. Indjic's inflections seemed motivated by custom, or perhaps were produced by rote, rather than by any internalized understanding of the metaphor. The superficiality became most evident in the absolute lack of communication...