Word: murders
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Dates: during 1970-1979
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...Pretoria has already chosen violence. South Africa chose institutionalized violence when it erected its system of apartheid decades ago, and every time it strengthened that system in recent years with bantustans and pass laws. South Africa chose violence at Sharpeville in 1960, at Soweto in 1975, with the murder of Steve Biko last year. Supported by South Africa, Rhodesia chose violence with its raids last week. When the two countries are not choosing violence, they are backing and filling, stalling for time, as in the now-on, now-off elections in Namibia, as in the mockery of a transitional government...
...hoped that cries of moral outrage will emanate from all parts of the world in protest against the World Council of Churches' latest investment in lawless terrorism and murder, its grant to the Patriotic Front in Rhodesia [Oct. 2]. Unless W.C.C. member churches protest loudly or withdraw their support, or both, what is to deter the council from continuing such irresponsible gifts to left-wing guerrilla organizations in the future...
Violette Noziere was a pretty and a dissolute French working-class girl who, in 1933 at the age of 18, poisoned her mother and father. The father died, but the mother survived, and at her trial for murder Violette claimed that this outcome was deliberate. She murdered him to escape his incestuous attacks, she said, and merely gave her mother enough poison to disable her so that she could not rescue her husband...
Even before the murder, she is trapped and knows it - and does not care. Her response to hopelessness is a drink and a shrug. She lets herself be picked up by a rich young man. After they have slept together, it is clear that he expects to pay her; but with a fine gesture she takes some wadded franc notes from her purse, drops them on the bed and leaves...
...another into a driving whole. His symphonic works called for more brass and slashing power than many an orchestra could muster. Because Czech consonant clusters are so prickly, his operas were considered hopeless tongue twisters by singers outside his country. The subjects-time warps, prison-camp life, child murder-left audiences pining for the heraldic posturing more familiar to opera. "Atrocious drama," huffed one New York critic after a 1931 performance of From the House of the Dead, a powerful musical rendering of Dostoevsky's novel...