Word: objectness
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Dates: during 1970-1979
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Saint or Pariah. Abruptly, the letter made Hickel a sort of Establishment saint to many students and a pariah at the White House. Nixon did not object to the criticism, but to the fact that it was leaked to the press even before it arrived in the Oval Office. Says one White House aide: "The President thought it was an effort to embarrass him personally, and he never got over it. He never trusted the man after that...
...removed from the bags of evidence by FBI agents before they were brought into court. Even a court order for their presence would not produce them. They have been described by the FBI as having to do with "racial relations" and are described as "too sensitive to be the object of public perusal." One thing remains clear here in this affluent Western New York city, regardless of the immediate outcome. People here have for the first time had to confront the issues of the war, the draft, and racism, in a way that will not easily be repressed. Eight very...
...believe the object is to put one back in touch with authentic feelings, with one's self or, in Freudian terms, with the ego. To accomplish this, some of the veneer of manners, civilization and other superego accomplishments needs to be scraped away or at least temporarily removed. What often happens, however, is that the id merely has a night...
...Street. Children wander through stores and around sidewalks, skipping rope and chatting with the hosts. Learning seems almost a byproduct of fun. Why lecture kids when you can wrap the lesson in a joke? Example: the cast passes around a Styrofoam letter J. Each one repeats, "J," until the object reaches Cookie Monster. He booms: "D." The cast choruses: "D?" Monster: "Licious!" And he eats it. Guest teachers drop in all the time. Laugh-ln's Arte Johnson, in his traditional German helmet, discusses height: "Tall people bump their heads a lot and short people don't." Carol Burnett describes...
...entwined lovers jump from a cliff, in erotic slow-motion; romantic fascination with the "inseparability" of love and death was never put more concisely than in this smooth, slick image of sexual harakiri. Johann Hummel transformed a granite bowl, erected in the Berlin pleasure gardens, into an object as disquieting as a flying saucer: with fanatical precision, the tiny reflections of passers-by are caught in its mirror-polished surface, twisted and topsy-turvy, as though Magritte had been let loose...