Word: piers
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Dates: during 1990-1999
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...Israel--Meles Zenawi of Ethiopia, on Arafat's left, separated them. To Rabin's right was Tomiichi Murayama, the Prime Minister of Japan. Nelson Mandela (second row, second from left) wore dark glasses. One of the tiniest countries in the world, San Marino, was represented by two Presidents, Pier Natalino Mularoni and Marino Venturini, who stood in the second row behind Yeltsin...
...Cubist, and the abstraction of his motifs goes on apace, though never at the expense of their sensuousness. His seascapes, mostly distilled from the coastal resort of Scheveningen, where a pier stuck out into the flat northern sea from the dunes, are of extraordinary beauty. The movement of waves and light is reduced to the twinkling of black bars and crosses, shifts and erasures, within an oval field of view. In the end, this breaking and reassembly of a motif go so far that only the barest clues to its identity remain--whether it is a tree, a seascape...
...bombers, whose original mission was to wage nuclear war against the Soviet Union. Meanwhile, the Senate endorsed a budget blueprint, including a $1.5 billion payment on the Navy's third Seawolf attack submarine, which was created to track and destroy the Soviet navy, and is now rusting at pier side. And the Army's first rah-66 Comanche helicopter-designed to defeat Moscow's Hokum helicopter-rolled out of a Connecticut factory attended by bunting, a military band and a real, befeathered Comanche chief...
...renowned Italian filmmaker Pier Paolo Pasolini was a man full of vitality, rebellion, creativity, and, very often, contradictions. His profound influence in Italian culture and politics reverberates still today, especially in the anthologies of his writings and films, critical studies of these works, and biographies which seem to appear annually in the United States. This year Americans have their first opportunity to see Pasolini's second feature film, "Mamma Roma," more than three decades after its 1962 Italian release...
Pasolini's violent murder in a Roman slum immortalized the artist. One critic referred to him as "St. Pier Paolo: Homosexual and Martyr," and most considered his final film, the bizarre and disturbing "Salo," strangely prophetic. It represents the enigmatic end of a tumultuous artistic career and, as Pasolini's 1959 novel proclaimed in its title, A Violent Life. "Mamma Roma" is far more typical than his last film, of the mix of politics and poetry, of ideology and of sentiment, which characterizes most of Pasolini's work. Its magnificent cinematography and superb acting make it a pleasure...