Word: possessives
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Dates: during 1970-1979
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...impression, a very deliberate one, is of culture objects cut loose from any power to communicate, or even to be noticed. There is no reality to which they connect. Their owners possess them as so much paraphernalia, like the derby hats, codpieces and bleeding-eye emblems that Alex and his mates wear so defiantly on their bully-boy costumes. When Alex swats at the Cat Lady's sculptured schlong, she screams: "Leave that alone, don't touch it! It's a very important work of art!" This pathetic burst of connoisseur's jargon echoes...
...French are in an embarrassing position. They have loudly insisted on dollar devaluation for two reasons: an increase in the gold price would raise the value of France's $3.5 billion official gold stock, and would please the nation's legion of gold hoarders, who possess many votes. The French, however, do not want too big a U.S. devaluation; they indicate that 7% to 8% is the most they could take. A U.S. devaluation means an equivalent rise in the value of the franc, and the French want to limit that rise. They are reaping trade gains...
...would have long since mastered the problems that now plague the earth; pollution, overpopulation and the ever-present threat of war would surely be a part of its past. And if it had learned to control the awesome power of the technology that it surely must possess, perhaps it would teach that secret of survival...
Herrnstein goes further. He calls those with high I.Q.'s "bright" and those with low I.Q.'s "dull." These sweeping terms ignore scientific data which indicates the cultural relativity of I.Q. tests. Herrnstein gives I.Q. an ontological status it does not possess. And in his discussion of the hereditary transmission of intelligence, Herrnstein deals inadequately with the effects of environment. For example, no one has measured the effects of the prenatal environment on the fetus. This factor alone casts a shadow of uncertainty on Herrnstein's "scientific" figures...
...delighted him. Not the heroics of Shakespeare or Racine, but the work of the new playwrights of the '90s like Ibsen and Maeterlinck, for which Vuillard designed sets at the Théatre de l'Oeuvre in Paris. Russell notes that Vuillard's interiors tend to possess "precisely the elements which Maeterlinck called for: the silence, the half-light, the tensions buried below the point of visibility." He could paint the pauses and solicitous hesitations in polite conversation as neatly as Oscar Wilde could write them...