Word: reflective
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Dates: during 1970-1979
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...much out of optimism as out of fear that Americans refuse to deal with the energy crisis [Nov. 21]. We are just not willing to acknowledge scarcity. The frontier is gone. Abundance and economic growth do not reflect current realities. Let us face those realities, rather than continue an illusion...
These angry statements reflect the biting mood of the chief executives of many cities, who are upset with Jimmy Carter for not paying more attention to the problems of urban America. They voiced their complaints in interviews with TIME on the eve of two get-togethers in San Francisco: the first, which ended last weekend, rallied more than 100 top officials from metropolitan areas; the second, which continued this week, was the annual meeting of the National League of Cities, attended by 4,300 municipal officials...
...that the Gang is safely behind bars, the writers declared that literature in China was free to demonstrate that "reality is complicated, varied and colorful" -even though true Communist art should reflect "the facts of revolutionary life." Carrying out this new literary policy, the People's Literature Publishing House has reissued Pa Chin's famed 1931 novel Family, a saga about the authoritarian family system in pre-Communist China. A kind of Chinese equivalent of Gone With the Wind, the novel was the basis of many film and theater versions until it disappeared from circulation...
...finest popular book on the subject. It depicts objects that were not included in the Metropolitan Museum-Egyptian government exhibition now touring several U.S. cities, as well as black-and-white photos from the 1922-28 excavation under Howard Carter and Lord Carnarvon. These old pictures reflect the excitement of the unsealing when Tutankhamun's treasures lay in disarray, as if at some pharaonic garage sale...
...vision, but like any other Hedda Gabler it must stand or fall on the interpretation of the lead role. Fortunately, Amy Aquino delivers a strong and deftly-controlled performance. In her physical expression, especially, she holds Hedda's dichotomies in convincing balance. The cold, intense eyes and queenly carriage reflect her aristocratic upbringing and twisted idealism, while slight gestures--hands rubbed nervously together, a flash of anguish in the face--betray the tensions seething within her. Aquino centers the drama's energy by compressing it, displaying a clenched surface that makes Hedda's moments of abandon to manic impulse...