Word: sade
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Some of the chosen eponyms are familiar: the sandwich was once an earl; the pompadour a king's mistress; sadism originated with the Marquis de Sade. Many more are likely to surprise: maud lin is the old vernacular form of (Mary) Magdalene, usually pictured weeping: Jules Leotard was a 19th century trapeze artist; mausoleum derives from the tomb of "the wily satrap" Mausolus, in Turkey; and tawdry comes from the cheap souvenirs sold at the shrine of a 7th century Anglo-Saxon princess who was called St. Audrey...
Hard and Cold. When Brook opened his shocking and magnificent Marat Sade, with Glenda playing the mad, murderous Charlotte Corday, her performance was one of the truly curdling experiences in contemporary theater; it gained her widespread attention in London and New York. It also created a mold that was both rewarding and discomfiting. "I really loathed that play," she admits. "It was so hard and cold. There was very little interaction, since all the inmates were operating on separate levels of madness. But at least by the time I left it, I didn't have to scratch for work...
...Marquis de Sade rather liked sex in dungeons. Henry Miller protagonists were prone to phone booths. In Chile, patrons of the Hotel Valdivia can indulge their fantasies, without being either damp or cramped...
...concerned about the sadistic component of much current pornography. "No civilization, with the possible exception of the Aztec, could produce an art whose sexual ferocity would rival that of the West," according to Mexican Poet-Diplomat Octavio Paz. In Western pornography, "death spurs pleasures and rules over life. From Sade to the Story of O, eroticism is a funeral chant or a sinister pantomime." Reading about sadism can have a cumulative effect, according to Psychoanalyst Ernest van den Haag. Der Stunner, a Hitlerite journal that mixed anti-Semitism and sex, contributed to the general atmosphere that made it possible...
...vaulting funnel effect achieved through intense turquoise lighting of the higher recesses of the set above her bed. Shades of rose, violet and pale turquoise give way in the lighting of the last scenes to the wild-set and dark-set of hues. If Ford's themes foreshadow Sade, Poe and Nabokov, the combined effect of Colacecchia's set and Jonathan Miller's lighting evokes the same sense of demented, striving sensuality found in the eighteenth-century etchings of Piranesi...