Word: sensualism
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...next two groups of essays, Nuptials (1938) and Summer (1954), Camus' ideas about how to combat life's absurdities deepen as he faces the dark despondency he finds in Europe. Like a fallen angel, he keeps looking homeward for the revitalizing sensual graces of Algeria. And in these journeys are intimations of the ideas in his future writings. In the heavy stone city of Oran, he finds a refreshing boredom in the ordinary down-to-earth commercialism that appears as the setting for his later novel, The Plague. Among the flowers and ruins at Tipasa, Camus discovers that...
...hippie-hater. But it was mercifully brief and it is briefly told. Otherwise, his subject matter keeps him too occupied to find much time for self-dramatization. In the process, he may have become an uncertain friend of the left. To youth's search for spontaneity and sensual gratification, he offers a 45-year-old's caution: "The best things in life were most difficult to reach, for they protected themselves, so beware of finding your true love in a night." In fact, Mailer provides no comfort for any cause or creed. "There is no history without nuance...
...emphasis on tradition the period was not stationary. Tremendous strides were made in developing porcelain. The earliest statues in this material date from the Yuan period; many bodhisattvas show the influence of Tantric Buddhism, the Mongol religion. Their faces have half-closed Nepalese eyes and small, sensual lips...
...lend them warmth is to make them lose their integrity. Even Welles has been unable to fashion more than a laborious, misshapen exercise. The reasons are obvious. This is his first film in color-an inappropriate mode for a fiction written in etched, formal prose, devoid of the sensual palette. Secondly, because the movie was made for television, its time is arbitrarily restricted to an hour-too protracted for spare storytelling and too limited for character development. The most grievous flaw is the choice of the story itself...
...final breakdown of the worlds comes in a violently sensual display of color. Audran, coming out into the open, crosses the barriers Chris has established between his lives, destroying forever his success as a hidden prime mover. The lush blues we identify with Christine and, we realize in retrospect, with the dead Paola, are disrupted by Audran's red dress, then by the blackness of the stocking with which Christine and the other girls are strangled. The violence of the deed is muted by the awesome lushness of the images, textures of decor which make murder a forbidden ritual...