Word: symbolization
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...ballet opens in a "forest of idylls," with Tristan and Isolde dancing before an altar on which stands a love symbol: a pair of giant legs topped by a hairy mask. In Scene 2, on "the Isles of Death," Tristan first dances with an insectlike apparition, then with something dressed as a sailing ship. In the end, Tristan is destroyed by his love, as in "the tragic nuptial rites of the praying mantis, in which the female devours the male...
...against cancer, they were confronted with any number of first-rate men and institutions from which to select their cover subject. Manhattan's Memorial Hospital was chosen because it offered a complete cross-section of modern cancer research, and its director, Dr. Cornelius P. Rhoads, was a leading symbol of this effort...
Hurriedly, the Press asked Sculptor Fredericks for his interpretation of the controversial work. Explained he: "It is essentially religious . . . The statue of the youth, reaching upward toward his God, is a symbol of the souls of the men who fought and died. It represents their hope for a world free from war, pestilence and fear." Last week, all further work on the statue was temporarily stopped. If public opinion insisted, Editor Seltzer was prepared to edit the statue. Said he: "We don't want to impose anything on the people they don't want...
...beard has also been under fire as "a hindrance to spitting and a disturbance to elocution," a symbol of animal lust and corruption, an impediment to gas masks, an affront to pure womanhood. Detractors of the beard might even argue that the shaven jowl is invaluable in time of war: e.g., the Saxons might have won the Battle of Hastings if they had not panicked at sight of the clean-shaven Norman army. (They concluded that it consisted entirely of "Presbyteros"-which is Latin for "priests," Author Reynolds hastily explains, "not Presbyterians-a fantasy far more terrifying...
Like a runaway Wagnerian opera, Fountainhead lumbers from crisis to crisis in a hysterical crescendo of muddleheaded talk and stagy pretentiousness. Its final, most brassy explosion: an enormous, foreshortened view of Gary Cooper-presumably a hulking symbol of rugged individualism -straddling the topmost scaffolding of his new skyscraper. Apparently aimed at Communist and other critics of the American way, Fountainhead will provide some of the corniest grist for Soviet propaganda mills that Hollywood has produced in a long time...