Word: veilings
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Outside the U.S., European women fare best. In France, for example, some 22% of lawyers are women; so are 18% of doctors, 40% of medical students and 90% of pharmacists. President Valéry Giscard d'Estaing has two women in his Cabinet: Simone Veil (Health) and Françoise Giroud (Women's Affairs). Divorce and abortion laws recently have been liberalized, as have been property rights, which until recently sharply discriminated against women. Many of the changes are more apparent than real. Career women are largely a Paris phenomenon; in the provinces, the laws have changed much faster than the customs...
...model for good citezenship and good fellowship. If they occasionally snarl or squabble over a bone, the battle is short and direct and the motive far more pressing than tenure or trendiness. If some of them are not too bright, they make no effort to veil the fact under layers of cant and credentials. And, on the whole, they seem to be the only individuals in Cambridge who really enjoy themselves most of the time. Long life and good times to them; may they always be there, in the Yard, to keep us from losing sight of the obvious...
...perception or memory, and each finds form in a peculiar kind of physical description. The invisible cities bulge with imaginative and very specific detail: Chloe is peopled by "a girl twirling a parasol on her shoulder," "a woman in black, showing her full age, her eyes restless beneath her veil, her lips trembling," "a young man with white hair," and "two girls, twins, dressed in coral." In Eusapia, a city of the dead...
Outer Limits. Tetley's vision is not literary but psychological, vital and sexual. Absent is the usual dance contest between Daphnis and the cowherd Dorkon, danced by Reid Anderson, for the reward of Chloë's kiss. The veil dance of Lykanion, the Grecian Salome, is gone too. Instead, German-born Ballerina Birgit Keil slithers into a hot pas de deux with Cragun, whose ardent body is counterpointed by his gentle face. Through her mellifluous movement, Haydée conveys a Chloë too ripe to be altogether innocent...
Rubens was not an esoteric artist. The world did not veil itself from him in ambiguities. Perhaps no other painter since Titian displayed such an assured possession of his own experience, and beside it, even Picasso's notable lebenslust seems rather cramped. In a sense, Rubens was to the 17th century in Europe (he died in 1640) what Picasso was to the first half of the 20th. But Rubens' influence then went on, which Picasso's shows no sign of doing, for another 200 years. First there were his ex-students, Anthony Van Dyck and Jacob Jordaens...