"Who Is This Person?" the presentation said, above a schoolmarmish photo of Warren, before listing her credentials.
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Another is an 1822 Gilbert Stuart portrait of a schoolmarmish George Washington that has taken up permanent residence here.
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Sometimes the cyclists ignore me, but more often they openly deride me, laughing at my schoolmarmish insistence on following the rules.
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But the genius of the "locker room talk" narrative is that it casts the president as normal and his critics as naive or schoolmarmish.
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He has called feminism a "cancer" and Malala Yousafzai "schoolmarmish," and as a gay immigrant says that he has faced backlash from other gay people when revealing his politics.
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Ms. Warren is thought to have struggled in part because she was too professorial — too schoolmarmish, if you will — to connect with anyone beyond white college-educated women like herself.
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Only a quarter-century later in that second book, "Admit Impediment" (1981), did the rabid hectoring, schoolmarmish decorum and jumbled syntax (sometimes Ponsot seemed to be rewiring Donne) start to fade away.
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The hosts are the elderly Morkan sisters, Aunt Julia (Patti Perkins) and Aunt Kate (Patricia Kilgarriff), who bustle about nervously as their guests arrive, aided by their niece, Mary Jane (Barrie Kreinik, slightly schoolmarmish, as befits a music teacher).
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They were committed to Jones's ability to lovingly deconstruct the tropes of her genre, to the way she was able to brace her magical worlds with schoolmarmish common sense and yet at the same time make them breathe with wonder.
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In the U.S., there were many decades when the low bun was associated with a decidedly practical, puritanical, even schoolmarmish look: Think of Olivia de Havilland as the boringly sensible Melanie Hamilton in "Gone With the Wind" or sweet, frumpy Auntie Em in "The Wizard of Oz," her weary face framed by wiry gray hair, pulled back and firmly coiled.
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O'Hara made her last picture with James Stewart the following year in the comedic western, The Rare Breed. Malone thought that she modeled her performance on Julie Andrews, "adopting a schoolmarmish voice and demeanor that ill befit her", and coming out with pious statements like "cleanliness is next to godliness". In 1970, O'Hara starred opposite Jackie Gleason in How Do I Love Thee?. During filming in the summer of 1969, O'Hara was involved in an accident on set with Gleason when he tripped on a Cyclone wire fence, falling heavily on her hand which was resting on it.
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Originally shown at the 2001 Venice Biennial, it's a stationary panorama in which several grotesque characters – again played by Ms. Rose – perform on a long altarlike tabletop. A schoolmarmish hostess comes and goes; a smiling blond nymphet in dead-white makeup flagellates herself; a woman in an 18th-century wig spasmodically spoons out chocolate cake; a black, nude woman is put on display and eventually hanged. Ms. Rose, who is based in South Africa, has tackled ideas of gender and race in interesting, sometimes audacious ways over the last few years. On the evidence of this show, her forms are rapidly growing more sophisticated, her images sharper, her thinking more complex – all of which bodes very well for the future of an artist still only in her 20s.
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