bourgeois

Miller’s glorious Lina, a woman who rejects bourgeois propriety as beneath her, is one of Shaw’s great comic creations.

Playwrights who rebuked bourgeois safety when they were alive deserve better than to be given the masterpiece mausoleum treatment.

Her life has texture and perhaps meaning, even if it’s a haut bourgeois bubble.

It was included in MoMA’s seminal 1972 show “Italy: The New Domestic Landscape,” which presented furnishings that looked beyond aesthetics and function toward sociocultural shifts, including the rejection of bourgeois propriety.

Pierre-Auguste Renoir is here, too, with his bourgeois couple in sumptuous evening finery taking in an evening of theater from their box high above the stage.