Word: traditionalist
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Dates: during 1960-1969
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...devoted completely to Lowell, the Advocate published a description of the poet by Allen Tate, a professor at the University of Minnesota. Tate said Lowell's work "is not equalled by anybody else of his generation." "He is a poet an not an innovator on principle." A formalist and traditionalist, "he is one of our few poets, of any generation, who have a living historical sense...
...appointed director last January after angrily resigning from Manhattan's Guggenheim Museum. Sweeney stuck to Derain's pre-World War I output, but even with the span thus limited, one fact about Derain comes through. Only seemingly did Derain belong with his contemporaries; essentially he was a traditionalist. In the words of Jean Cassou. curator of the Museum of Modern Art in Paris, he was "the modern artist who refused to be modern...
...Wilson is preoccupied by his sick fantasy, as he had previously been by sexual aberration (homosexuality is a major theme in each of his first three novels). One would like to think, as I suggested earlier, that this new novel was prompted by a need to escape the traditionalist critical niche. And yet it may well be that the violent disgust with modern Britain (he is disgusted, mind you, not angry) that Mr. Wilson expresses in The Old Men at the Zoo is entirely genuine, and not just a calculated shock to England's Aunt Ednas. If so, Mr. Wilson...
...Joio had his own opening-night forebodings about Blood Moon. "Conservative people will think it's too modern," said he, "and modern-minded people will think it's too conservative." He got no argument. "I don't like any opera in English," huffed one white-tie traditionalist, and most critics were upset that Dello Joio had used a 19th century idiom. Still, the opera had its redeeming features. If the music lacked the strength of a Verdi opera, it was consistently melodious, at times truly lyrical. If the plot was melodramatic, it gave hints of Dello Joio...
Composer Castelnuovo-Tedesco, 66, one of the most prolific and successful of Italy's traditionalist composers, wrote his Merchant in competition for the "Campari Prize," awarded by the opera-loving manufacturers of that bitter Italian aperitif. Castelnuovo-Tedesco's winning entry shifted some of the play's action around, telescoped five acts into three, transformed some scenes into ballets, added Shakespeare's Sonnet No. 109 ("O! Never say that I was false of heart") for his third-act finale. Under Castelnuovo-Tedesco's streamlining, the evils of intolerance become the play's main theme...