Word: et
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Dates: during 1970-1970
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...independence." Gerzon scarcely bothers even to rephrase the cliches. "In adult society," he writes. "we see everyone trying to keep up with the Joneses: but the sad thing is that the Joneses are trying to keep up with the Smiths, and the Smiths with the Johnsons, ct ecetera." Et cetera...
...your own obituary notice. By running that same notice over and over again American consciences have written the Indian off. And Gershfield's work is of a piece with conventional liberal sentiment; there is the same failure to differentiate between various Indian peoples, the tired old noble savage myth, et al. More appallingly characteristic, there is no thought for the million or so Indians still alive; no disturbance to break his carefully wrought mood. Only grad students in film school can afford the luxury of this kind of sentimentality. Yet Gershfield gives the appearance at least of being aware...
...Pusey's letter was most unfortune. Even John Powers, who shared Pusey's feelings that the Patriots should be k?et away from Cambridge, was one of the disappointed people. "It was as if Pusey went up to the Patriots with a pistol in his back pocket and a snowball in ??s hand, and threw the snowball." Powers explained...
Since the publication this fall of a translation of Humanisme et Terreur, a book scarcely available till now even in French, we are better able to locate the sharp edge of Merleau-Ponty's perception. The immediate object evoking his response was Arthur Koestler's Darkness at Noon . This account of the Moscow trials of the 1930's. presented as fiction, appeared in 1946. Along with his argumentation in The Yogi and the Commissar. Koestler's novel was taken as the expression, and for some, the justification of disillusion and inwardness, a mood then pervasive among Western intellectuals...
...sistance in Boulez's continuing campaign to rediscover Debussy is the London Royal Opera's new setting of Pelleas et Melisande, Debussy's only opera (1902). Debussy believed that in opera "nothing should impede the progress of the drama-all musical development not called for by the words is a mistake." In his rigorously faithful setting of Maeterlinck's moonstruck play about love and fratricide, Debussy ruled out full-blown arias as well as vocal ensembles, and restricted the singers largely to declamation, meanwhile raising the orchestra to a new importance as the main commentator...