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...opposition to and abhorrence of the Nazis, many Germans fear a return to the kind of chauvinism and unquestioning obedience which made the Nazis a power. The focus of this fear centers on the National Democratic. Party (NDP). a new party which the international press was quick to label "Neo-Nazis...

Author: By Thomas P. Southwick, | Title: Brass Tacks On the Brink | 9/23/1969 | See Source »

Finch also predicted that the end of the Vietnam war would be followed by a period of "neo-isolationism" in which the U. S. would try to solve "these terrible problems" at home...

Author: NO WRITER ATTRIBUTED | Title: 50 Welfare Activists Disrupt Finch Speech | 9/22/1969 | See Source »

...WOULD SEEM, then, the Mrs. Lessing leaves little to believe in. And the statement is indeed true when applied to the first five-sixths of the book. However, there is another movement afoot. For a number of years now, a friend of mine--something of a neo-classicist himself--has been adamant in insisting that a New Romanticism is upon us. I've rarely argued the point with him, for one can hardly be unaware of the fact that we (the Now Generation, right?) are entering a new era (the Age of Aquarius, of course) where all we really need...

Author: NO WRITER ATTRIBUTED | Title: The Will to (Still) Believe | 8/5/1969 | See Source »

...annals. It was a century of variety and contradictions, blessed with an embarrassment of riches. Every decade had its transcendent master-David, Ingres, Delacroix, Courbet, Corot, Manet, Cézanne-whose force of personality outshone multitudes of minor but thoroughly accomplished painters. One artistic ism followed another, as Neo-classicism yielded to Romanticism, Realism to Impressionism...

Author: /time Magazine | Title: Painting: Rediscovered Riches | 7/25/1969 | See Source »

Nevertheless, none of the new film movements really makes documentaries. The films of the Neo-Realists were the action of social reality on a particular sensibility: Open city (Rossellini), far from being objective, details at every moment Rossellini's outrage at the Nazi occupation of Rome. Godard's films similarly document the meeting or reality and sensibility, instead of documenting reality in a direct, objective manner. Thus fiction and fantasy abound in his works. The same is true of newer Eastern and Western European films, which delight in twisting old dramatic old dramatic forms and inventing new and yet more...

Author: By Mike Prokosch, | Title: 'Crisis in Narrative Cinema' | 7/18/1969 | See Source »

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