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...sounds confusing, it is. Not many novels open with two people with the same name, as Wide Open does with two Ronnies: the Ronny without the big toes and Nathan's brother. Even fewer rename a main character some way into the text, as happens when Nathan's brother is rechristened Jim by the other Ronny. Clarification is not high on the novel's priorities, either...

Author: By Daryl Sng, CONTRIBUTING WRITER | Title: Into the Great Wide British Open | 10/30/1998 | See Source »

...while the existent ones lack the sharpness of revision. Like the movie Wag the Dog, the premise of Compleat Works is loaded with humorous potential that remains largely unmined. Lines like "a nose by any other name would still smell" are funny but pale when compared to the sardonic text-twisting of Tom Stoppard's comparable Rosencrantz and Guildenstern Are Dead...

Author: By Carla A. Blackmar, CONTRIBUTING WRITER | Title: Smashing in Spandex: Playing it Again at the Loeb Experimental | 10/30/1998 | See Source »

...early days, the Web was used almost exclusively for the sharing of long, boring academic documents that I will never understand. The ability to link one text document to the next using the hypertext markup language (HTML) allowed scholastic communities to keep in touch...

Author: By Baratunde R. Thurston, CRIMSON STAFF WRITER | Title: The World Wide What? | 10/27/1998 | See Source »

...Kyrie, the ensemble maintained an excellent balance. The orchestra's restrained style again suited the vocal lines. There was never the sense that the orchestra had to consciously play more quietly to preserve the primacy of the choir. To underscore the character of resignation and repentance of the Kyrie text, Beethoven alternated rising vocal lines and rising instrumental lines that seem to reach up in supplication towards the heavens...

Author: By Chad B. Denton, CONTRIBUTING WRITER | Title: Period Beethoven Program Charms All | 10/23/1998 | See Source »

...Credo best exemplified Beethoven's gifts for text-painting. In a description of Christ's resurrection, the chorus vividly repeated the word "descendit," (he descended) in a motif that alternated between the orchestra and chorus. The forceful repetitions ended with a descending solo clarinet figure. This line, which was unfortunately marred by a bad note, fell, as if from the heavens, to the pure tones of the unaccompanied quartet intoning the "Et incarnatus..." The Credo ended on a lighter note with a playful fugue on the text of "Et vitam venturi saeculi," (and the life of the world to come...

Author: By Chad B. Denton, CONTRIBUTING WRITER | Title: Period Beethoven Program Charms All | 10/23/1998 | See Source »

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