Word: abandons
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...this for Brainstorm: it offers no visible evidence of desperation. This is remarkable in that its star, Natalie Wood, died before shooting was completed. As a result, MGM/UA tried to abandon the film, over the protests of Director Douglas Trumbull and the insurers...
...deal with crime, we do not need to choose between deterrence and social melioration as ways of dealing with crime or to abandon essential civil liberties; that view is made explicit in my book. Mr. Louis, wishing to write a polemic, chose to ignore what I have said and the evidence I have reviewed in order to associate me with a political position he can then deplore. I urge those who have read Mr. Louis to read what I wrote and to make up their own minds. James Q. Wilson Shattuck Professor of Government...
...Brill's ultimate failure to unite successfully knowledge and religion does not imply that the two are utterly irreconcilable. In fact, because the intellectual Hester stands by her daughter when Brill beseeches her to abandon hope, she illustrates the hope of fusing both strands. Based on solely Brill's behavior, it is possible to interpret Ozick's ultimate stance as anti-intellectual. Yet closer inspection reveals The Cannibal Galaxy as a plea for knowledge tempered by Christian love, to pursue knowledge and ambition without ever losing sight of one's family, one's past, and one's beliefs...
...ptomaine poisoning, which had compelled him suddenly to abandon his tour, was followed by a slight attack of pneumonia. For a day or two it did not seem as if he were throwing off the poison. Then gradual improvement followed. His temperature abated, his pulse approached normal. The bulletins of physicians in attendance had at first pronounced his condition "serious." Succeeding bulletins gave more and more encouragement to the hope that he would recover. Public apprehension was allayed...
Basically, Picasso cared nothing about civilization or its discontents. He admired, and tried to embody, the child and the savage, both prodigies of appetite. To feel, to seize, to penetrate, to abandon: these were the verbs of his art, as they were of his cruelly narcissistic relationships with the "goddesses or doormats," as he categorized the women in his life. Hence, the energy of The Embrace, 1925, its lovers grappling on a sofa in their orifice-laden knot of apoplectic randiness. Hence, too, the fear (amounting sometimes to holy terror, but more often to a witch-killing misogyny) that emanates...