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Word: authorizes (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

Mild-mannered Thomas A. McMahon spends most of his time as McKay Professor of Applied Mechanics. But once every ten years or so, he ducks into a Pierce Hall phone booth, and emerges as Thomas McMahon, author...

Author: NO WRITER ATTRIBUTED | Title: A Powerful Distraction | 10/20/1979 | See Source »

Calling the energy shortage "an issue of power," Robert Engler, author of several books on the oil industry, said the major oil companies control the information and the organizations designed to regulate the industry...

Author: NO WRITER ATTRIBUTED | Title: Experts Discuss Energy Crisis, Debate Role of Oil Industry | 10/18/1979 | See Source »

...time he got himself an Irish country squire's suit to wear for dust-jacket photographs several books ago. The ratty, malicious humor of The Ginger Man (1965) was unmistakably the effort of an authentic writer. Donleavy's recent works seem to be the chores of an author, necessary productions for the furtherance of a literary personage. Donleavy may not actually have dictated his new book while riding in the back of a rented Rolls, but the impression given by Schultz, a farce about an American theatrical impresario attempting to stay afloat in London, is of a novelist...

Author: /time Magazine | Title: SCHULTZ: Forlorn Comedy | 10/15/1979 | See Source »

...each of the master's farces was the coherent comic statement that blithering idiocy was the finest bulwark of the Empire. Donleavy's figures are too slackly drawn to be believable as caricatures and the only statement made by the novel is not comic but forlorn: the author has nothing to say. He seems to have few thoughts about the theater and none about London, or about an aristocracy that refuses to notice that it has been extinct since...

Author: /time Magazine | Title: SCHULTZ: Forlorn Comedy | 10/15/1979 | See Source »

...Lear leaves you with a lot of questions about the place of innovation on the Shakespearean stage. No one would argue for a theater of sterility, shunning all new ideas as "deviations from the author's intentions." But when you have a competent group of performers, and at least one actor of stature and brilliance who can use a play like Lear as a personal vehicle, it seems a cheat to squander the resources on half-baked ideas, directorial interpretations that aren't followed through, and "innovations" that clash with each other. Cain should either have moved in and molded...

Author: By Scott A. Rosenberg, | Title: Not the Promis'd End | 10/15/1979 | See Source »

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