Word: canon
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...such unyielding orthodoxy runs through the seven essays in John T. Noonan Jr.'s ecumenical collection. The Morality of Abortion: Legal and Historical Perspectives (Harvard, $8.95). Noonan, a canon law expert, was widely praised for a historical study of contraception that demonstrated how Catholic teaching on the subject could change. But Catholic teaching on abortion, he insists, is far less flexible. His contributors offer a broad front in favor of the unborn...
THAT Salvation Army-style sentiment is the unlikely canon of a muscular, bearded band of "hog" riders known as Hell's Angels. A hog, of course, is a motorcycle, and the Angels have long been first among riders of the open road. Born in California in the late 1940s, the black-clad, swastikaed Angels and their roaring bikes became the terrors of Highway 101. Guzzling beer and shaking the countryside with obscene laughter, they broke up legitimate motorcycle rallies and often sacked small coastal towns. Perversely, pop music (Black Denim Trousers and Motorcycle Boots) and film (The Wild...
What can you say about a brilliant medieval philosopher-theologian, 37 and virginal, who falls in love with his aptest pupil, the 17-year-old niece of a canon of Notre Dame, has a child by her, marries her and then is castrated by the hired thugs of the irate and possibly incestuous-minded uncle? After all that, Abelard and Heloise live in undying love in separate cloisters. Erich Segal, meet Playwright Ronald Millar, your British opposite number...
...that he was watching an ad trailer from the film-to-be. Thrill to A & H in a nude scene played in one-watt lighting. Chill as A is symbolically castrated by some sinister leprechauns left over from a ballet of yesteryear. Hiss the uncle. Chortle with a tipsy canon (Ronald Radd) and a tipsier abbess (Jacqueline Brookes). So much for medieval color. In dialogue. Playwright Millar has spared his audience the one line that the show subliminally calls to mind: "This thing is bigger than both of us." The lines that are heard call for the violin sobs...
Leonard Lehrman, not easily deflected in any endeavor or by any obstacle, mastered German in a summer in order to translate Days of the Commune, the only major play in the Brechtian canon unknown to English-speaking audiences. The Germans, fastidious in matters literary, rank this particular play as one of Brecht's three or four best. Brecht himself they mention in the same breath with Shakespeare and Goethe. One word about Lehrman: music comes just as easily as instant linguistic virtuosity to this Dunster House dynamo. Having studied piano seven years under Elie Siegmeister, Lehrman has for the past...