Word: comparisons
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Dates: during 1950-1959
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...Bradford put 30 detectives to work when Ramfis arrived for school. Most of the agents are off-duty policemen or sheriff's deputies, who can spot a suspicious stranger instantly. To buttress their memories, the detectives use tiny cameras to snap hundreds of pictures of passers-by for comparison at Bradford's frequent briefings. The fleet of patrol cars is linked by shortwave radio to the Ambassador headquarters and to local police networks. Ramfis is accompanied constantly by two Dominican officers, and all three are armed; even the houseboy in Leavenworth packs a .32 pistol. There has been...
...reader even vaguely familiar with Eliot, a lot of the book is good fun-it might be titled Sweeney Among the Mockingbirds. Parodist Purcell has great sport with Eliot's comparison shopping between languages and religions, his footnote-prone scholarship, his frequent obscurity ("Fiffles the refulgence of the Pliocene"). Typical of the parody is one passage from a psuedo-Wasteland...
...exhibition is especially interesting in other respects as well. It falls between two shows at Busch-Reisinger of German art of the twentieth century in Harvard collections, an art which is being shown more and more at the moment. The comparison, in terms of quality, is an unfair one. Picasso's oft misquoted statement of how unimportant he feels next to the Spanish masters of the past, testifies to this. But a comparison of the newly hailed German expressionism with the fifteenth century group is as significant for the resemblances which unite them as for the genius which separates them...
...describing the German expressionism of the twentieth century, the same adjectives keep reappearing. "Incisive" and "bold" are among the milder ones. "Brutal" really ought to be an epithet in art criticism, but in this connection it constantly arises as the laudatory description of a narrative school of art. In comparison, and often, unfortunately, in opposition, the modern art of France is cited as an opposed camp. The debate has been made to resemble an international conflict...
...graphic intensity the contemporary Italians had to offer. But that graphic quality is the servant of a spirituality and poetry which makes the word brutal a sacrilege. Durer is as intellectual as the Expressionists are emotional, as richly controlled as the Expressionists, by and large, are sporadic. Again; the comparison may be unfair; but the teutonic bond between a Dance of Death by the younger Holbein and a twentieth century variation on the same theme is inevitable...