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

...change brings new relationships. Kirk now has to develop a rapport with cox Susie Peterson. "Ultimately, the stroke relies on the cox, to tell her what position the boat's in. I set the ratio of the stroke; but Susie will tell the women about technical problems, and she calls most of the power tens...

Author: NO WRITER ATTRIBUTED | Title: Some Review Notes for Crew 101 | 5/10/1979 | See Source »

...being a college All-American, he wants Harvard's improving program to become a national power ("If that means playing third and recruiting some good players, that's okay with me"), and he wants to try a year or more playing pro. And if he is able to develop one big weapon or raise his overall play a level or two, he could do quite well...

Author: By John Donley, | Title: Don Pompan: The Harvard Tennis Team's Lively Ace | 5/9/1979 | See Source »

Earlier this year, Bok told students who wanted Harvard to initiate anti-apartheid shareholder resolutions to go do it themselves; now Bok is again abdicating his ethical duties. "If there are those who believe that stricter guidelines are needed," challenges Bok, "let them propose clear and consistent standards and develop practical means for their enforcement...

Author: By Eric B. Fried, | Title: Naming the Hand That Feeds | 5/9/1979 | See Source »

BASEBALL INTRINSICALLY rejects the cult of personality, the People magazine approach to life. Sure, ballplayers have personalities; but they develop personalities on the field as well--DiMaggio's kingly elegance, Ryne Duren's fastball-to-the-loge weirdness. Thurman Munson's combative surliness--and, in the end, these personalities are more engaging. For the most part, you get these personalities in The Yankees, personalities on grass and clay, not carpeting. Your team, maybe, Remember Ross Moschito...

Author: By Paul A. Attanasio, | Title: Pantheon in Pinstripes | 5/7/1979 | See Source »

ALLEN'S TROUBLE with writing serious dialogue does not totally overwhelm Manhattan because much of his intellectual humor remains, and his cinematic direction--with the work of Gordon's Willis's camera--continues to develop in exciting ways. Manhattan is shot entirely in black and white. Along with careful application of gushy George Gershwin music at critical moments, the black and white suggests nothing more than Capra and corniness...

Author: By Scott A. Rosenberg, | Title: Voices from the Couch | 5/7/1979 | See Source »

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