Word: dictions
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Dates: during 1990-1999
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...notebooks, journals and letters; Opus Posthumous contains all but these last three. The few additional verses in Collected Poetry and Prose originate from Stevens' Harvard years, when he served as president of the Advocate. Several florid sonnets, one explicitly in "Imitation of Sidney," lack the tautness and precision of diction characterizing his later style. They scan too well, betraying too much of youthful impression-ability. Stevens endured nine barren years after graduation before, happily, returning to poetry...
...potato latkes, but she's also worldly-wise--a popular characterization of a Jewish mother. Austin Pendleton makes Mr. Dussel both droll and sympathetic. As Otto Frank, George Hearn does come across as a caring and protective father figure, but one oddly formal with his family: his diction is too consistently calm and collected, in a situation of such tremendous pressure, to be convincing. Sophie Hayden, as Mrs. Frank, also lacks emotional variation. Nevertheless, the principal actors work well together, especially in complementing Anne's many-sided personality...
...there is one problem with using dictation instead of a keyboard, it's the effect it may have on your writing style. I tried writing a paper for a seminar with the program, only to find that my diction and phraseology when I speak is apparently nothing like my style of writing...
...Titus Andronicus is a particularly sympathetic character, and the actors don't make the mistake of trying to win sympathy. Nor do they strive for the kind of perfect diction and modulation one normally expects from performance of Shakespeare. Instead, they play up the wild distortions, creating a melange of half-bestial, half-diabolical passions. As the two unredeemable villains of the play, Demitrius and Chiron, Kelly Keough and Chuck O'Toole '97 are costumed and made up to resemble a cross between macabre spirits and S&M partygoers--an image reinforced, perhaps overdone, by slinking movements and exaggerated gestures...
Colapinto's Macbeth seems to have two basic styles of diction: shouting and petulant muttering. The first, which appears in most of his earlier scenes, entails Colapinto's roaring his lines very loudly and in evident agony at the ceiling, the audience, the other characters, or whatever happens to be handy. The goal, evidently, is to convey Macbeth's anguish and guilt. This is in itself not really so objectionable. Histrionics is a forgivable flaw in a performance that calls for intense extremes of emotion...