Word: dulling
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Miss Understanding? Re Nancy Gibbs' article, I work at a school in Germany and I'm responsible for a trainee teacher [Oct. 26]. In her first lesson she explained the differences between Ms., Miss and Mrs., a rather dull way to start, I thought. I realized later that this impression was probably due to my own experiences: I never had any problem with being addressed as Miss before my marriage or Mrs. now. I don't identify myself through my marriage but I believe that it is a sign of love to have the same name as the man with...
...rough-seamed battles of blood and violence, Woo handles the entire movie with great care. Inventive camera angles—shot from a cavalry horse’s perspective or from the tail of a dove—meet well-timed slow motion sequences. The soldiers’ dull armor and the tan sands on which they travel create a stunning contrast with the bright, multi-colored banners they carry into combat. For the most part, Woo eschews loud, crashing music in favor of delicate, melodic Chinese stringed instruments, which are often played by characters in the movie...
Alessandro—a super senior in Pforzheimer—and Betsy casually hold hands as they wait. The waiting, far from being dull or awkward, is jocular and full of anticipation. As people banter, Alessandro unfolds a square table and places it in the center of the room. East of the table is a small red couch—the type with no arms. North of the table is a futon covered with a sheet. Opposite the futon is the chair Betsy and Alessandro share—a fuzzy auborigine loveseat with arms of imposing breadth...
...color,” Debussy wrote in 1894 concerning the composition of his three “nocturnes,” “which, in painting, for example, would be a study in grey.” Debussy’s vision of grey is not flat or dull; instead, it is a tone that remains mysterious, though it partially reveals itself in beautiful and distinct flashes. In the same manner, this delicate nuance of a singular emotional mode underlies Kazuo Ishiguro’s first collection of stories, itself entitled “Nocturnes...
...through movement. A choreographed fight-dance between Macbeth (Geir Hytten) and Lady Macbeth (Sarah Dowling) was as evocative and passionate a scene as I’ve witnessed between an on-stage couple. While some scenarios leave more to be desired—the slow-motion banquet scene grows dull after a few minutes, and fails to express the awesome terror of Banquo’s ghost—the beauty is that the audience can simply just leave the room and go explore somewhere else. A genuine feat of both direction and choreography, “Sleep No More?...