Word: edward
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Dates: during 1980-1989
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According to observers, that's exactly what happened in Soc Rel. The department grew "wings," divisions of scholars with similar interests. "Social Relations served a very good purpose, but I felt it fractured in the latter years," says Edward L. Pattullo, director of the Center for Behavioral Sciences. According to Pattullo, Social Relations came to function as four separate departments under a larger framework. Others say that by the 1950s the department was already tenuring scholars for achievement in particular fields, having little regard for a candidate's contributions to "social relations" broadly understood...
Suspense comes with the underhanded, dastardly intrigues of Lord Guilford's father, the historically in famous Duke of Northumberland. The controlling force behind the during the latter portion of Edward VI's reign, it was Northumberland's lust for power that prompted him to arrange the marriage between his rather impish Beau-Brummel-of-a-son and the potential inheritress Jane, then fourth in line for the throne...
...Games, Northumberland is every inch the cold-hearted villain, complete with gaunt complexion, beady eyes and extended five o'clock shadow. The first of the principal actors to appear on-screen, we see him directly after the camera shows the ax being lowered over the head of King Edward's former favorite, the Duke of Somerset. After hearing of Somerset's death, Northumberland nestles back into his chair and with an admirable coolness, casually inquires, "Did he die well...
...spectacular. Maximillian Schell, the most prominent of four actors who play Peter, has moments of leonine power, and Vanessa Redgrave is striking as his treacherous sister. But the rest of the all-star cast--including Hannah Schygulla, Laurence Olivier, Trevor Howard and Mel Ferrer--is lost in the pageantry. Edward Anhalt's script is flabby and inert, and history is contaminated with hokey invention (a bogus meeting in London, for instance, between Peter and Sir Isaac Newton...
This savagely funny scene, as momentarily plausible onstage as it is < preposterous in the retelling, is the central event of Edward Bond's Restoration, a stunning leftist anthem masquerading as a literary curiosity. The play marries the style of, say, Congreve or Farquhar with that of Bertolt Brecht: it blends a knowing pastiche of early 18th century comedy of manners with a 20th century call for revolution. Bond, 51, author of such dramas as Saved (1965) and The War Plays (1985), has for two decades been described as one of Britain's most promising playwrights. Yet his work has remained...