Word: elements
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Dates: during 1950-1959
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Glenn Theodore Seaborg, 45, director of chemical research at the University of California's Radiation Laboratory, explains with disarming simplicity: "I discover new elements." Born in the mining town of Ishpeming, Mich., he found his calling in a Los Angeles high-'school science class, pursued it at the University of California (Ph.D., chemistry, 1937), became a key developer of the atomic bomb. In 1951, with Colleague Edwin M. McMillan, he won the Nobel Prize for his discovery (in 1940) of element 94 (plutonium), has since played a heavy role in finding subsequent elements (through No. 101). Although...
...same element of contrast strikes visitors, at least those who do not patronize the luxury hotels imported from Miami Beach and completely isolated from the life of the islands...
...belief that "the unifying and invigorating element of work in history and the humanities must be the conscious and scrupulous use of the historical method" the School of Historical Studies was formed. Inside this School the subjects range from Greek archeology--where the Institute enjoys a reputation comparable to that of the School of Mathematics--to modern political history. In between, the Institute admits that there are many "bizarre lacunae," but nevertheless, the historical method provides both a unifying basis and a criterion for possible expansion in coming years if finances permit...
...most insidious element in the denaturalization of the American films stems from the nature of the market. Studies have shown, Bluestone points out, that the habitual movie-goer (particularly female) depends on the weekly movie for an escape from the tedium of daily life. And of course, everything must turn out for the best and true love triumph in the end. Hence, too, the "star" system in which the viewer identifies himself with a particular actor and the actor with a particular role. The popular film is thus required to create and sell folk myths which are satisfying and reassuring...
Barlach, for instance, represented both by woodcuts and lithos, proves far more convincing in the former category. The woodcut, rarely a delicate medium, is one challenging to subtlety; Barlach capitalizes upon its bold, vigorous hardness, converting a linear element to sculptural, determined shape, substituting candid and forceful areas for greater refinement of expression. In dealing directly with problems of drawing, via lithography, Barlach's result becomes highly tenuous, unsure, and often completely confused. The same attempt at vitality employed to convey vignettes brutal in subject falters and emerges much weaker in its substitution of the crayon for the chisel...