Word: english
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Dates: during 1960-1969
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...that seems to be saying, "Pay attention to us," we might well reply that indeed we do. In the past three years, TIME has run more than 150 stories on one aspect or another of youth, including covers on U.S. teenagers, on London's youthful takeover of staid English culture, on young Americans' feelings about the draft. The Essay section also examined the problem of "Not Losing One's Cool About the Young...
...pressures, the young on campus are carefully keeping their options open. (After all, it was Kierkegaard who said: "The desire to avoid definition is a proof of tact.") From Columbia to U.C.L.A., the shift is away from specialized subjects such as engineering and business administration and toward the humanities: English, history, political science. In particular, engineering, once a burgeoning discipline, is in sharp decline as a major subject: last year nearly a third of the engineering openings in the U.S. went unfilled. A new field of interest is urban planning, for today's young are committed...
...student-prepared exposition of Greek architecture, shown over closed-circuit television in five classrooms. After that, a social-studies class compared the quality of democracy in ancient Greece and in modern-day Mississippi; an art class took up classical sculpture; a philosophy class studied the thought of Socrates; an English class discussed Sophocles' Antigone. In each course students tried to determine how the Greeks expressed their attitudes toward ultimate values...
...major philosophical themes as man's search for order and meaning in life, his adjustment to change and his yearning for self-expression. In an opening unit on "The World Today," the social-studies teachers deal with man's fears of nuclear war, poverty and lost identity. English classes analyze contemporary writings on violence, brotherhood, situation ethics and alienation. The art and music teachers seek to define the values implicit in modern painting, commercial art, jazz and even folk rock...
What it sees becomes a far-out, uptight and vibrantly exciting picture. Blow-Up is the first movie made in English by Italy's Michelangelo Antonioni, the most sensitive and profound of cinema's anatomists of melancholy (L'Avventura, La None, Eclipse), and in the film he risks a screeching change of creative direction. His earlier films inhabited languid interior landscapes and unfolded with the large, slow motions of the soul; his new movie makes the London scene with a Big Beat abandon that almost shakes the film off its sprockets. But the change of means does...