Word: familiarization
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Dates: during 1960-1969
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...expect that the subjects discussed will often seem familiar. But we believe that they will be spiced with pungent viewpoints. We hope to see inventive use of the printed page. We hope to be amused, annoyed, brought up short, gain new understanding. Most of all, we expect the unexpected...
...scenes, the breakneck pace, the agenda were all familiar as the chartered jet of President Nixon's emissary touched down at Buenos Aires' Ezeiza airport. So, too, was the penumbra of latent violence. Soldiers and policemen lined the streets, ready for any further outbursts of hostility against Nelson Rockefeller. By way of a welcoming salute to the New York Governor, terrorists the week before had fire-bombed 13 Buenos Aires supermarkets belonging to a firm controlled by the Rockefeller family...
Each fresh stage of violence in the Middle East has been marked by mu ual vengeance for major provocations by each side. Last week was no exception. Both sides went beyond their now familiar tactics of artillery duels along the Suez Canal and Israeli air force sweeps of Arab fedayeen positions in the Jordan River valley. In a new in tensification of their struggle, the Arabs and Israelis launched a damaging string of commando assaults...
...archaeologists have identified at least a dozen different layers within Schliemann's hillside. None of these historic Troys, Berve savs, would in any way be familiar to the Iliad's readers, except that they overlooked a plain near the Aegean Sea. In fact, the layer that most closely coincides with the date suggested by Homeric scholars for the Trojan War (circa 1200 B.C.), and that is known as Trov VI to archaeologists, seems entirely improbable as the battle site. Berve gives two reasons: 1) the fortifications enclose an area where no more than a few hundred people could...
Boos and Bravos. Penderecki scored the opera for an 80-voice chorus and a massive orchestra: 32 woodwind and brass instruments, 42 strings, an organ, harmonium, electric bass guitar and a diverse array of percussion instruments, including timpani and musical saw. Though it produces the now familiar range of Penderecki sound-semi-tones and quarter tones, tone clusters, glissandi and primitive knocking noises-the orchestra plays a secondary role to the chorus, which is constantly busy humming, singing neo-Gregorian chant, screaming, laughing, muttering and yelping...