Word: formality
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Dates: during 1950-1959
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Luxuriating in her new ability to go about by herself, to movies or coffeehouses or department stores, the city woman derides the old system, thinks that Michiko Shoda is mad to want to live the stiff, formal life of the imperial family...
Despite the new freedom, the Japanese girl has a terrible time meeting a man socially; and when she does, etiquette forbids her probing his family background and prospects. Even among the most emancipated there is a gradual drift back to the miai, or formal meeting preparatory to an arranged marriage. But there is a big difference: instead of parents' having the final say, the young men and women have obtained a reasonable veto power, and, after a miai, will often see each other for several months before making a decision. Says an observer: "A lot of things are changing...
Washington has rarely seen so truly cheerful a pair of official guests as El Salvador's President José Maria Lemus, 47, and his pretty, 32-year-old wife. At National Airport, when President Eisenhower greeted them, at a formal White House dinner, after a Manhattan ticker-tape parade, their smiles came naturally and easily and their moods were clearly carefree. A 45-minute conference with Ike stretched Lemus' smile even wider. Ike told him, said Lemus, that the U.S. was considering "with sympathy" the establishment of U.S. import quotas for coffee that is piled mountain-high...
...pieces are short (some last only a few seconds); virtually every work is full of silence; the sounds heard are frequently very soft and are clearly the result of delicate calculation. There are few mass effects--rather, the attention is concentrated upon a succession of single tones. There is formal economy, too: the care Webern spent in organizing his structures finally resulted in pieces in which every note is closely related to a small amount of material--perhaps only a few notes--presented at the beginning...
...time, Lefty was as notable for its formal audacity as for its rabble-rousing radicalism; nowadays we are almost used to seeing more actors in the auditorium than on the stage, but Mr. Odets exploited his gimmick skillfully, and it still works. The stage at Agassiz represents the speakers' platform at a union hall, and the audience are supposed to be taxi drivers at a strike meeting. The house is infiltrated with agents provocateurs, carefully drilled by Mark Mirsky to keep up a running fire of grumbles, taunts, and shouts, and to bring the audience into the play by putting...