Word: gothically
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...halo run amok. He speaks, and the words emerge in a soft, sepulchral baritone. They undulate in measured phrases, expire in breathless wisps. He fills his lungs and blows word-rings like smoke. The sentences curl upward. They chase each other around the room in dreamy images of Steamboat Gothic. Now he conjures moods of mirth, now of sorrow. He rolls his bright blue eyes heavenward. In funereal tones, he paraphrases the Bible (" 'Lord, they would stone me . . .'") and church bells peal. "Motherhood." he whispers, and grown men weep. "The Flag!" he bugles, and everybody salutes...
...tycoons-having razed slums, banished smog, tamed rivers, and put up a great medical center-paused seven years ago to mull over the stagnant University of Pittsburgh. The verdict: Pitt was a "trolley-car school" saved from obscurity only by a renowned football team and a bizarre 42-story Gothic skyscraper called the Cathedral of Learning. To revive Pitt, the tycoons resolved to spend $100 million, and to get the job done they hired as chancellor Edward H. Litchfield, who predicted that Pitt would soon emerge as "one of the world's greatest institutions." Pitt is not yet remotely...
...obviously didn't. In the third screen version of the grisly Gothic novel by Gaston Leroux, the phantom as interpreted by Herbert Lorn looks about as dangerous as dear old granddad all dressed up for Hallowe'en in a mouthless lavender mask that could probably be duplicated for a dime at any corner candy store. And why does he wear a mask? Because his face is so horrible that if people saw it they would run out of the theater hollering eeeeeeeeeek? No. Because, it turns out, he still looks like Liberace...
...masterfully constructed piece of cinematic art. The cast performs with high distinction; lighting, costumes, sets, and makeup evoke the late Middle Ages with the authenticity of a Durer woodcut; and the entry of the flagellants is surely one of the most appalling scenes ever filmed. But Bergman's Gothic allegory will also trouble audiences philosophically, for it retains its symbolic ambiguity to the end and will not permit a facile interpretation or glib dismissal of any sort. For the Eliot House Anglicans as for the Adams agnostics, then--as well as for all the peculiar intermediate species between--The Seventh...
...common culture. The exhibitions have ranged from rococo to Romanesque to the romantic, and each year a different city has played host. In a sense, the Vienna show -"European Art Around 1400"-is the most complex, for the period forms a cultural valley between the spiritual peak of the Gothic cathedral and the humanism of the later Renaissance. Yet the council has achieved a notable success: for all its diverse elements, the art of Europe around 1400 had an undeniable unity...