Word: inners
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Dates: during 1950-1959
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...Welt: "A new Nietzsche dates from this edition." In Schlechta's interpretation, Nietzsche's "will to power" emerges not (or not alone) as man's will to mastery over other men, but as his will to a sort of excellence or virtue in his own inner being. Far from upholding Deutschland-über-Alles traditions of Germanic superiority, this Nietzsche is the elite-minded aristocrat who wrote scornfully of his countrymen: "The Germans are responsible for the neurosis called nationalism from which Europe suffers." To Schlechta and his colleagues, the new Nietzsche is the seer whose volcanic...
...them, personally went to Japan and brought back two experts: Yoshio Aoyama of Tokyo's Kabukiza Theater as director and Stage Designer Motohiro Nagasaka for sets and costumes. Between them, they stripped Butterfly of all its sukiyaki-styled stage business, painted it in subdued colors ("to express inner harmonies and conflicts"), dressed the actors in gorgeously detailed costumes hand-sewn in Japan. They also added authentic dramatic touches...
...Roper's lecture stirred some of London's art fraternity to reply. Said Art Director James Laver of the Victoria and Albert Museum: "El Greco? Astigmatism? Admittedly! But the genius begins where the astigmatism ends." What Trevor-Roper had not dealt with was the artist's inner eye, i.e., imagination. William Blake once wrote that "a fool sees not the same tree that a wise man sees." Perhaps El Greco's inner eye was also astigmatic...
...potential troublespot in any rocket engine is the nozzle through which the hot gases escape into the air. Liquid fuels can be used to cool the nozzle, circulating through its hollow walls or seeping through small holes to provide a protective layer on its inner surface. Solid fuel cannot do this, but other means have been developed to keep the racing gases from destroying the nozzle. It is lined with some such high-melting-point material as graphite or zirconium oxide. As the fuel burns, the nozzle enlarges somewhat because of erosion, but the burning rate of the fuel...
Aside from its tendency to jargon, the trouble with verbal music criticism, says Keller, is that it tends to describe musical forms but fails to penetrate beyond them to the "fundamental unity" at the heart of a composition. To lay music's "inner architecture" bare, the critic must abandon language ("The age of description is over") and so immerse himself in analysis of a work that he "lives with it and dreams about...