Word: joylessness
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...cuff military analyses? No, Swarthmore's Grant Oliphant and Chris DeMoulin want to argue pop psychology. Speaking first, Oliphant launches an elaborate attack on stoicism, celibacy, alienation and the jut-jawed manner of one of his tournament hosts. Oliphant's rhetorical ripostes ("Will we sentence ourselves to joyless purgatory?") and practiced voice glow with persuasive charm...
...this stark, scalding and implacable drama, John Osborne draws up a balance sheet of a personal hell. His lawyer anti-hero Bill Maitland (Nicol Williamson) is "irredeemably mediocre," and incorrigibly self-destructive. He indulges in lacerating sado-masochistic diatribes, pops pills and suffers interminable hang overs. His joyless office liaisons sate only his lust, and he leaves his wife, mistress and daughter parched for love. In short, he is a mess, but he is the kind of mesmerizing mess that more men see in the shaving mirror in 1981 than did in 1965 when the play opened in New York...
...play's message is that an individual does not stand a ghost of a chance in a tyranny. Despite some farcically funny moments, and a brigade of song-and-dance gypsies-presumably immune to Communism's joyless coercions-The Suicide, as of 1980, iterates the obvious...
...terms of real dollars, spending has not increased since he took office. The flip side of financial efficiency, however, has been what one official labels the "corporatization" of Harvard. The University, he says, has become increasingly bureaucratized, routinized and inflexible since Bok took office; the result has been a "joyless" administration. Bok and his advisers realize, as Steiner says, that the controls have "no doubt had a negative effect on the 'feel' of the University," but they insist that they had little choice. "Harvard does run more like a corporation," says College treasurer George Putnam '48, "because...
...gime and the exploited lower orders. He tacks on an epigraph from Italian Marxist Antonio Gramsci: ". . . the old is dying and the new cannot be born; in this interregnum, a great variety of morbid symptoms appears." His Don, solemnly played by Ruggero Raimondi, is a joyless, brooding creature whose compulsive sexuality is merely a neurotic reflection of social tensions. Losey gives us the least passionate seducer on film since Fellini's curiously chilly portrait of Casanova a couple of years...