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Word: leaping (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

Love's long leap can be confusing, too. One playboy is said to have phoned a young friend in Rio to invite her over for a weekend, neglecting to say where he was calling from. She blew into his Paris apartment half a day later, only to find that her host was in Rome. No matter. She hopped another jet, was in Rome in two hours...

Author: /time Magazine | Title: Customs: Love's Long Leap | 12/13/1963 | See Source »

...spectacular leaps leave him suspended in air an impossible, essential instant too long-he has even perfected a leap in which he turns half circle while airborne and disappears into the wings flying backward...

Author: /time Magazine | Title: The Dance: The Essential Instant | 12/13/1963 | See Source »

...times Iacavazzi tried his famous leap over the line, and twice a ready band of Crimson men stopped him in mid air and threw him back vigorously. On the third time, however, Iacavazzi just barely crossed the goal and an eager referee signalled touchdown. Charlie Gogolak kicked the extra point and Princeton was back in the game trailing only by a score...

Author: By Joseph M. Russin, | Title: Crimson Downs Tigers, 21-7, in Upset; Victory Rivives Harvard's Title Hopes | 11/9/1963 | See Source »

Aside from Alfred's exultant leap over the railing Friday night, and Eubolus' unfortunate, though hilarious, fall off the stage Saturday, this production allowed itself only one major piece of stage drama. In the fourth act, the old crippled woman Mainas (expertly voiced by Joan Tolentino) draws the scene of Iphigeneia's death in a panoply of colors: the yellow beard of the priest, the flowers blue and red and yellow; "I saw the white tents on the ocher sand, / And the staring eye-green sea, and all those men / In their silver breast-plates, and the stones / They laid...

Author: By Joel E. Cohen, | Title: Agamemnon | 10/15/1963 | See Source »

They are, he says, contrasting versions of the same image-one controlled and disciplined, the other bursting. They neither draw the eye into spaces beyond or leap out to envelop it, for Gottlieb means them to be so flat that they will not violate the surface of the canvas and so sim ple that they can be absorbed at a glance. To Friedman, they suggest "the resolution of serene and aggressive elements" and hence "the paradox of civilized man." To others they are simply there, in all their stubborn purity-statements without any definite meaning and with little magic...

Author: /time Magazine | Title: Art: The Blend's Best | 10/4/1963 | See Source »

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