Word: maxed
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Dates: during 1970-1979
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...write to script." That sort of remark annoys Jerry Goldsmith. Says he: "There are damn few composers alive or deceased who have had the opportunity we have had to experiment with atonality and counterpoint." Next month Goldsmith will perform his themes from The Wind and the Lion, The Blue Max and The Waltons in London's Royal Albert Hall...
...smoothly with the rest of the Kitchen, the house--in short, the world, Waking to that well-designed harmony, you were expected to feel one, good, and two, part of a universal humanity. Considering the social overtones of the school, portfolio contributions from German social satirists George Grosz and Max Beckmann are understandable...
Many of the German contributions, such as Heinrich Campendock's woodcut of a sinister fairy tale world, show the influence of a melancholy expressionism. Max Beckmann turns his acerbic melancholy on German society in "Wrestling Match:" a joyful orchestra accompanies two headlocked wrestlers in front of high society onlookers who hoot from gilded balconies or eat delicacies at tables bordering the fight. In a lighter vein, Franz Marc characteristically uses animal symbolism in his woodcut "Creation." Lighter still is Dadaist Kurt Schwitters' "Composition with Profile," a well-composed, child-like doodling...
...intuition is that sentences like Max is easy to please and Max is eager to please are basically the same construction, differing only in meaning--and that's the way two hundred years of English grammars described them. In fact, the structures of those sentences are very different, and one way to describe that difference is in terms of a notion of deep structure. It bothers Percy that the transformational grammar is not somehow built into our nerves and synapses, actually generating sentences while we talk, but that is the paradox: The model reflects a knowledge we do have about...
...actresses who play her and audiences who see her. But what was Shaw's personal notion of Joan? Using his own inflective emphases, he describes her as a "protestant" and a "nation-alist." She protests against the authority of the church represented by the Archbishop of Rheims (Max Helpmann) in favor of the individual conscience. She subverts the authority of the lords temporal and their feudal privileges by proclaiming the supremacy of the nation-state. Her real visions, then, are of the dawn of the age of democracy, and her real voice is the vox populi...