Word: modern
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Dates: during 1960-1969
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...objects of Suenens' complaints ranged from the repressive measures employed against modern Catholic theologians to the church's attitude toward women. But his prime target was Vatican bureaucracy. The Pope is indeed head of the universal church, Suenens affirmed, but he is also the prisoner of a curial system that makes him more an emperor than a successor of Peter. Most contemporary church problems, the cardinal suggested, stem from the legalistic mentality of the cardinals and other functionaries who surround the Pope-men who refuse to recognize that bishops, priests and laity must also participate in the governing...
...little patience with ultraliberal Catholics who challenge basic church doctrines. "If you don't believe in the Holy Spirit or Resurrection or life after death," Suenens explained to TIME'S Robert Kroon in Brussels, "you should leave the church. I don't see the modern church as a sort of spiritual Red Cross organization." But he also insists that something must be done, and soon, to stop "this hemorrhage of priests. The part-time priest, married or not, could be a first step. The world is evolving and the church must evolve with it." Such suggestions infuriate...
...which Babel fictionalized his experiences as a correspondent riding with the Red Cossacks against the Poles who repulsed the Bolshevik attempt to Communize their homeland. But instead of falling into the assembly line of Social Realism, Babel fell into one of the noisiest silences in the history of modern Russian literature. Some of the reasons for Babel's failure to fulfill his production quotas are touched on by Ilya Ehrenburg, Lev Nikulin, Georgy Mun-blit and Konstantin Paustovsky, writers and former friends of the author. Their reminiscences compose most of the generous appendix to You Must Know Everything...
...explain that they are not trying to convert people to their way of life. "We want to make them more God-conscious," one man said. They believe that their movement has relevance to the modern world. "Young people are attracted [to the movement] because they are dissatisfied with the material life," said a young married woman...
Such is the slight story of Tropici, a film about modern-day Brazil made by an Italian, Gianni Amico, for Italian television. But the content of Tropici is primarily political: the effects of foreign exploitation on a Third World nation. Amico has correctly realized that traditional narrative, no matter how portentous, is inadequate for describing a social reality that lies beneath surface story lines. Therefore he has interweaved his narrative with a conventional documentary which attempts to set Miguel's story in context, to explain in party why Miguel is unskilled, why a country so rich in resources...