Word: modernes
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Dates: during 1970-1979
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...Economist struck the most sobering note. Attributing the rise of modern cults to the decline of traditional religious belief among educated people, the weekly observed: "What happened in Jonestown, Guyana, is a ghoulish cautionary tale for these people who, in these differing ways, are seeking God in a secular world. In that search for God, it is all too easy to blunder into the arms of Satan instead." Added the Vatican news paper L'Osservatore Romano: "Christianity is a religion of life, not of death." West Germany's Stuttgarter Zeitung philosophized less cosmically: "It was not just...
...federal judgeships, the largest one-shot increase ever. Given normal turnover on the bench, half of the nation's 643 federal appeals and district judges will owe their jobs to Carter by the end of his term in 1980. Says Leonard Janofsky, American Bar Association president-elect: "No modern American President has had such an opportunity to mold the shape and character of the law in our justice system...
...adumbrations have ever proved so accurate, if not necessarily in the otherworldly sense intended. Since the discovery of his 3,300-year-old tomb 56 years ago last month, the boy pharaoh has enjoyed a scintillating afterlife in the vision, imagination and, it must be said, the commerce of modern man. The treasures from his Valley of the Kings resting place, shown in packed museums around the world, have inspired countless designers of art, jewelry, fashion and frippery over the decades. The current exhibition, the "Treasures of Tutankhamun," may well have been viewed by 7 million Americans by the time...
Soon after arriving at Yale, Brustein began--perhaps out of necessity--to formulate a new approach to reproducing classics in the theater. In his article "No More Masterpieces" (1967), Brustein argues that the classical canon (which includes Shakespeare and modern playwrights such as Ibsen, Chekhov, and Strindberg) should continue to serve as staple for repertory theaters, but that there should be "no more piety, no more reverence, no more sanctimoniousness," and no more dull, "definitive" productions: each new production of a classical play should be regarded "less as a total re-creation of that work than as a directorial essay...
Brustein's books, The Theatre of Revolt (1964), Seasons of Discontent (1965), The Third Theatre (1969), and Culture Watch (1975), are not only great reading--written in a direct, lively style that combines the best features of journalism and literary scholarship--they provide an approach to both modern drama and the current American theatrical scene. His writings, diverse as they are, display a common vision: the theater is not, and never has been isolated from day-to-day human existence and the problems of any given society--it is created out of those problems and fed by the artist...