Word: moderns
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Dates: during 1950-1959
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...Department especially, however, the undergraduate is generally able to pick and choose. Of the 16 conference courses primarily for graduates, eleven have undergraduate attendance. In several cases, the juniors and seniors in the course far out-number the graduates; this is especially noticeable in Professor Bush's poetry courses. Modern Irish prose and poetry also attracts about 75 per cent undergrads...
...considerably slower than the speed of the jet airliners which will enter service this winter), three seconds means half a mile. In other words, by the time a pilot can adjust his course to avoid another plane, the other plane is upon him. In addition, the controls of a modern airplane are so complicated as to require a pilot's almost undivided attention. He does not have time to watch for other planes, and when he does, his field of vision is necessarily limited by the dimensions and position of his cockpit...
...Churchill "rather hoity-toity"), Rich has kept Chicago at the top of big league U.S. museums. He originated a score of important shows, most recently the exhibition of paintings by Pointillist Georges Seurat that was threatened by fire last month while on view at Manhattan's Museum of Modern Art (bringing Rich to New York within six hours). By encouraging his curators to build up the museum's print, decorative arts and Oriental collections, by starting a photography section and by "sneaking in" a new department of primitive art, Rich has kept the Art Institute growing...
...recession. It is a victim of it. The recession began six months before it got to us. It is historically the case that a small decline in gross national product produces a much sharper decline in automobile sales. This is true because the automobile is a postponable purchase. The modern car is built not for one but for two, three and four buyers. Most of the cars on the road have a large reserve of unused mileage. People are using up that reserve instead of committing themselves...
...this halfway point, the reader begins to see clearly what Swiss Novelist Frisch is up to, i.e., a sort of Franz Kafka's Castle in reverse. In the Kafka fable, the modern hero struggled to gain entry into an official world that denied his existence; in I'm Not Stiller, he struggles to deny the existence that the same world imposes on him. And, as in The Castle, the setting and characters in I'm Not Stiller may be understood symbolically as well as really. Sam's "prison" is his own fear. The "border" at which...