Word: parallelling
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Dates: during 1970-1979
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...special point about The Crucible however, is that Miller was using historical topicality as a means of making a statement about contemporary society. He was drawing a parallel between the religious witch-hunts of 1692 and the political witch-hunts of the decade following World War II. Both were disgraceful episodes in our history...
Miller was not the first person to see the parallel between the late 17th century and the middle of the 20th, for Marion Starkey had in 1949 published a widely read book on the Salem episode, The Devil in Massachusetts. Nor was he the only one to dramatize the 1692 witch-hunt. A couple of months before The Crucible opened, both Florence Stevenson's Child's Play and Louis O. Coxe's The Witch-finders were staged in the Midwest. Still earlier, in May of 1952, the Poets' Theatre produced at Harvard the first version of The Gospel Witch...
...side of freedom and humanitarianism against Fascism and the totalitarian states, paying for the freedom of the world with her blood. Once the cataclysm was over, she again mounted a vast program of generous aid and assistance to Allied countries, as well as to former enemies. This had no parallel in the annals of mankind and eventually transformed the destinies of those nations. It is also a sign of the great resilience of the American nation that out of all the upheavals of the past 200 years in which she has been involved she has emerged stronger and more powerful...
Killing the Fun. It is as if violence in sports has found a parallel in the violation of style by a Jock Lit author like Novak, who has written with consider able grace and intelligence on the equally treacherous subject of American politics (Choosing Our King). For sports' new and embarrassing lovers are not so much wrong as excessive. The shrill use of "joy" and "fun" and "pleasure" in the titles and texts comes to sound as suspect as "honest" in the name of a used-car dealer. Jock Lit authors are so deadly serious they kill...
...homes of ordinary French people. But the novelty of Giscard's consciously unimperial style has long since worn off, and he has lately had to deal with a realization that among most of his voters, his most appealing quality was not his pledge of change but his parallel promise of continuity...