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Word: passion (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

ROMEO AND JULIET. Director Franco Zeffirelli brings a poignant immediacy to one of Shakespeare's most familiar plays. As the star-crossed lovers, Olivia Hussey and Leonard Whiting perform with a passion to match their young years...

Author: /time Magazine | Title: Television: Nov. 15, 1968 | 11/15/1968 | See Source »

Without the American passion for winning, the U.S. would clearly be a far less dynamic place. Men should reach beyond their grasp; it is inconceivable that Negroes, for example, should spend another 300 years or even 300 days accepting their lot as losers. Still, the U S ought to be far less grim about losing...

Author: /time Magazine | Title: Essay: THE DIFFICULT ART OF LOSING | 11/15/1968 | See Source »

...posthumous honor is a tribute to his passion for truth; as the current cant goes, he told it like it was. Almost alone among the discredited (figures of the '30s, Orwell, with his clarity, charity and honesty, is undiscredited. He can be read today by the young without boredom or nausea-despite the fact that he was in most ways as square as an unsoaked sugar cube. Reading him today is like taking a guided tour through the seven circles of the political hell that Western Europe built for itself on the bases of the Depression, (the Spanish Civil...

Author: /time Magazine | Title: Books: Odd Man In: George Orwell | 11/15/1968 | See Source »

...Savior or Schonberg-the-Antichrist. And so the apostolic succession of innovative geniuses passed from Bach to Beethoven to Wagner to Schonberg (or the Devil) and then to sleep. The common antinomy sets Schonberg against Stravinsky, coalescing all music into two schools in a priceless display of Manichaean passion. Schonberg is seen as the seminal prime mover, and Stravinsky [and to a lesser extent Berg and Bartok] are seen as creative but dead-end derelicts...

Author: By Chris Rochester, | Title: HRO | 11/12/1968 | See Source »

...well as the audacious innovations of Monteverdi, both Schutz's contemporaries and teachers, to forge a colorfully formal, intensely spiritual, quietly progressive style. In its unorthodox form, the Exequien looks forward to the cantatas of Bach and the oratorios of Handel. The work is characterized by an evangelical passion which perhaps only Bach and Verdi, in his singularly tumultuous idiom, were able to equal; and also by a supreme melodic beauty which is the result of consummate vocal understanding. It is maddening to hear Schutz only once every several years, while legions of Preservation Groups disgorge the complete Corelli...

Author: By Chris Rochester, | Title: Early Music | 11/9/1968 | See Source »

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