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...British Empire. Yet of all his roles, Coward is likely to be remembered best as the songwriter with a taste for the bittersweet. Like Porter, he shied from passionate expression, sometimes in the belief that love, like moonlight, was "cruelly deceptive"; sometimes because he saw himself as an English Pierrot, the clown whose laughter cannot quite disguise the catch in his throat. Of the nearly 300 songs in Coward's collection, the dead-on love ballads are the weakest: "Time and tide can never sever/ Those whom love has bound forever" serves to remind the reader that Coward grew...

Author: /time Magazine | Title: Books: The Soul of Cole and No | 2/6/1984 | See Source »

...Jascha Heifetz's Mozart. [It] tries . . . to make out of the greatest musician the world has ever known something between a sentimental Pierrot and a Dresden china clock...

Author: /time Magazine | Title: Music: Critical Quips: Nov. 30, 1981 | 11/30/1981 | See Source »

...third of the painting to remind one that this was a view of Paris-made a deep impression on the young German, to whom color had an absolute value. But instead of following Delaunay into abstraction, he grafted his color system onto the figure; paintings like Pierrot, 1913, were the result...

Author: /time Magazine | Title: Art: Along the Paris-Berlin Axis | 8/14/1978 | See Source »

Thursday, April 6 International Week Lecture--I Ching Chinese Art of fortune telling. T. James Kodera, Professor of Religion and Biblical Studies. Lunch at 12 (by reservation or bring your own). Slater Center, 12:30 p.m. French 240--Pierrot le Fou, 377 Science Center...

Author: NO WRITER ATTRIBUTED | Title: WELLESLEY | 4/6/1978 | See Source »

...future," French director Jean-Luc Godard seems to say in his latest film, Numero Deux (Number Two), "and it stifles." Like so many firebrand prophets of imminent revolution in the '60s, Godard is now wrestling with this decade's disillusionment. Ten years ago, with films like Weekend and Pierrot Le Fou. Godard became renowned and revered as the most blatantly political, and radical, of the French "new wave directors." His movies shocked and stirred with bitter anti-capitalist and anti-bourgeois visual polemics. But just as Godard was then trying to translate radical ideology onto the screen, with Numero Deux...

Author: By Mark T. Whitaker, | Title: From 'Breathless' to Aimless. | 9/30/1977 | See Source »

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