Word: romanticists
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Even offscreen, she seems to have been scripted by a nostalgic romanticist. She grew up in New York's Westchester County, amid acres of woods that looked like backdrops for Burne-Jones paintings. Ali lived like one of the foreground figures. "We had rather little money," she recalls. "My parents were artists; for Christmas, my mother used to make me things like a doll's house with chandeliers and wallpaper inside, and dresses for the dolls. In the winter, my brother Dick and I sat in front of the fireplace and talked with my father, surrounded by books. We were...
...with most neoromantic concepts, that "person" had no clear form; it was a filmy outline sketched in innumerable entries in a leather-bound book that Ali keeps at her bedside. It is filled with pressed flowers, insightful quotes, like Amedee Ozenfant's "The Romanticist has in him something of the Exhibitionist," and clippings of poems, like Yevtushenko's on the Kennedy assassination: "Loving freedom with bullets, you shoot at yourself, America!" It is also filled with thin-line sketches of astonishing virtuosity, reminiscent, like the artist, of illustrations in Edwardian children's books...
Might not such theological concepts impel men toward social revolution? Indeed, yes. U.S. Theologian Richard Shaull says that only at the center of the revolution can we "perceive what God is doing." His fellow romanticist Rubem Alves, a 36-year-old Brazilian Protestant, thinks man must meet the liberating event of Christ's Resurrection halfway, as "cocreator" of his own destiny (a Teilhardian notion) through the processes of political revolution. Moltmann frankly admits that hope leads to revolution, declaring that the Christian community ought above all to favor the poor and the dispossessed. But both he and Alves suggest...
...what they took to be ominous portents for Wolfgang's-and Bayreuth's-artistic future, waited anxiously for his new production this year of Die Meistersinger. The work's chauvinism and its basis in medieval history had traditionally called forth productions that were awash with romanticist naturalism-gingerbread houses, magical forests and peasant maids. Wieland Wagner twice tried to replace all this with fresh approaches. In 1956, he staged the work as a spare, poetically brooding vision, in 1963, as an authentic but highly mannered recreation of Shakespearean theater...
...increasing amounts of the new and not so easily palatable. Pianist Leonard Shure opened the series with a completely traditional program of Chopin, Schubert and Beethoven; a week later Jamie and Ruth Laredo deferred to general taste with Bach and Beethoven, but managed to sneak in the somewhat post-Romanticist Sonata Concertante of contemporary Leon Kirchner; last night violinist Felix Galimir and his chamber ensemble (one almost expected the program to read "Felix Galimir and guests") went even further: avoiding the 19th century entirely, the group plunged right in with two works of extremely modern idiom, both composed within...