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...that in Hamburg. They said, "How is it like a bridge at Hamburg?" Hilbert answered, "Why it goes from this side to that side and the river goes under it." I feel that a great many of the perceptions about language that logicians develop are rather Hilbertian. Just a shade too abstract...

Author: By B. AMBLER Boucher and John PAUL Russo, S | Title: An Interview With I. A. Richards | 3/11/1969 | See Source »

...tall and her hair was long and smooth--a light shade of brown. She had French blood, but her soft voice whispered the South. It was slightly dry and fell mighty easy on the ear. Her walk was a little awkward; she was young and protected. I liked that, because I had reached the point where I could prize someone who didn't know what I was going to say before I said it, someone to talk to who would surprise with her reactions--because she was innocent. Maybe I could tell her a little of what was waiting...

Author: By Timothy Carlson, | Title: You Can't Go Home Again | 2/22/1969 | See Source »

...after the subway moves into another mathematical system." By employing the odyssey archtype, Leven hoped to aim at flexibility within a series of developed episodes, dealing with a variety of Cambridge types. He insisted the new show would have structural, as well as intellectual, humor. It all sounded a shade too cerebral, but Leven was convinced that, at last, he had hit upon the solution...

Author: By Gregg J. Kilday, | Title: The Light Company Blacks Out | 2/15/1969 | See Source »

...Immigrating from South Dakota in the early 1900s, he married a half-breed of Amerindian-Scotch parentage and fathered six boys as tough as he. They tended their herds, sleeping in tree platforms at night to fend off attacks by pumas, and they carried water in buckets for the shade trees they planted. Before Hart died in 1961, they put together a spread of 185,000 leased acres, with buildings and ranch houses worth $200,000. Hart and his sons never gave up U.S. citizenship, and two of the boys served in the U.S. armed forces...

Author: /time Magazine | Title: Guyana: Pocket Revolution | 1/17/1969 | See Source »

...structure of 20th century religious thought, the works of Ingmar Bergman perch like gargoyles. Their gnostic faith belongs to no known dogma; their acrid doubt is too large to sit in the cool shade of existentialism. The Shame, latest of his grotesqueries, once again prays to a dead God, once again mixes actuality and surrealism, calamity and humor, a fertile mind and an arid soul...

Author: /time Magazine | Title: Cinema: Heroic Despair | 1/10/1969 | See Source »

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