Word: soul
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
Graham preaches the doctrines of the Trinity, Incarnation, Redemption; he accepts the authority of the Scriptures, the Virgin Birth, the Resurrection and Second Coming of Christ; he acknowledges the existence of a personal Satan, the immortality of the soul, a heaven and hell beyond the grave, the necessity of personal repentance, of a personal Saviour. "So far, fine," says Father Kelly in the Homiletic & Pastoral Review. "But there is plentiful mixing of truth and error in his preaching on these points." And Kelly complains that Evangelist Graham leaves out entirely such cornerstones of the Catholic faith as the mediating power...
...Novelist Stolpe has made his fictional foray into original sin less gripping than that of, say, Albert Camus, a professed atheist, whose The Fall (TIME, Feb. 18) leaves the most complacently irreligious reader under a conviction of sin and the dread need to examine the state of his own soul...
...soul-searching in Editor's first issue would have seemed even more impressive in the pages of the 22 New England papers that have chipped in to start the quarterly ($1.50 a copy) now being mailed to the editors of most U.S. dailies. But it bore out Editor Lindstrom's words. Items...
...company's main attraction is Landowski's own one-acter. The Ventriloquist, which tells the story of a voice-thrower whose soul is tormented by two dummies representing love and hate. The tape-recorded orchestra accompanies the singers in fantasy scenes while a piano takes over during the here-and-now sequences. (Another of the company's productions, Gian Carlo Menotti's The Telephone, is accompanied entirely by piano.) The tape machine makes for some difficulties; e.g., singers sometimes have a hard time synchronizing their voices with the tape, and occasionally there are rests not written...
During a voyage on the barge they pick up a shipwrecked sailor, who promptly falls in love with the girl and, after some soul-searching and recriminations, marries her. It's as simple as that, but by means of some effective symbolism and characterization as well as his gloomy view of the fate which brings the pair together, O'Neill injected a good deal of power into the staggering plot. In a musical, however, you just don't explore the possibility of portraying the wickedness offered in the girl's career; you don't use fate except as a rhyme...