Word: sparing
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Dates: during 1960-1969
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...Transportation -- In order to insure the adequate distribution of relief supplies, tires and spare parts for cars and trucks should be supplied when required along with lubricants, gas, and vehicle repair tools...
...Sphinx series is far from Munch's finest work. The pictures are too busy, too fussy, too blatantly overloaded with message. Possibly because they meant so much to the artist, they lured him into abandoning his cardinal principles of art. Munch developed his spare "symbolistic" style about 1892. It was based on the elimination of modeling and minor details, on emphasizing rhythmic contours and outlines. Above all, it meant subjugating technique to subject, then crystalizing subject itself into a single unforgettable image...
Lunar Life. Much of Singer's spare time is now taken up with work on the theory that the moon was once an independent member of the solar system; that it passed too close to the earth and was captured by terrestrial gravity (TIME, Feb. 3, 1967). After the capture, he speculates, an atmosphere and oceans may have formed on the moon and lasted long enough to support the evolution of complex molecules that were forerunners of life. Singer is attempting to complete the theory while keeping one eye on the fast-moving Apollo moon program. "The idea...
...that Pushkin's reputation for greatness stems in part from his historical significance. Much Russian writing of his age cloaked itself affectedly in secondhand French elegance. In such superb tales as The Queen of Spades and The Captain's Daughter, Pushkin fashioned a new native style-spare, exact, free of rhetorical flourish-which set the tone for the epic prose era that was to follow, from Gogol to Chekhov. In rich, full-blooded dramas like Boris Gudunov, he helped to free the Russian stage from its prim, Racine-engendered formalities. Poems like Ruslan and Liudmila, Memory...
...utterly believable, that there is no necessity for explication. Shame avoids, rhetoric and relies instead upon demonstration, letting the events speak for themselves. One cannot find Bergman in his latest film, except those parts of him that are specifically general to all of us. He is mature enough to spare his viewers any murky idiosyncracies, as we sometimes see in Bunuel, and yet his firm talent shapes our understanding without fanfare or the crassness that sometimes mars Godard and Fellini. In the final analysis, it is his resolute humanity that breathes so wonderfully from this new film, a simple sincerity...