Word: style
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Dates: during 1920-1929
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...teens, and a woman of 45, thus putting screen art above mere good looks. In her latter manifestation, she dreams herself back to her girlhood stifled by her mother-living again the romance of the Spanish-American War, learning not to cramp her own daughter's style of loving. Lewis Beach's stage play, The Square Peg, here transferred to the screen, has had some of the acrid tang carefully sponged out of it. But enough remains to vitalize this study of the ironbound mother determined to be good to her family, let the chips fall where they...
...with a superb exhibition of front-wall shots and swamped Rawlins 15 to 6. Using the same tactics, he captured the second game 15 to 9. In the third, however, Rawlins adopted a system of drop shots and corner shots which put a decided cramp in Lenhart's style. Rawlins pressed his advantage and pulled ahead, winning 15 to 10. From this point Rawlins' touch steadily improved, and he won the next game 15 to 11. In the last game he quickly forged ahead of Lenhart and defeated...
...match was distinguished by the clever headwork used on both sides and by the brilliant play of Lenhart in the first two games. Rawlins seemed at first upset by his opponent's style and made several erratic shots until he found a system with which Lenhart seemed unable to cope. Then he steadily recovered his confidence, and at the end completely turned the tables on Lenhart...
...class of 1926. Reading of current periodicals and newspapers, and writing of editorials on topics of the day, will comprise most of the work. Four editorials a week will be required at the beginning of the period. The competition offers an unusual opportunity for men to develop style and originality in writing. Clear and constructive thought will be emphasized especially, and this training should prove of great value to candidates. This competition offers the last chance for members of the class of 1926 to compete for the CRIMSON Board...
...sees a head, a landscape, a pattern of concrete objects. All traditional Art, admitting as important this thing seen, accents the reaction of the artist to what he sees, recognizes as an accidental requisite to the presentation of subject and the personality of the artist, the element of style-form, line, color. The artist, running at tradition's stirrup, has employed style as a thrilling, necessary but irrelevant mechanism for the exaltation of personality, of subject; yet it is only by virtue of this mechanism that he is an artist at all. He succeeds or fails merely...