Word: subjection
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Dates: during 1970-1979
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...Washington, the Carter Administration seemed to despair of reconciling the conflicting messages from Tehran about the hostages. Said State Department Spokesman Hodding Carter III: "There are signs that come and signs that go. Interpretation of them is subject to change almost on an hourly basis...
Though Scheider is a wry, sensitive actor, he soon gets lost in the vulgar theatrics. So does the subject of death. When Fosse attempts to put his heart on the table, he does so too literally. All That Jazz contains close-ups of open-heart sur gery, but few insights into Gideon's soul. What Fosse regards as self-analysis often comes out as egomaniacal self-congratulation: there's even a scene where Gideon cries at his own funeral. Still, Fosse is no fool, and at times he is his own best critic. All That Jazz is never...
...fallout from its price. The dance of digits in front of one's eyes renders the thing "special," isolated, fetishistically rare. It not only removes the painting from the flow of discourse about experience that art is meant to sustain, but it makes the price part of the subject of the work, separating it, by implication, from everything else ever painted by Velázquez, turning it from one painting among others into a dead whale on a flatcar, a curiosity to be gawped at. To most people visiting the Met, Rembrandt's Aristotle Contemplating the Bust...
Princeton Theological Seminary, considered among the best Protestant seminaries in training preachers, requires three courses on the subject. One covers enunciation, pace, voice production, posture and similar techniques, and is taught by a layman trained in speech. A second analyzes the construction of model sermons from the past. The student learns to mine Bible commentaries, boil his message down to a single sentence, then write out a well-organized sermon. In the final course, students in groups of twelve deliver sermons and criticize one another's-performances...
...preacher says of Taylor. To anyone who has listened to a Taylor sermon, the judgment does not seem far off target. Taylor's voice is deep and apparently inexhaustible. Working variations on a biblical theme ("Create in me a clean heart, O God"), he artfully circles around his subject, now lulling the listeners into serenity, now rising to majestic sincerity in stately cadences that overwhelm as much with their sound as with their meaning. Taylor says that for him a sermon is a journey. "I like to start with a cool introduction to suggest what I'm going...