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Word: terrorism (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...There's no longer a role for non-violence in the face of police terror" said a leader of the San Francisco student revolt in Lowell Lecture Hall last night...

Author: By David M. Sloane, | Title: Dillon Demands Militancy | 12/19/1968 | See Source »

...call from the minaret, that heady cry goes out nightly from a radio station in Cairo to the Arab lands. It is the "Voice of El Fatah," speaking for the Arab commando organization whose bands of raiders cross each night into hated Israel, bent on bringing death, destruction and terror. To Arabs huddled in wind-chilling refugee tents outside...

Author: /time Magazine | Title: THE GUERRILLA THREAT IN THE MIDDLE EAST | 12/13/1968 | See Source »

...well that Director Carol Reed (The Third Man) has strayed from the far less successful Broadway version, which was stunted by stage boundaries and hampered by overplayers. Instead he has gone to a richer predecessor: David Lean's virtuous 1948 adaptation, memorable for its palpable atmosphere of terror and decorum. After a season of watching inane twitching in the name of dance, the viewer is most happily greeted by Onna White's choreography, an exuberant step-by-step exploration of Victorian zeal...

Author: /time Magazine | Title: New Movies: Vice into Romance | 12/13/1968 | See Source »

...Aristotle, tragedy's effect was tripartite; it moved from pity to terror to catharsis. By those tenets, as valid as they are venerable, Bernard Malamud's Pulitzer Prize novel The Fixer misses greatness by a third. It has the first two requisites, but it omits any purge of the emotions. Malamud brings his hero, Yakov Bok, to the brink of destruction-or salvation-and freezes the action. There, in Auden's phrase, "the seas of pity lie, locked and frozen in each eye." By definition, the film of The Fixer can aspire to be only two-thirds...

Author: /time Magazine | Title: Cinema: Two-Thirds of Greatness | 12/13/1968 | See Source »

...hell of a lot of force. Arnold dominates the play from the beginning, even when he has no lines and merely stands by the bus stop, shivering and listening to the strange histrionics around him. When the hoods attack him, the abject terror transmitted through his eyes make him an image of helplessness almost unbearable to watch. The climax--he is left on the sidewalk, a bleeding dog barking the few words of English he can say yet does not understand ("HOW ARE YOU? YOU'RE WELCOME! THANK YOU!")--absolutely tore me apart. If only everything else in this production...

Author: By Frank Rich, | Title: Indian and Sugar Plum | 12/7/1968 | See Source »

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