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...grateful to be informed by Mr. H. Epstein (Crimson, October 4th) that at least one of the followers of Rabbi Ben-Zion Gold's new militant Jewish thrust at Harvard isn't really all that militant after all--or so he thinks. Mr. Epstein doesn't even consider religious behavior as part of a larger matrix of concerns called "ethnic." He is, of course, quite mistaken, though in his error is a measure of his low-profile approach to the new Jewish militancy--an approach with which I have sympathy. Yet Mr. Epstein remains somewhat in error. I have several...

Author: NO WRITER ATTRIBUTED | Title: JEWS AND HARVARD | 11/5/1975 | See Source »

Harvard put a scare into the Green machine with a marvelously engineered fourth quarter drive. John Tuke pulled Harvard to within striking distance (21-13), by capping the sustained thrust with a seven-yard...

Author: By Jon Ledecky, | Title: Green Downs Jayvees, 28-13; Harvard Frosh Falter, 21-7 | 10/25/1975 | See Source »

Muscatine and Thal, who took first place in the Greater Boston Tournament two weeks ago, will team up again in the Cliffe's first doubles slot while Sally Roberts will lead the singles thrust...

Author: By Audrey H. Ingber, | Title: Radcliffe Racquetwomen Down Wellesley in Mammoth Match | 10/23/1975 | See Source »

...Italian life. Even on a desert island the lovers must reproduce the warped roles of their society; the only type of relationship they can have is master to slave, since Gennarino's anger and Raffaella's masochism are so deeply rooted in their characters. If this were truly the thrust of the film, Swept Away would be a compelling feminist film effectively connecting sex and politics...

Author: By Jonathan Zeitlin, | Title: Mediterranean Farce, Feminist Fiasco | 10/17/1975 | See Source »

...such a sympathetic reading runs aground on the love story which comprises the second half of the film. Once Raffaella accepts subjugation, in a cathartic scene where she kisses Gennarino's feet after he has symbolically thrust a stake through a skinned rabbit, the comedy is dissipated. Using the graceful closeups which distinguish her style, Wertmuller evokes the intensity and eroticism of a great love affair so subtly and effectively as to make Last Tango in Paris seem like a mouthwash commercial. The subjective gaze of the camera and the expressive interaction of the actors combine to compel the audience...

Author: By Jonathan Zeitlin, | Title: Mediterranean Farce, Feminist Fiasco | 10/17/1975 | See Source »

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