Word: verbalism
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Dates: during 1960-1969
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Since October 30th Gavin has been touring Southeast Asia. He returns to the country later this week and will appear Sunday on NBC's Meet The Press. Although Gavin has given the Citizens' committee no verbal encouragement, Jick reports that "he was quite visibly moved" by the work of his supporters...
...devotes a good deal of thought also to the possibilities of psychedelically induced works of art: "If the orgiastic moment were to result in a corresponding intensity of verbal presentation, I would be the first to use psychedelics. But experience suggests otherwise. Inspiration is momentary; after that, what Coleridge calls the 'architectonic' imagination must take over." His own experience with drugs was dissatisfying: "My own brief encounter with mescaline was very much of a withdrawal experience. . . . I like a sense of connection with other people and other things. I like to drink, of course, because of the sense of conviviality...
...university limb from limb. From the standpoint of a commitment to human freedom such feelings are by no means totally irrational, because the universities do much more to sustain destructive trends--through the contribution of professional skills to the war and in numerous other ways -- than any amount of verbal criticism or even reasoned exposure can do to stop them. However, these angry feelings are so far but momentary gusts of passion, even if they could be harbingers of a vastly more serious storm to come...
ROSENCRANTZ AND GUILDENSTERN ARE DEAD takes the little men of Shakespeare and transforms them into the little Everymen of Beckett. In his American debut, British Playwright Tom Stoppard, 30, offers an agile, witty play that snaps with verbal acrobatics and precisely choreographed dances of the mind, while coming heart-beat close to the pity and terror of mortality. In the title roles, Brian Murray and John Wood are phenomenal, and Derek Goldby's direction has tensile strength...
...Jean Harlow and Billy the Kid are the heroine and hero is another secret that is safe with the playwright. They live in eternity and are decked out in white paper beards, presumably indicating that they are figures in mythology. Monotonous, ugly and self-concerned, their verbal mating dance is devoid of tenderness or desire. The innate hostility, fear, and infinite self-disgust that animate this twosome are conveyed with meticulous zeal by Billie Dixon as Harlow and Richard Bright as Billy...