Word: verbalizer
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...verbal facility (he was the quickest ad-libber in the business) and openness to edgy comedians like Sahl and Bruce, Allen was no radical. He was the ideal host: a mediator, a moderator. When he wasn't talking, he actually listened to his guests. When he wasn't being funny, he could be resolutely serious; "The Tonight Show" occasionally devoted entire evenings to one guest (Carl Sandburg) or discussion of one topic (civil rights). Unlike most modern hosts, Allen wasn't shy about trying to edify people. He didn't pretend to be stupider than he was. Or younger...
...Bush's blueprint is the Margaret H. Cone Head Start Center in Dallas, where kindergartners' verbal scores rocketed 20% on standardized exams after the center adopted a language-centered curriculum. But this formula, slowly set in motion by a 1998 federal law, could be difficult to clone nationwide: average per pupil spending for Head Start is slightly more than $5,000, vs. more than $7,000 at the corporate-backed Cone Center. Even if Congress okays the move from HHS to the Education Department (President Jimmy Carter tried - and failed - to do the same), the change of responsibility will...
...play details the characters' struggle with this concept of roleplaying and asks whether they have any freedom given the certainty of their fates. Antigone is therefore a largely verbal affair, but the first few scenes establish a questionable tone. Mike Weidman '02, who plays the Chorus, is loud, clear and expressive, but so smarmy as he introduces the play that one would expect him to be quite knowingly introducing a bad Saturday Night Live sketch rather than Anouilh's searching parable. Beatrice Kitzinger '03, Caitlin Harrington '03 and Liz Clinkenbeard '01, as Antigone, her sister Ismene, and her nurse, respectively...
...presence. Emily Cheng's "The Most Violent of all Pleasures" and Heather Hobler-Keene's "Memory of Lost Thought" presuppose the Hegelian "Idea." Adding a gloss of abstraction, they are not merely descriptive. Yet there are no titles or names on the gallery walls, defying the instinct to seek verbal direction...
...large, loud, brassy self is lovable, his foibles and struggles humanize him. McLelland is adept at the part of a king who projects a ferocious faade and then peeks out from behind it, winking. Typical of this rapprochement between king and audience is the reception of George's little verbal tics like "what-what" and "yesyes." These tics, which come to represent the coarse streak in George's nature, draw little sympathy from the public in the play's first act, but become popular towards the end as signs of the king's recovered sanity. The fact that McLelland...