Word: visions
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Dates: during 1960-1969
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...cult of Che Guevara and Regis DeBray, though one passage recognizes the role of Fidelism in radical student culture. The spirit of Che synthesized all the ingredients of the New Left: an anti-American intellectual who galvanized the masses in one country and suffered glorious martyrdom in another. This vision of the radical's mission to redirect history made a somewhat turgid book called Revolution in the Revolution? a best seller. Feuer lists C. Wright Mills and Paul Goodman as the new radical heroes, though Herbert Marcuse has probably had as much influence as either at Harvard...
...pretend to have a clear vision of what happened two weeks ago if he fails to realize that the brightest and most creative people at Harvard were in University Hall at 5 a.m. Thursday morning...
...might argue that it must be serious, since it is forbidden. But I would prefer merely to say that it is serious because it is the major commitment of the best undergraduates at Harvard. No one can pretend to have a clear vision of what happened two weeks ago if he fails to realize that the brighest and most creative people at Harvard were in University Hall at 5 a.m. Thursday morning...
...shifting of weight, moment by moment, within scenes--continually presenting a new view of the situation, new moral positions and psychological experiences for the characters within the situation. Every successive shot in an early train-compartment sequence is a new camera angle; each takes in a new field of vision and a new set of characters and back-grounds. Any easy stability in the moral relations between characters is destroyed by constantly evolving changes of position. A feeling that Lugosi influences the young couple comes from all the shots, and is thus a very complex amorphous feeling rather than...
Insanity today is considered primarily a medical problem. But over the centuries the notion persisted that the mad were afflicted by God-and that along with this affliction went preternatural vision. The 19th century painter Richard Dadd had the fortune-as well as the misfortune-to embody the two definitions. His talent blossomed in an insane asylum. Yet his masterpiece, The Fairy Feller's Masterstroke, combines Boschian mystery with Alice-in-Wonderland fantasy in a way that makes it clear Dadd was a prophet of Surrealism. In a recent issue of the New Statesman, Critic Edward Lucie-Smith declares...