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...Perry Mason is, of course, defeated by the memory of Raymond Burr--by his forceful presentation, by his impressive physical presence, the slightly aloof wit he could direct toward Burger and Tragg, the consistency of his presentation. Monte Markham tries to badger witnesses in the Mason style. He tries to intimidate Hamilton Burger. But when a witness cracks, or when Burger allows Mason a point, Mason seems to have won only by edict of the script. Monte Markham doesn't win his cases; they're granted him by CBS decree...

Author: By Richard Shepro, | Title: Case of the Final Fadeout | 9/29/1973 | See Source »

Until that day comes, we can be glad of the grace and wit with which Moonchildren's students enjoy their irrelevance. It would be unwise to assume, I might add, that the cat who doesn't live in the house is not going to turn...

Author: By Seth M. Kupferberg, | Title: Chuckles Along the Way | 9/28/1973 | See Source »

...million during its first year. Viva's first issue runs 156 pages, with 50 ad pages. Will Viva sell at $1 a copy? Guccione promises that "she" will "fight, scream, and shed a few tears to make her voice heard." She might also attempt to find some wit and focus and sex appeal...

Author: /time Magazine | Title: The Press: Viva Viva? | 9/24/1973 | See Source »

Excluded from movements, Duchamp cut his solitary path to recognition. Wit, spontaneity and above all irony−the imposition of the actual upon the ideal−became his guiding principles. As the Philadelphia exhibition happily recalls, he exhibited a Mona Lisa with mustache and a prized collection of dust. Sometimes he showed found objects under the punning name Rrose Sélavy; in a fit of ennui he invented a new art form, "readymades," prosaic articles given fresh contexts. One, a snow shovel, is labeled In Advance of the Broken Arm and signed by Duchamp. The other, entitled Fountain...

Author: /time Magazine | Title: Art: Variations on an Enigma | 9/24/1973 | See Source »

...pure Morris: the best (the sidelong wit and the marvelously supple prose, now gold, now grit) along with the worst (the wooden dialogue, the coy hints at profound meanings that never quite come out from behind the prose screens). More than any of his 17 previous novels, the story takes off from the workaday world in search of the ineffable. The familiar trappings of Wright's baroque realism turn up: the taste of switch grass and cord grass, the loom of grain elevators, the feel of a kitten dropped by wanton boys into a country-school privy...

Author: /time Magazine | Title: Books: Gold and Grit | 9/24/1973 | See Source »

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