DAGGER: Another term for the symbol obelisk. See .
We want you to analyze how the language above each blank is held together by the four mechanical devices for coherence: pronoun reference, repetition of key terms, transitional tag words, and parallel form.
Darphne Merkin wrote in in 2005 at the time of Sandra Dee’s death:
And many American girls took Sandra Dee as a role model – but not the Sandra Dee, the cheery Sandra Dee, confusing her onscreen persona with her real life. Millions of Americans in postwar America were trying to live an American Dream that was pure fiction, particularly for the working class; and that fiction is symbolized by Sandra Dee, a fiction at the heart of Sandy’s arc in . But on another level, the metaphor gets even deeper – and this demonstrates the craftsmanship of this script – because Sandy’s relationship with Danny mirrors Sandra Dee’s difficult real life relationship with Bobby Darin. As Rizzo taunts Sandy with "Look at Me, I’m Sandra Dee," she doesn’t really know how dark that dark underbelly really is…
Gleick has graciously given us permission to use his article in this Guide to Grammar and Writing.Using blank text blocks, we have divided Gleick's essay into several parts.
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Over its life, gave starts to many now well-known actors, including John Travolta (who had begun as Doody in the first national tour), Richard Gere, Treat Williams, Patrick Swayze, Adrienne Barbeau, Barry Bostwick, Jeff Conaway, Greg Evigan, Marilu Henner, and Judy Kaye, among others. In 2003 the British television network Channel 4 held a poll to determine the greatest musicals of all time. won the top honor. In 2007, NBC created a reality show through which to choose the two leads for a new Broadway revival helmed by Kathleen Marshall, though any hopes of authenticity from a new Broadway were slight.
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But perhaps it’s time for in its original formto return at last, in this new Age of Ironic Detachment. In 2005, Norman Lebrecht wrote about the new postmodern musicals () in his online column: "The music in each of these shows amplifies this element of separation, licensing us to stand apart from what we are seeing and enter a third dimension where each of us can individually decide whether to take the plot literally or sardonically, whether to take offense or simply collapse in giggles. This degree of Ironic Detachment is the very making of the postmodern hit musical. Ironic Detachment would be unattainable in a Tom Stoppard play because I.D. requires musical inflexion; it is impossible in opera and ballet, which are stiffened by tradition against self-mockery. Its application is unique to the musical comedy, an ephemeral entertainment which has found new relevance through its philosophical engagement with 21st century concepts of irony and alienation." Still, Ironic Detachment isn’t entirely new in musical theatre – we’ve seen it before, periodically over the twentieth century, in (1928), (1931), (1937), (1950), (1959) (1961) (1965), (1966), (1969), (1970), (1973), (1974), and yes,
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DOLONEIA: A Greek nickname for the tenth book of Homer's Iliad, assumed by many scholars to be a late addition inserted long after the Homeric age. Many editions of Homer leave out this book entirely.
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After only three and a half weeks of rehearsal (again, in an effort to keep it from looking too polished), opened off Broadway at the Eden Theatre on Valentine’s Day 1972. The reviews were negative to mixed. One hapless television reviewer said, "The worst thing I’ve ever seen opened tonight at the Eden Theatre." It ran 128 performances anyway. And then the show moved uptown in June 1972 to the Broadhurst Theatre. In December 1979, broke Broadway’s long-run record. It made several moves during its Broadway run and finally closed April 13, 1980, after a total run of 3,388 performances. It was nominated for seven Tony Awards but won none. The original production paid back its investors four thousand percent. The show also ran for over two years in Mexico under the title becoming the longest-running musical there. The watered-down 1978 film version starring John Travolta, Olivia Newton-John, and Stockard Channing became one of the most successful movie musicals of all time.