[…] of course, far from new in 1939: it is a staple of the French recit (from Manon Lescaut via Adolphe, Carmen, Sylvie, up to and beyond Gide's own four recits), in which a young man confesses how he loved, misloved, was misloved and lost.
Yet the dancers are beautiful, their cool movement has a couth simplicity, and there are moments when a gesture of almost absolute beauty stands transfixed in some transom of sublime comprehension.
Confronted by the multiplicity of the milieus that could influence curriculum activity, we need some way of deciding not only what kinds of milieus should claim our attention, but also what kinds of knowledge about them we should attend to.
Why, Maggie could scent a fire before it started, almost.
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