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The New Republic
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The New Republic
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The New Republic
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The New Republic
Culture
November 11, 1978
Stanley Kauffmann
Over the (Bigger) Rainbow
A review of "The Wiz" starring Diana Ross
September 16, 1978
Carl Sagan
The Other World That Beckons
A profile of Albert Einstein
July 22, 1978
James Thomson
Murder with Honor
Raymond Chandler's detective stories deserve the name of art
July 1, 1978
Stanley Kauffmann
Fin and Fantasy
Film reviews of "Jaws 2," "Grease," and "Slave of Love"
June 18, 1977
Stanley Kauffmann
Innocences
'Star Wars' is a corny, unexceptional film for men who miss adolescence
April 9, 1977
Alan Weinblatt
Reconsidering
One Hundred Years of Solitude
A rereading of Gabriel García Márquez's famous book.
December 27, 1975
Judith Shklar
Hannah Arendt’s Triumph
July 26, 1975
Stanley Kauffmann
Dog Days
Film reviews of "Jaws," "Rollerhall," and "The Drowning Pool"
July 19, 1975
Roger Rosenblatt
Roger Rosenblatt Remembers His Father
June 21, 1975
Robert J. Meyers
The New Republic’s Original Review of ‘The Annotated Dracula’
November 30, 1974
Stanley Kauffmann
I Saw More Than 8,000 Movies, and I Never Tired of Them
November 22, 1974
Raymond Williams
On High and Popular Culture
The question of the relationship between high culture and popular culture, which is common in contemporary discussions of the humanities, is sometimes real but as often rhetorical.
September 14, 1974
John F. Callahan
Reconsideration
The higher ground of Alice Walker.
July 20, 1974
Michael Harrington
Oversell
July 6, 1974
Bruce Cook
Duke Ellington: Master of the American Musical Idiom
April 27, 1974
Jane Howard
The Feminine Mystique
, Tenth Anniversary Edition
On a new edition of Betty Friedan's feminist classic.
April 14, 1973
Sedulus
Mickey Mouse Slouches Toward Bethlehem
February 10, 1973
Reed Whittemore
The Family Romance
Dissecting Harold Bloom’s theory of originality
December 2, 1972
Crawford Woods
Reconsidering Jack Kerouac
October 14, 1972
Magazine
The New Republic Editors
Fear and Loathing in Las Vegas
, Reviewed
Hunter S. Thompson’s book is in the zonked, road-writing tradition of Jack Kerouac, but it lacks Kerouac’s bleeding feelings.
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