
Interview with Publishers Weekly (19 April 1993)
Source: 1960s, The Gutenberg Galaxy (1962), p. 109
Interview with Publishers Weekly (19 April 1993)
“In electronic publishing, they're are no editors and if their are there not very good.”
"Five Columns", in The Keillor Reader (2014), p. 257
"Ed Gorman Calling: We Talk to Richard Matheson" http://www.mysteryfile.com/Matheson/Interview.html (2004)
11 May 2013 Speech at Quinnipiac University upon receiving the Fred Friendly journalism award. YouTube, CBS News anchor Scott Pelley: 'We're Getting the Big Stories Wrong Over and Over Again' http://www.youtube.com/watch?v=1AyCD_lcl1Q,
Source: The Story Of The Bible, Chapter X, The Position Today, p. 142
Foreword to Letters of E.B. White, edited Dorothy Lobrano Guth (1976)
“Medieval students… believed all forms of harmony to derive from a common source”
The Artful Universe (1995)
Context: Ancient belief in a cosmos composed of spheres, producing music as angels guided them through the heavens, was still fluorishing in Elizabethan times.... There is a good deal more to Pythagorean musical theory than celestial harmony. Besides the music of the celestial spheres (musica mundana), two other varieties of music were distinguished: the sound of instruments...(musica instrumentalis), and the continuous unheard music that emanated from the human body (musica humana), which arises from a resonance between the body and the soul.... In the medieval world, the status of music is revealed by its position within the Quadrivium—the fourfold curriculum—alongside arithmetic, geometry, and astronomy. Medieval students... believed all forms of harmony to derive from a common source. Before Boethius' studies in the ninth century, the idea of musical harmony was not considered independently of wider matters of celestial or ethical harmony.<!-- Ch. 5, pp. 201-202
“Author unknown; reported in Dante Leonardi, Spighe d'oro, Remo Sandron Editore, 1924.”
Sisto V, accorso a vedere il miracolo di un Gesù Cristo di legno che inondava sangue dalle ferite, lo ruppe dicendo: – Come Cristo ti venero, ma come legno ti rompo!
E il Cristo rotto mostrò che al suo interno era stata collocata una spugna inzuppata di liquido rosso, per simulare il sangue grondante.
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Variant: Author unknown; reported in Dante Leonardi, Spighe d'oro, Remo Sandron Editore, 1924.