Word: brettman
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Dates: during 2000-2009
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...freedom to explore divergent interests without jeopardizing their future career options or being forced into theses they have no desire to write. But administrators and some students worry that in a culture as competitive as Harvard’s, the potential for abuse is high.FOOTLOOSE AND THESIS-FREEShira R. Brettman ’07, a joint concentrator in Music and History, is excited about secondary fields for the possibilities they open to joint concentrators, who often have a tough time writing theses that yoke together potentially unrelated fields.“[A] secondary field is probably what I would have...
...sheet of ice and rendering snowplows virtually useless. Second, the footsteps of pedestrians in high-trafficked areas compressed the mix into an even more impenetrable sheath. However, even with the efforts of FMO and businesses around Harvard Square, many icy patches were left in paths of students. Shira R. Brettman ’07 was one of many Harvard students to have suffered embarrassment and injury as a result of the sidewalks. Brettman said that she slipped and fell on the intersection of Bow Street and Mt. Auburn Street while carrying a bottle of Snapple. When she fell, it shattered...
...system. “We wanted to go on the side of caution,” Levesque said. “We just didn’t want toilets and tubs and sinks to be used by the students.” Quincy resident Shira R. Brettman ’07 said that many people simply left Quincy for the duration of the disruption. “I don’t think people were that affected by it,” Brettman said. “I mean it kind of sucked not being able to use my toilet...
...show integrates ballet, modern dance, vocal artists, and a live orchestra into a massive artistic endeavor. Directors Raymond W. Keller III ’08 and Sarah C. Kenney ’08 of the Harvard Ballet Company have coordinated with music director Shira R. Brettman ’08 to produce one of the most ambitious dance performances at Harvard in recent memory. In most of its pieces, “American Grace” more than meets these ambitions...
...most intriguing aspects of “American Grace” is the order of its tremendous variety of pieces. Brettman, Keller and Kenney juxtapose the classics of dance with radically modern pieces that have transformed and reinvented these influences. The unusual sequencing of the show is rarely jarring, and creates interesting connections between the pieces and their themes—connections that hint at the fundamental contradictions within American history itself...