Word: bring
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Dates: during 1970-1979
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Several students active on the South Africa issue yesterday criticized the report as a further weakening of what they see as an already unsatisfactory University policy to get corporations in Harvard's portfolio to help bring about the end of the apartheid system...
...example of the kind of innovation Brustein could bring to undergraduate drama, take his basic "no more masterpieces" approach to the "classical" canon, an approach that discourages dull, "definitive" productions, promoting constant re-interpretation and directorial probing into the heart of each play. He has written at great length, most recently in a splendid defense of Henrik Ibsen in this month's issue of Decade magazine, about applying this theory to contemporary social problems. A director, he has written, must try to infuse the "classics" with comtemporary meaning, to apply the general human problems as the playwright articulates them...
...TIMES, too, the symbolism is too blunt. One theme that runs through the movie is Dave's disgust with the outmoded, conniving ways of the gypsies. If he has any mission it is to "bring the gypsies into the twentieth century." Fittingly he is the only gypsy with an American name other than Sharon. Dave, Tita, Rosa (their mother), and Groffo fit the older brother, younger sister, mother- and-father pattern of the ideal American family, despite their infighting...
...Ellello*u, the drought that brings his nation to the limits of starvation is more than a mischance of the elements or even, as one of his enemies calls it, "bad ecology." It represents a blot on the nation's soul, a demon that has to be exorcised, the work of an angry Allah demanding sacrifice. So he sacrifices. First goes the ancient king who had been his prisoner since the revolution, then an American foreign service officer who tries to bring food supplies across the border from a less doctrinaire socialist, and less impoverished, neighbor. In each case Ellello...
...these events unfold, the film is riveting. Chamberlain may not do much acting, but his juxtaposition with the Aborigines is brilliant. Chamberlain--the embodiment of the pretty male, a youthful, lightweight, civilized fop, contrasts perfectly with the well-weathered figures of the Aborigines, who bring a note of intensity to the screen, a doomed majesty from another time. When the Aborigines arrive at Chamberlain's house for dinner, they are beautifully out of place. Dressed in ill-fitting suits, they seem to be a part of Sydney's white world, but as they quietly eye the Steuban Glass, the Merimekko...