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...Sandinistas became almost as abusive of their power as the Samoza regime. Self-described "neutral" human rights groups such as Witness for Peace, however, explained away or simply ignored abuses by the Sandinistas in their haste to catalog violations by the contras...

Author: By Liam T.A. Ford, | Title: Credit Where Credit Is Due | 3/6/1990 | See Source »

...then there was . . . But the catalog is endless. Events of the past week can only lend credence to playwright Henrik Ibsen's observance, "Those heroes of finance are like beads on a string -- when one slips off, the rest follow." Is there any possibility of knotting that string? Or is scandal as much a part of the market as the NASDAQ? Can the greedy be saved from themselves? Or does Midas play as big a role as Oedipus in the human psyche...

Author: /time Magazine | Title: Wall Street: Pigs Always Get Slaughtered | 2/26/1990 | See Source »

...ironic thing about it is that this professor, as with the several other feminist scholars on Harvard's faculty, is affiliated with a department rather than the Women's Studies program here. Sure, her name is listed in the course catalog under the heading of "Faculty of the Committee on Degrees in Women's Studies." Certainly, her departure will be felt most keenly by those scholars--in all disciplines--who work together on feminist topics. And, yes, her work is valued most by those who come together under the rubric of women's studies...

Author: By Susan B. Glasser, | Title: Women's Studies Needs Respect | 2/8/1990 | See Source »

...Arts in Philadelphia. Focusing on Park and ! nine others, the well-researched survey suggests that the Bay Area artists' return to figurative art was not merely guerrilla resistance to abstract expressionism but a genuine stylistic movement. As the guest curator, Stanford University's Caroline A. Jones, writes in the catalog, it gave Bay Area artists "a way of saving that which was still vital and dynamic in the Abstract Expressionist style and a way of moving forward...

Author: /time Magazine | Title: Art: The San Francisco Rebellion | 2/5/1990 | See Source »

...color-blind. Most American painters, in McElroy's view, put racial stereotypes in their work. These were usually negative. "Prosperous collectors created a demand for depictions that fulfilled their own ideas of blacks as grotesque buffoons, servile menials, comic entertainers, or threatening subhumans," McElroy writes in the catalog. "This vicious cycle of supply and demand sustained images that denied the inherent humanity of black people by reinforcing their limited role in American society...

Author: /time Magazine | Title: Art: Two Centuries of Stereotypes | 1/29/1990 | See Source »

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