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...Franklin Roosevelt's New Deal. Deficit spending and monetary easing were both first put to work in a really big way by the U.S. government in the 1940s--out of wartime necessity, not economic conviction. The economy responded with rapid growth, and after the war, Keynesianism became gospel. Its central tenet, this magazine explained in its 1965 cover story, was that "the modern capitalist economy does not automatically work at top efficiency, but can be raised to that level by the intervention and influence of the government...

Author: /time Magazine | Title: The Comeback Keynes | 10/23/2008 | See Source »

...many ways, Syria is an anachronism: governed by a totalitarian regime, managed by Soviet-style central planners and littered with the crumbling ruins of ancient civilizations. More recently, the Bush Administration has accused Syria of supporting anti-Israeli terrorists and tried to isolate the country. But with the Bush era winding down, Syria appears to have weathered threats of regime change--and is roaring back...

Author: /time Magazine | Title: Postcard from Damascus | 10/23/2008 | See Source »

...knows who's really on top in this town. From a hill above Z Bar, the glass façade of Bashar Assad's presidential palace looks down at his capital like an unblinking eye. And the stern portraits of Assad on every block suggest that Damascus is not party central for the Middle East just...

Author: /time Magazine | Title: Postcard from Damascus | 10/23/2008 | See Source »

...central issue revolves around Albee’s protagonist, Martin (Eduardo J. Perez-Torres ’12), who reveals to his family that he has been having an affair with a goat named Sylvia. And it’s not just sex he is after. No, Martin divulges to his dumbfounded wife Stevie (law student Mary R. Plante) that he is not merely infatuated but in love with the goat...

Author: By Eunice Y. Kim, CONTRIBUTING WRITER | Title: Adams House Pool Gets ‘The Goat’ | 10/23/2008 | See Source »

...stage the play in which the Bard taught us to overcome social convention, in which he showed us that the power of love cannot be thwarted by society’s rules.†Cagnotto interprets the play in a ridiculously sexual and homosexual context where the central relationship is that between Romeo and Mercutio. With this subplot, Cappellani alludes to Shakespeare’s own use of the play within the play, as in “A Midsummer Night’s Dream,†where the commonfolk acting troupe, The Mechanicals, put on an unintentionally...

Author: By Rachel A. Burns | Title: All Ends Well in ‘Tragedee’ | 10/23/2008 | See Source »

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