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Harv at Corn Dart at Yale Col at Prince Brown at Penn Season's Record ROB SIDORSKY Harvard, 28-7 Yale, 20-17 Columbia, 24-22 Brown, 21-0 11-1 (.917) MIKE SAVIT Harvard, 30-26 Dartmouth, 18-14 Princeton, 13-7 Brown, 23-6 10-2 (.833) JOHN DONLEY Cornell, 20-16 Yale, 21-17 Princeton, 17-14 Brown, 24-6 9-3 (.750) DAVE CLARKE Harvard, 24-21 Yale, 14-10 Princeton, 21-14 Brown, 14-7 8-4 (.677) BILL SCHEFT 17-17 Dartmouth, 17-14 Columbia, 28-20 Brown, 35-10 7-5 (.583) GUEST...

Author: NO WRITER ATTRIBUTED | Title: The Cube Predix... | 10/8/1977 | See Source »

...seven years. Yet as he reported this week, his reflections went back 35 years to the time when, as a boy in a U.S. Merchant Marine T-2 tanker, he first traveled the waterway. The canal, he notes, was then bustling with wartime traffic, and the city of Colón flourished as one of the fleshpots of the Latin world. Today it is a depressed town. Reaching even further back, New Zealander Diederich remembers stories told of his wife's Haitian grandfather, who worked on the construction of the canal...

Author: /time Magazine | Title: A Letter From The Publisher, Aug. 22, 1977 | 8/22/1977 | See Source »

Should We Be Alarmed by Recent Soviet Nuclear Programs? will be the topic of a discussion by Jack Ruina, former Director of Advanced Research Projects at the Department of Defense and now Professor of Electrical Engineering at MIT, and Col. William M. Stokes III, U.S. Army, a Fellow of the Center for International Affairs at the Cambridge Forum, 3 Church Street...

Author: By Roger M. Klein, | Title: Big John | 3/10/1977 | See Source »

Soon the swollen contours and lush col ors of paintings like Braque's Still Life with Pitchers, 1906, would give way to the austerities of cubism. The demands of more legible structure and more com plicated feeling drew Matisse away from the style he had largely invented. As Elderfield notes in the catalogue, "Matisse's ideal voluptuous world only fully emerged when Fauvism had ended, and could only be created by renouncing that part of it he felt to be excessive...

Author: /time Magazine | Title: Art: Stroking Those Wild Beasts | 3/29/1976 | See Source »

Hence his sheaves of cloud studies, done from observations on Hampstead Heath. He did not use the broken col ors and blue shadows which, after a century of impressionism, we still imagine as necessary for telling a truth about light. A work like Dedham Lock and Mill, c. 1819, is straight tonal painting...

Author: /time Magazine | Title: Art: When God Was an Englishman | 3/1/1976 | See Source »

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