Word: comely
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Dates: during 1960-1969
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Guerrilla troops of Afro members did not converge on Hunt Hall ready to attack Professor Bruening if he refused to change his course topic. About a hundred members did come to the class meeting and one read to statement clarifying Afro's objections to the course. Afro did not protest the original course syllabus only because of ideological differences. The syllabus indicated that the material taught in the course might directly endanger the lives of black people who, because they live in ghettos, could easily become involved in a "riot". The syllabus offered city planners a chance to study...
Academic freedom is obviously of great importance. But it was not the issue here. Bruening understood that it was more important for him to come to a friendly understanding with Afro--which he did--than to shelter himself behind his academic dignity and refuse to change his syllabus...
...School because of financial need, volunteered to distribute copies. The school objected, and Ebright began selling the free copies of BAD, three weeks before the newspaper itself went "pay." At this point Lewis got a call from the student head of the Board of Publications--"I wouldn't come and talk, which served to perk up their interest--offering BAD permission to distribute free it they would pay a $200 franchise fee. Lewis laughed; two weeks later, on Nov. 1, the B-School gave...
...campaign to get bet- ter deals for students is its priority ticket service, insuring that students get the best seats available at the price they pay. Generally this is pretty straightforward -- BAD buys up a block of seats and distributes them to students as the orders come in--but when Rosencrantz and Guildenstern Are Dead came from New York to the Schubert, BAD, negotiated a special deal with David Merrick's office. Along with running sales through the priority ticket service, Merrick had agreed to a discount price for students--the first time any legitimate theatre had done so. Students...
...FIRST breath of the play the stained glass windows light up, eerie and striking, their patterns pop, untrite and yet faithful to the spirit of the cathedral and religious scenes that one has come to expect from the medium. The stage is floor level, jutting on three sides into the audience and consisting of szthe skeleton outline of a large ancient building, the Priory Hall. Inside is a table set for dinner. This arrangement provides half the distance of the conventional stage and half the closeness of modern experimental theater, which is appropriate for a play that is largely static...