Word: de
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Dates: during 1990-1999
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...went up for tenure in the government department, one of whose voting members in Thompson. Berkowitz explained his actions in Nesson's class as follows. Leon Wieseltier, the literary editor of The New Republic, suggested Berkowitz review the Thompson book after a prior Berkowitz review explored issues surrounding Alexis de Tocqueville, religion and civil society. Berkowitz had two (soundly politic) qualms--that Thompson is a colleague and that his own tenure review process was underway. After calling Martin H. Peretz, lecturer on Social Studies and owner of The New Republic, for advice, Berkowitz came to the conclusion that...
...hard to feel safe in a lot of places in Mexico, despite the best efforts of President Ernesto Zedillo Ponce de Leon. The Acteal bloodbath is just the latest instance of what sometimes appears to be the virtual collapse of public security in the country. From the slums of Tijuana to the hilltop mansions of Mexico City, a rising wave of violent crime, kidnappings and human- rights atrocities has gripped the nation. Many refer to it as the "Colombianization" of the country, a reference to the even scarier levels of violence inspired by drug mafias and paramilitary gangs in that...
...find a truly significant event or situation from the middle 1930s to the early '90s that is not the direct or indirect result of, or is not in some way related to, his personal decisions. But for Hitler's war and its sequel, all the others--surely Churchill, undoubtedly De Gaulle, probably Roosevelt and maybe Stalin--would have remained local phenomena, or would not even have emerged. GEORGE RIEGL Nantes, France...
...takes it upon himself to broadcast a new commercial urging the masses not to vote for a "man who's lost his integrity"--the message is hilariously set against the background of the song, "Thank Heaven for Little Girls." Amidst all the frenzy, mysterious political consultant Conrad Brean (Robert De Niro) is called to resolve the catastrophe. Perfectly calm and entirely confident, Brean devises his master plan...
...remains vastly entertaining even during its most tenuous moments. De Niro, for the first time in ages, is wonderfully likeable in the antihero role. We should hate, loath, despise Brean for his shameless dishonesty--but we don't. Instead, we welcome his machinations and feel strangely vindicated by the possibility of his pulling off the scheme. Hoffman is the perfect counterpart to De Niro's smug political monster. He vamps and raves about how 'producers get no respect,' and we get the strange sensation that he is himself a unabashed politician...