Word: goulding
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Dates: during 1960-1969
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Global U. What is happening in public higher education, as in all of U.S. society, is an unprecedented rate of change. And, as Sam Gould sees it, the ability to understand and adjust to change is precisely what higher education today is all about. In his vision of the academic future, the university is bound to be "less structured and far more flexible than it has been before"-more open to students of all ages who will be there to learn rather than accumulate degrees, and who will return throughout their lives for intellectual stimulus. The university should also...
...land. Enrollment has grown from 47,634 in 1960 to 139,149 now, and will reach 290,400 in seven years. In the past six years, New York has spent $1 billion on construction; nearly $2 billion will be spent by 1975. This month, S.U.N.Y. Chancellor Samuel Gould, 57, a low-keyed visionary with a deep conviction that his school is destined for greatness, will go before the state legislature with a request for a 1968 budget of $479.1 million...
...Gould also predicts that the universal need for wisdom will lead to a sharing of faculties and facilities among public and private universities, and that students will freely move from one institution to another in search of specific learning. That, of course, means that the schools of the future may be more impersonal than they are now-and will require a new maturity on the part of students. If that also implies the end of the cozy college atmosphere that leads alumni to stifle tears when the old school song is played, Gould is not worried...
...Gould and Fisk are super anti-heroes, playing for the highest stakes with little to gain but gain for its own sake; in one of Prince Erie's finest scenes, a shipboard dialog between Fisk and Gould, Gould reveals that his only interest in life is the satisfaction derived from having things, and Fisk laments quietly that he will never have a child. Though giants, both men are essentially impotent, and to Mayer--as to Welles--this is not a small part of the American myth, for their impotence is both a driving source of power and an ultimate source...
Dean Gitter as Jay Gould gives Prince Erie's most extraordinary performance. A quiet nervous deadpan conveys the tension and ruthlessness of Gould, who could "smell a nickel under twenty pounds of lard." Through disciplined underplaying, Gitter is tragic in the steamboat scene, and satanic at the end of the second act where, after the success of the gold crash, he drinks a glass of champagne in spine-chilling slow motion...