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Neither Marshall nor his wife Jean, both computer programmers in Los Alamos, N.M., who have lived next door to Wen Ho and Sylvia Lee since 1980, believe their friend is capable of doing what the U.S. government suspects: passing to China some of the most damaging nuclear secrets in U.S. history. "I've gone from shock to compassion to outrage," Jean says. "This just doesn't jibe with anything I know about...

Author: /time Magazine | Title: Who Is Wen Ho Lee? | 3/22/1999 | See Source »

...lived a life of middle-class bliss in White Rock, 10 miles east of Los Alamos. He likes to fish, cook and tend his backyard garden, according to the Marshalls. He has been, they say, an ideal neighbor--outgoing and never happier than when working in the sun. Says Jean: "He's the sort of person who, when he paints his house, will say, 'Do you want me to come over and paint yours?'" Most of all, the Marshalls say, Lee has been committed to the education and welfare of his two children, now in their mid-20s, and other...

Author: /time Magazine | Title: Who Is Wen Ho Lee? | 3/22/1999 | See Source »

...identity, particularly gender and ethnicity, into academic discourse "can be lethal to informed and penetrating scholarly inquiry." This criticism on the part of a white male, who can easily ignore his gender and ethnicity in all aspects of his daily life, to be a patronizing example of what Jean-Paul Sartre describes as "condescending liberalism...

Author: NO WRITER ATTRIBUTED | Title: Different Experiences Necessarily Inform Debate | 3/18/1999 | See Source »

...identity, particularly gender and ethnicity, into academic discourse "can be lethal to informed and penetrating scholarly inquiry." This criticism on the part of a white male, who can easily ignore his gender and ethnicity in all aspects of his daily life, to be a patronizing example of what Jean-Paul Sartre describes as "condescending liberalism...

Author: NO WRITER ATTRIBUTED | Title: Letters | 3/18/1999 | See Source »

...subtitle fits. Almost from the time they left the easel, the portraits of Jean-Auguste-Dominique Ingres (1780-1867) were seen as being more than personal likenesses. They had a defining character. Ingres's period has coalesced around his art. In the first half of his life, when he was in Italy, the Mecca of the aspiring French painter, his pencil drawings caught the upper crust of foreigners there--the milords Anglais and their families on the Grand Tour, the French officials who ran Napoleon's kingdom in Italy, his fellow expatriate artists--with stylish brio and steely exactness...

Author: /time Magazine | Title: Art: The Faces of an Epoch | 3/8/1999 | See Source »

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