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Last semester, Acting Chair of Women's Studies Juliet B. Schor taught the same book in two classes-one on economics and the other on women's studies...

Author: By Rosalind S. Helderman, CRIMSON STAFF WRITER | Title: Schor Explores Gender, Work, Consumption | 10/22/1998 | See Source »

...excellent performances--opening acts--that much of the crowd missed while milling around and jockeying for perfect viewing positions. The first was a spirited performance of classical favorites--Verdi's Overture to The Force of Destiny, Bach's Air from Orchestral Suite No. 3, Tchaikovsky's Romeo and Juliet, and Beethoven's Egmont Overture--by the Greater Boston Youth Symphony Orchestras under the direction of David Commanday. The youth orchestra's performance was exuberant and technically sound; they played with a finesse one might not have expected to hear from a youth orchestra. The youth orchestra was followed...

Author: By Jamie L. Jones, CRIMSON STAFF WRITER | Title: barefoot in the park with BSO | 10/2/1998 | See Source »

...romance, it left something to be desired. there was none of the mythic sweep of Tristan and Isolde, not a glimmer of the mystical intensity of Heathcliff and Catherine, nothing akin to Romeo and Juliet's tragic inevitability. But the affair between Bill and Monica--if affair is the appropriate word for an "inappropriate relationship"--has something to teach us anyway, in unexpected ways...

Author: /time Magazine | Title: The Feminist Lothario | 9/21/1998 | See Source »

...lectures on modern feminist issues and concerns, there is a series of film screenings and an optional Millenium Series of lectures. The six-week series includes lectures by Rita Nakashima Brock, Barbara Ehrenreich, Professor of English Marjorie Garber, Smith Professor of French Language and Literature Juliet Schor and Urvashi Vaid...

Author: By Sarah E. Henrickson, CRIMSON STAFF WRITER | Title: Can You Take It? The Latest Shopping List of 11 | 9/18/1998 | See Source »

...spent much of his time working on Broadway, staging such landmark productions as Gypsy and Fiddler on the Roof; he made Mary Martin fly in Peter Pan and taught the Jets and the Sharks how to rumble in West Side Story, the urban updating of Romeo and Juliet that was his (and Bernstein's) most enduring contribution to the American musical. But classical dance was his true love, and in 1969 he turned his back on the commercial theater to devote himself solely to George Balanchine's New York City Ballet, for which he made a string of masterpieces--among...

Author: /time Magazine | Title: A Made in The U.S.A. Genius: Jerome Robbins, master choreographer | 8/10/1998 | See Source »

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