Word: moralisms
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Dates: during 1970-1979
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Harvard's current stance on the J.P. Stevens issue is morally irresponsible and dangerous to our school's principles for two reasons: (1) Money paid to Stevens is being used to finance the company's vicious anti-union campaign, while no money is being sent to the Stevens workers or the union. This represents real and active support for Stevens illegality. You argue in your letter that "we do not possess sufficient leverage to move large corporations." A similar excuse is used to downgrade the importance of voting: "Who cares? My vote won't change the results." On that basis...
...refusing to give students a ruling say over whether or not to boycott a product, Harvard makes a judgment that Stevens is not a serious enough issue. I do not make that charge lightly, because it is manifestly clear that many everyday decisions of the University represent decisions on moral, social and political matters larger than the narrowly-defined educational process. You mention in your letter the effect on the community of decisions to construct new buildings, as well as treatment of minority students and applicants...
Despite President Bok's recent statement on gift policy, the administration's agreement, which allows a plaque in the library to acknowledge that the funds were given in Engelhard's memory, shows that it is possible to use moral criteria without embarrassing or compromising the University. Engelhard, an industrialist whose political and financial participation in South Africa directly supported the apartheid regime, is hardly an appropriate figure for memorialization by a school of public policy. The administrators at the Kennedy School who accepted the compromise worked out by its committee on gifts showed a concern for moral responsibilities...
...Author Philip Hallie puts it, that altruism "lacked the glamour, the wingspread of other wartime events." Yet the tale (which is many tales) is rich in potential suspense and drama, and not only of the theatrical sort; it is an exceptional instance of moral force prevailing over brutish military and political powers...
Devour the Snow is a profoundly moral play in the guise of a murder thriller. Polsky probes areas of guilt, self-deception, self-corruption and the agonizing question of "What price survival?" The cast is exemplary, and Jon De Vries as the tormented Keseberg sculptures a portrait of hell in ice. Toward the end, Polsky resorts to melodramatic devices that break the play's stark tension, but he is a welcome addition to the select company of playwriting naturals...