Word: mutuals
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Dates: during 2000-2009
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Mnookin recounts in Hard News his casual acquaintance with Jayson Blair prior to the news of Blair’s downfall at the Times became public, the result of their mutual struggle with addiction. “I had heard that he was struggling to stay sober, and I was sympathetic; I had stopped using drugs and alcohol six years before, when I was in my mid-twenties,” he recounts in the book...
...most of his peers. This all changes, however, when he meets a family of muses in the park one afternoon. Barrie quickly befriends Sylvia Llewelyn Davies—played with daring and grace by Kate Winslet—and her four sons Michael, Jack, George and Peter to their mutual benefit; Barrie needs them for inspiration and to inject some warmth into what was rapidly becoming a hollow life and they need him to help them get over the recent death of Sylvia’s husband, the boys’ father. Peter, played by 12-year old Freddie Highmore...
...cite Harvard’s commitment to socially responsible investing. “We also hope that the petition will help raise awareness not only about the local issue of Harvard’s responsibility to invest ethically, but also about the $90 billion that private American citizens, mutual funds and institutional investors currently have invested in companies linked to the Sudanese government...
...explains how Japan came to see the French style of comix, called bandes dessinees or "clear line," as too graphically focused, while the French saw Japanese Manga as little more than near-endless volumes about robots and monsters. In spite of this disconnect, Boilet writes, both cultures share a mutual fascination with slice of life stories, as evidenced by the popularity of French cinema in Japan. (The name nouvelle manga deliberately echoes nouvelle vague, the French name for the New Wave cinema of the 1960s.) "Nouvelle manga" refers to any comic that taps into this mutual appreciation. To that...
...such as it is, almost entirely from the visuals. In its emphasis on quiet, low-key activities and cutaways to environmental details, "The Walking Man" evokes the atmosphere of the films of Yasujiro Ozu ("Tokyo Story," "Early Spring," etc.) But the comparison goes no further than the work's mutual tone. Ozu's movies involve rich characters struggling with complex conflicts. Taniguchi's walking man stays a cipher, exhibiting only the barest hint of complexity. The pleasures of "The Walking Man" are principally in the form of Taniguchi's careful compositions, which acheive a contemplative beauty. Like a short walk...