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Quine has published 20 books, including A System of Logistics, Mathematical Logic, Word and Object and Quiddities, An Intermittently Philosophical Dictionary...

Author: NO WRITER ATTRIBUTED | Title: Professor Wins Prize, Receives $400,000 | 7/4/1996 | See Source »

Zeckhauser went on to say that if the student members of the search committee were to strongly object to any of the candidates, she would "certainly listen seriously...

Author: NO WRITER ATTRIBUTED | Title: Students: Search For HDS Chief Is Excluding Us | 7/4/1996 | See Source »

Controversy boiled up. Evans, who swam against a notoriously drug-aided East German team, is a straight-arrow in the matter of performance-enhancing substances. When the U.S. authorities refused to ban 15-year-old freestyler Jessica Foschi, who had tested positive for a steroid, Evans objected that the team was throwing away its moral right to object, for instance, to drug use by the Chinese. And then a pint-size, cheeky 15-year-old named Brooke Bennett, who reminded some people of a younger Janet Evans (and who beat Evans soundly in the 400 free in May 1995), began...

Author: /time Magazine | Title: JANET EVANS: ONE LAST SPLASH | 6/28/1996 | See Source »

...presence, her matter-of-fact ease with her sensuality, her odd combination of coltishness and placidity that have turned her into an art-house goddess, an American answer to European actresses like Emmanuelle Beart and Julie Delpy. Her two current films present Tyler as an almost celestial object around whom innumerable admirers revolve. Both Stealing Beauty and director James Mangold's Heavy--which won a Grand Jury prize at the Sundance film festival this year--drop her in insular worlds where her beauty and quiet sexuality generate more rattle than hum. Yet Tyler also projects a work-in-progress quality...

Author: /time Magazine | Title: CINEMA: LIVING IT UP! | 6/17/1996 | See Source »

Early Cezanne the stumblebum turned into one of the finest manipulators of paint who has ever lived. Perhaps manipulator is the wrong word--it suggests trickery, whereas in Cezanne the relation between the paint surface and the imagined surface of the object (a rock, the side of a house, an apple) is astonishingly direct and candid. This doesn't come across in reproduction. It rises from the paint itself, that discreet paste in which every trace left by the brush seems to help create the impression of solidity, so that you feel you could pick the apple--which is both...

Author: /time Magazine | Title: ART: MODERNISM'S PATRIARCH | 6/10/1996 | See Source »

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