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...institution has its historical roots in the fear of rape; that the rapist is the ultimate guardian of male privilege; that rape is "the conscious process by which all men keep all women in a state of fear." But she persuasively argues that all forms of oppression have their origin in the often brutal reality of unequal physical power and that this primal fact of life continues to define and distort relationships between the sexes...
Barbara E. White and Christiane Joost-Gaugier are charging Tufts with a violation of Title VII of the 1964 Civil Rights Act, which says that any person who feels unfairly dealt with "by an employer because of race, color, religion, national origin or sex" has the right to file charges with the U.S. Equal Employment Opportunity Commission (EEOC...
Lloyd Randolph, an official in Boston's division of the EEOC, said Tuesday the Civil Rights Act of 1964's Title VII provisions give any person who feels unfairly dealt with "by an employer because of race, color, religion, national origin, or sex, has the right to file a charge with the EEOC...
...life she had most deeply and truly lived." Lewis convincingly traces the central themes in Wharton's work--the subduing of a larger spirit by a smaller one, the wrongful exertion of parental authority, the disillusionment of a woman with the man she loves--and finds their origin in the shaping events of her life, including her unhappy marriage to the charming intellectual lightweight (and later, manic-depressive) Teddy Wharton and her abortive relationship with Fullerton...
...exclusively modern event (it is probably part of the romantic desire to see heroes in villains and vice versa, that made Satan the hero of Paradise Lost), though it has gained great impetus from the horrors of anti-semitism in the twentieth century. The basic font and origin of the trouble with The Merchant of Venice is something nearly unique in Shakespeare--an unresolved tension between an Elizabethan stage convention (the evil Jew) and Shakespeare's own meaning...