Word: power
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Dates: during 1960-1969
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...with an innovation the board could not have proposed itself is beside the point, College administrators (like Grayson Kirk) forced to handle student discipline by themselves are in a hopeless bind because they do not have the authority to make their decisions stick. Here the Faculty has the final power to fix punishments and yesterday its members rightly decided by a two to one margin that the Administration formula was too barsh...
With Smith's departure, the problems at S.F. State shifted from black student demands to more fundamental questions of radical student power. Reagan quickly appointed S. I. Hayakawa to take Smith's place. Hayakawa, a semanticist who was well-respected in his field but virtually unknown in the outside world, made his position clear from the beginning. He would negotiate with the students, he said, and he would make concessions if they seemed appropriate. But above all, he would keep the college open. "We're not going to let this college be closed down by anybody," Hayakawa said. Reagan echoed...
Christmas vacation offered a temporary lull, but a showdown of brute student power was looming. In late December, Hayakawa became a permanent fixture on evening newscasts in California. Wearing his perpetual tam o'shanter ("a symbol of courage," he said), he toured his college and swore that it would open peacefully in January. Reagan and Dumke said they would back him, and hordes of businessmen and housewives in the rest of the state began wearing Hayakawa tam o'shanters as a gesture of support...
...January 6 opening day drew near, it became obvious that substantive questions of black student demands were being lost in the face of Hayakawa's challenge to the students' physical power. When Hayakawa none-too-subtly announced that hundreds of city police would be on hand to enforce "orderly opening" of the college, groups of students--BSU members, Third Worlders, and unaffiliated students--said that the college would not open...
...Chinoise. If Godard's current films--reportedly staged cinema-verite, interview-oriented, documentary political essays--represent a completely new development in his work, then we can consider Made in USA, Deux ou Trois Choses que Je Sais D'Elle, La Chinoise, and Weekend transition pieces between the narrative power of Pierrot le Fou and the films to come. The first two are easily dismissable as films which fail to solve problems finally turned into assets in La Chinoise: audience alienation through revelations of the camera itself and of actors as actors; a growing feeling that truth must extend into...