Word: professor
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Dates: during 1970-1979
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...solution isn't as easy as adding analysis to performing arts for john H. Coolidge, Boardman Professor of Fine Arts. Coolidge believes that because the final product in an artistic venture is so subjective, it is impossible to set standards for grading such projects. Moreover, he argues, "Boston just does not have the artistic genius that an art program requires. It's a social fact that can't be changed," Coolidge says...
Labeling Harvard's traditional resistance to arts-for-credit "medieval," James S. Ackerman, professor of Fine Arts, believes Brustein is "pretty powerful and persuasive and might change the concept that art is something you do with your hands and not your brain." Ackerman cites inconsistences in the arts policy: While Carpenter Center provides several studio courses for credit, other rigorous, programs given by the Arts Council or other arts groups which are very similar to VES courses do not receive official sanction. "Theres no philosophical justification for this," Ackerman says...
...this mixture of theory and practice that so many professors see as crucial in winning the battle to get art courses for credit. Louis J. Bakanowsky, studio professor of VES and professor of architecture, this combination is crucial and he too strongly calls for the acceptance of art courses into the curriculum. "The arts should and do have a part in the liberal arts education. If they don't it's like saying that the arts have no part in life, "he says...
ABOVE is a course description from the Harvard University Course Catalogue. Pretty boring, isn't it? What's worse, it's not really all that informative. After all, it is only what the professor thinks his course is supposed to teach, no more and usually a lot less...
That, according to Law Professor Roger Fisher '43, is how foreign policy should be made. And it's this type of policy-making that Fisher teaches in his popular course, Social Sciences...