Word: publics
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Dates: during 1950-1959
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Your description of the courageous police chief of Little Rock, one Gene Smith, who was instrumental in preventing the public expression of resentment against the institution of integration in schools there, was very impressive. He sounds much like the collaborators in World War II, France and Norway, who were helping the Germans to round up their own countrymen...
...five Americans-the children in U.S. public schools-the picture above is an image o; the future. Classroom TV is one way to face an overwhelming fact of U.S. life in a nation whose soaring birth rate now approaches India's. This week the new school year begins with a shortage of 195,000 teachers; the need is so great that nearly half the next decade's college graduates should theoretically become schoolteachers. TV will soon be familiar in more than 750 schools; in time, it will be used in the rest of them...
...another matter. Teaching is not technology. It is the splendid province of the remarkable man on this week's cover. In the last year he has done more than any other single educator to throw Sputnik's red glare where it belongs-on the curriculum in U.S. public schools. James Bryant Conant is a product (1910) of one of the nation's best secondary schools, Roxbury Latin in Boston. In his 303 he was one of the country's most brilliant young chemists. At 40 he became president of Harvard (1933-53). At 60 he became...
...postwar revamping of Harvard's curriculum (TIME, Sept. 23, 1946), Conant has been on TIME'S cover three times before. This is his fourth appearance-a rare record for a nonpolitical personage. Even this appearance goes back to his Harvard days. For Conant's fascination with public schools began in 1933, when he had to decide "whether to drown a kitten," meaning Harvard's ailing Graduate School of Education. Conant fed it instead and raised it to be one of the nation's best. What evolved was a rare understanding of public schools, capped...
...public the magician is both mute and masked; it is only when he climbs into bed with his wife that he strips off his satanic guise and lets the audience in on his secret: he is really a good man with a perfectly normal voice, forced by poverty into becoming a "ridiculous vagabond, living a lie." Inevitably, the charlatans' show ends in disaster, but the magician gets his revenge: he plays dead and, in a sequence eerie as a Kafka nightmare, torments a doctor who wants to dissect him. And at film's end, after numbing humiliations...