Word: signed
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Dates: during 1970-1979
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...presence of students on financial aid has made an impression on these Lowell kitchen worker. It is--to them--a sign that Harvard does not cater only to the rich, and they do not see Harvard strictly as an elite institution open only to the offspring of the wealthy. "I think anybody who works hard can get in," Thelma says. "I think it's fair in that respect. I know many kids who have to work everyday and go to classes, too, and that's not easy." Pat adds, "Even the rich kids don't make a big show about...
...Another sign of greater accord between the University and the union is the recent ratification of the long-awaited new contract. While neither side would release exact details of the contract, Powers, Joyce and Costello said it concerned wage increases, health benefits, and about 12 more items, including the definition of reclassification policy. Costello called the wage increase "moderate--neither extremely high nor extremely low, but in accord with the cost of living increase." But the union appears less satisified with the contract than the University, for Costello added, "Feelings were extremely high among the men--as in every contract...
...sign in and out of the halls of residence at specified times," she said. "Then there was a list of 30 or 40 places in Boston that you were forbidden to go to. One of them was a certain Hotel Brunswick, now torn down, which had an "Egyptian Room." It was really quite harmless, and had a band leader named Leo Reisman who led a good orchestra, but it was considered too sque for Radcliffe girls...
America's contribution to the language of modern architecture has been immense. But little sign of that could be seen in its capital, Washington. Where were the modern designs to rival the dominant idioms of 18th century Georgian and 19th century Beaux-Arts by the Potomac? There was not much to see. The preferred manner, in a low-horizon city dominated by L'Enfant's neoclassical plan, was Beaux-Arts thinly covered with a "modernist" veneer: the cake minus the icing. From the postwar office blocks to the alternately coarse and mincing frigidity of the 1971 Kennedy Center...
...shapes and figures that are not the abstractions they appear to be, but symbols. And what you, as an individual viewer, see in thos symbols is as much an indication of your own psychological state as of the artist's. Miro has insisted that a form is "always a sign of something," yet, viewing these works, one is never quite sure whether the artist is giving away signs about himself or somehow gleefully declaring to his audience that what they see in his work is not him but themselves...