Word: socialism
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Dates: during 1920-1929
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...class dance is felt by certain 1931 classmen might seem paradoxical coming as it does at a time when all ephemeral things should be put aside and a serious attempt made to fill in the gaps of one's general culture. To Freshmen who have illusions concerning the social side of Harvard life without experiencing other than that which centers around the Freshman dormitories, the fact that the Sophomores should have a dance does not seem inconsistent in view of the Freshman Jubilee, the Junior Dance, and the Senior Spread, a point of view forcibly expressed in the current petition...
Sentiment having been worked up to the desired pitch, the logical thing for the Sophomores to do is to investigate the financial and social state of the dances of which they are envious. The Jubilee, heralded by nebulous publicity throughout the first year and coming at the time when a class has attained its acme as an entity, is usually a financial success in spite of its nondescript social category. Like it, the Senior Spread comes at an advantageous time, and largely in its capacity as an entertainment for the Commencement crowd is assured of enough support to make...
...state of jeopardy rather than initiating a new venture into the unstable realm of Harvard terpsichorean celebrations. Year after year there has been a steady decline in interest in the Junior dance involving natural financial embarrassment for the Committee and requiring inroads into the class funds. From the social point of view, likewise, the third year dance has tended to prove itself a white elephant, owing to the waning social homogeneity of a class, especially after its initial year. In short, the quicker it is recognized that the class promenade, a by-product of rampant collegiatism, is destined...
Here is a very different story from the scheme of arrangement under Faculties. Scholastic, social, athletic activity, all is bound up in the College, and it is to the smaller unit which supplies all this that the undergraduate owes whatever loyalty he may feel to an institution...
Miss Draper's grandfather was Charles A. Dana, famed editor and publisher of the New York Sun. Her parents, her father especially, was too correct and well-settled in social Philadelphia to approve of her eccentric plans to go upon the stage. But she somehow progressed from entertaining her friends with mimicries to playing to paying houses. She has never played to an audience that disliked her; and she has played in the six or seven languages which she speaks. She detests publicity and does not, in her quiet demeanor, display traces of the exhibitionism which inspires all acting...