Word: subjectity
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Dates: during 1980-1989
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William Masters, Virginia Johnson, and their collaborator, Robert Kolodny, write the truth when, at the beginning of Crisis, they say that much that has been written on AIDS is incorrect. Even more of the writing on the subject is misleading. Unfortunately this study only adds to the mounting toll of misinformation the disease. Their claim that AIDS is "rampant" in the heterosexual population is unsubstantiated by their research; their treatment of the ways in which AIDS is spread is irresponsible, and their recommendations are ill-advised. Their evidence does show that the public is not modifying its sexual behavior...
...book fulfill the dust cover's claim that the study assesses the risks in a "scientifically precise" way. This is a lie, and Masters and Johnson are abusing their scientific credentials by allowing such a claim to be made. Because it's impossible to be precise in researching this subject, one should be especially careful, lest ignorance produce its usual offspring, fear...
...experiences dealing with students' reactions to controversial subject matter closely parallel those of many other professors who teach in non-traditional disciplines. Interviews with instructors this week revealed that the teaching of sensitive issues in the college classroom-and the question of student input--are problems that do not lend themselves to a single solution...
Chagall's was a textbook case of the way some artists receive their subject matter, their grammar of signs, in childhood. He was a child of the Russian ghetto, born in the town of Vitebsk in 1887; his father was a herring packer, his grandfather a cantor and kosher butcher, his uncle an amateur violinist. The imagery of music and shtetl folklore, mingled with the face of his childhood sweetheart (and future wife), Bella Ro- senfeld, furnished the unaltering ground of his work for 80 years, long after the close-knit and weak little societies it represented had been incinerated...
...Bliss was it in that dawn to be alive"--especially for a young artist, eager to absorb what this supreme moment of untainted modernism offered. In cubism, he felt, the subject was "killed, cut to pieces and its form and surface disguised." Chagall did not want to go so far, but the flattening, reflection and rotation of cubist form gave his early paintings their special radiance and precision. In Paris Through the Window, 1913, we enter a rainbow world, all prismatic light and jingling crystalline triangles. It is full of emblems of stringent modernity: the Eiffel Tower, a parachutist...