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This newspaper page contains 8 articles. Subscribers can read the full text of each article.
Newspaper
Barnard Bulletin
Location
New York, New York, United States of America
Date
Mar 24, 1931
Page
1
A brisk notice surveys campus life intracity, noting a Barnard girl, Lones for a Barnard Girl, and a reference to subways. It sketches a student’s social round on campus and nearby transit.
Fragmented notes discuss a stage piece with actors Lee Tracy and Donald Meek, a subplot of a lawyer and a woman named Connie, and a rain scene. Key tensions involve intimate relations, a Rochester business trip, and a failed compromise amid spinach and thunderstorm imagery.
A discerning roundup reviews Aphrodite in files by Geo Moore and Yen and Memories by Sir Ham Rothenstein. It surveys Behold America edited by Samuel D. Schiantalhalsen, with cautions about war and modern cynicism. The piece also touches on Gaudier Gaudier and Brzeska in letters and life.
Fragmented OCR notes from a student publication item reference a semi weekly schedule during the college year with gaps during vacations and mentions an undergraduate association and a campus event or meeting.
The notice lists editorial staff and assistants with roles and ages, including Editor in Chief, Managing Editors, News Desk, and various departments. It provides names such as Beatrice Sagu Beatrice Sagu and Juliet Blume along with office and contribution details.
The lecturer Professor Overstreet argues against fixed Aristotelian classifications and absolutist thinking. He contends wisdom arises from avoiding blanket generalities and recognizing variations in criminals and situations.
The piece discusses next week’s editorial focus on Sophomore Class housing needs and the required number of courses. It debates prospective plans and student expectations as decisions loom, noting concerns and the perceived unfounded nature of some claims.
Professor Moore directs the Columbia University Orchestra through its second formal concert of the season at McMillin Hall. Herbert Dittler solos the Saint-Saens Violin Concerto in B minor as Brahms Third Symphony in F major is heard with a restrained dynamic range. The review notes slow Andante and brisk final movement pacing and praises the Dittler soloist and the virtuosic Saint-Saens passages while criticizing some tempo choices.
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