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Newspaper
Barnard Bulletin
Location
New York, New York, United States of America
Date
Nov 19, 1935
Page
1
Barnard College semiweekly bulletin published by the Undergraduate Association for the college year. Copyright and post office registration info indicate second class matter at New York, New York since October 19, 1928.
A Barnard College dispute compares Bulletin and the Student Voice, debating aims and scope. The piece argues Bulletin’s local focus is more realistic and pertinent to daily campus life than the Voice’s broader universal stance.
A campus column presents free thoughts from students with editor comments clarifying it does not reflect Bulletin Staff positions or official University views. Readers are invited to share varied perspectives on campus life and current topics in this forum.
Barnard College supporters of the Young Communist League welcome criticism from students and workers. They defend campus independence, academic freedom, antiwar and anti fascist aims, and urge letters to the Students’ Voice to continue the discussion.
Readers discuss whether Barnard organizations should affiliate with outside groups. Opinions range from preserving the current cautious process to speeding approvals and involving joint committee action. Several voices urge careful, representative review by Student Council and Faculty Committee on Student Affairs.
In a Carolinian column two dorm roommates settle mornings with a nightly bet of fifty cents placed on the floor equidistant from their beds. The first to reach the money when the alarm sounds wins the stake.
Ronald Colman stars in a farcical spoof where a noble Russian taxi driver gambles in Monte Carlo. The film mocks high society as Jo Arc Bennett schemes to win him back with a sham heroine plot. The pace stalls but Colman’s charm keeps some scenes afloat while Nigel Bruce adds light humor.
Ria Ginster’s New York recital on November 13 featured intelligent singing and a choice of Schubert, Schumann, Wolf, and Strauss. Her Mozart aria impressed, but dramatic numbers revealed limited vocal power, while lyrical pieces showed refined phrasing and diction. Accompanist Frit Kitzinger aided the performance.
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