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Newspaper
Barnard Bulletin
Location
New York, New York, United States of America
Date
Nov 21, 1933
Page
1
Barnard College undergraduates publish a semi weekly issue for the Undergraduate Association. The November 21 release marks volume 38 issue 14 during the college year with coverage typical of student activities and campus matters.
A dense listing details the newspaper’s Editorial and About Town teams including roles such as Editor-In-Chief Gertrude Epstein and managing editors Anna Jacobson and Edith Kane. It catalogs numerous staff across departments like copy editing printing business advertising circulation and includes year marks next to many names.
Barnard Bulletin Forum Column announces informal discussions by the Government Department on the Government and the NRA. Reading lists will be posted outside Room 5 Milbank a week ahead. First meeting on December 8 in the Conference Room.
The editor urges Barnard College students to observe smoking rules banning smoking in Milbank Fiske Brinkerhoff Barnard Halls and Barnard Hall except Room 302. Smoking may only occur in the Jungle and the walk to 119th Street gate. Violations risk fire and loss of valuable educational material. Erratum notes Government majors tea moved to November 23 in the College Parlor.
The piece critiques Congressman Fish’s Soviet policy remarks during a Saturday broadcast. It argues the United States rarely wins wars or conferences, warns against demonizing Russia, and calls for measured diplomacy over imperialist brinkmanship. It urges Fish to clarify his distorted pluralism and reflect on national interests.
Maaiie Elliott’s column assesses Jean Ferguson Black’s adaptation of Thunder On The Left with two opposing camps split between reactionaries and fantasists. The critique praises James Bell and Louis Jean Heydt while noting miscasts like Douglass Montgomery and commendable Hepburn in Jo’s role, ending with a defense of beauty over blunt realism.
A film review argues that Little Women relies on associations to carry the story. It notes the book’s characters like the March family and Professor Bhaer are hard to establish onscreen without the reader’s memory.
Abstract watercolors by John Marin sit between realism and abstraction. The artist uses bold black lines to convey movement of sailboats and pine trees, with varied colors and crayon-like marks that appear chaotic but carry hidden meaning. Landscapes dominate his subject.
Emil Bisttram’s water color show at Delphic Studios 9 Fay 57th Street presents Indian Southwest motifs translated into abstract form. The critic praises Bisttram’s fusion of original American abstraction with contemporary sensibility, noting fluid ribbon lines, color harmonies, and bold expressiveness across works including Indian Keshares Clowns, Humming Bird, and mask renditions.
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