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...only really atypical aspect of Daley's youth was the size of his family: he was a greatly cherished only child. In a milieu where family solidarity was a virtue (and a power source) prized even above gang loyalty, Daley thus suffered a certain limitation-until he married into the numerous clan of Eleanor Guilfoyle. As an officeholder, he consolidated his family position by exploiting the rich grab bag of political patronage on behalf of the Guilfoyles. As Royko observes, "Eleanor's parents might well have said that they did not lose a daughter, they gained an employment...

Author: /time Magazine | Title: Books: Hamburg Heaven | 4/19/1971 | See Source »

UNIVERSITY Health Services is finally showing an awareness of the female fraction of "the Harvard Family." In response to a change in the Massachusetts birth control law and to what Dr. Sholem Postel called "milieu-pressure," gynecological services, sex counseling and abortion referrals are being coordinated and publicized. The move stems from a January 18 meeting between Health Services doctors, President Bunting, Dean Elliot and two Radcliffe resident tutors. No student were present...

Author: By Julie K. Ellison, | Title: Unisex in the Health Services | 3/24/1971 | See Source »

...building, and beyond that another window in which a woman does her laundry. Nobody in Renoir's movies is alone; everyone performs his personal actions for society. Those individuals who, like Toni and Andre Jurieu, find this omnipresence of society an intolerable constraint, end being killed by their social milieu...

Author: By Mike Prokosch, | Title: Films Le Grand Theatre de Jean Renoir | 2/24/1971 | See Source »

...relation into one of sorrowful class distinction. The ending of Elena forces its high-born heroine to adopt the dominant mood of her whole social surrounding, but it denies her a role within it. The inner door-frame, which in early Renoir let privileged heroes pass into the free milieu of the street, here becomes a window that locks the aristocrats into their milieu of greater individuality and privilege...

Author: By Mike Prokosch, | Title: Films Le Grand Theatre de Jean Renoir | 2/24/1971 | See Source »

...generally far from the actors; the film seems more to have been recorded than shot. The camera's detachment from the actors' social process finally allows them free action. At last there is no ultimate conflict between the idealist drives of the hero and the confinement of his social milieu. The chaos and destructiveness of his prison camp not only justify, but make possible, his escape from a social order to which he is radically opposed...

Author: By Mike Prokosch, | Title: Films Le Grand Theatre de Jean Renoir | 2/24/1971 | See Source »

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