Word: natane
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Irwin Cotler, a McGill University law professor who was co-counsel for recently released Soviet dissident Anatoly (Natan) Shcharansky, said he told the Soviets at a human rights convention this month that their new rhetoric about the importance of human rights must be matched by real change...
...record his foreign policymaking, apparently to provide proof of his abilities when he runs for the presidency in 1988, the Vice President, wearing a dark blue skullcap, was photographed kissing Jerusalem's Wailing Wall, visiting the Yad Vashem memorial to the Holocaust, touring a kibbutz and chatting earnestly with Natan (formerly Anatoly) Shcharansky, the Jewish human rights activist released by the Soviet Union in February...
...year-old mathematician, who moved to Israel and adopted the Hebrew name Natan after gaining his freedom in an East-West "spy swap," is currently visiting the United States to call attention to human rights violations in the Soviet Union and to thank Americans who campaigned for his release...
...efflorescence of the modernist spirit that is still not fully known about. This was partly due to the cold war. The main reason, however, was repression inside the Soviet Union. The work of artists like Alexander Rodchenko, El Lissitzky, Lyubov Popova, Natalya Goncharova, Mikhail Larionov, Vladimir Tallin, Kasimir Malevich, Natan Altman, Naum Gabo and scores of others was a collectively ecstatic response to the possibilities of a new world, the Utopia that Lenin called "Marx plus electricity." It was international in range, drawing on the resources of the new movements in Italy and France-futurism and cubism-which the Soviet...
...U.S.S.R. the greatest industrial metaphor in the world, was a euphoric paean to the marriage of "objective" material-girders and glass-with dialectics The idea of a necessary link between the nature of modern art and the aims of socialism was everywhere. "Each part of a futurist picture," Natan Altman argued, "acquires meaning only through the interaction of all the other parts"; its task was not to depict, but to explain dialectical relationships. Illegible in themselves, the fragments of form live "a collective life," like the faces in "a proletarian procession...