Word: scholarship
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Dates: during 1970-1979
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...much a red flag on campus as "Engelhard" is today. The furor didn't end until September 24 1934, when the President and Fellows of Harvard University voted not to accept $1,000 from Hanfstaengl, a sum that he had hoped would be used to fund a travelling scholarship to bear his name...
...soon as the four Fellows, the treasurer of the Corporation and President James Conant '14 had voted, Conant himself dictated a letter outlining the reasons that there was to be no "Dr. Hanfstaengl scholarship". "We are unwilling to accept a gift," wrote Conant, "from one who has been so closely associated with the leadership of a political party which has inflicted damage on the Universities of Germany through measures which have struck at principles we believe to be fundamental to universities throughout the world...
...Hanfy" sent Conant another letter later that spring. "While I'm still not sure that I will be able to attend the reunion, I would like to offer a gift," said Hanfstaengl. The letter outlined the proposed scholarship, which was to "enable an outstanding Harvard student, preferably the son of my old classmates, to study in Germany in any field of art or science." The traveling scholarship was good for a year, six months to be spent in "Germany's cultural center" and Hanfy's native city, Munich...
...letter, which had been mailed on May 24, was made public on June 7. The scholarship offer played second controversy for a while, though, because Hanfstaengl also soon announced that he would indeed attend the reunion. He caught a plane to the coast, and set sail aboard the last steamship that could have gotten him to America in time for the ceremonies. Radical groups, including the National Student League, were unable to persuade the State Department to keep him out of the country. Debarking in New York, he was met with a demonstration, but he managed to avoid a planned...
Brustein's books, The Theatre of Revolt (1964), Seasons of Discontent (1965), The Third Theatre (1969), and Culture Watch (1975), are not only great reading--written in a direct, lively style that combines the best features of journalism and literary scholarship--they provide an approach to both modern drama and the current American theatrical scene. His writings, diverse as they are, display a common vision: the theater is not, and never has been isolated from day-to-day human existence and the problems of any given society--it is created out of those problems and fed by the artist...