The original documents are located in Box 29, folder “Bennington College Catalogues” of the Betty Ford White House Papers, 1973-1977 at the Gerald R. Ford Presidential Library.

Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Betty Ford donated to the United States of America her copyrights in all of her unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. BENNINGTON COLLEGE CONTENTS

THE BENNINGTON IDEA ...... 2 ORGANIZATION OF STUDY The Educational Program...... 4 The Role of Counseling and Advising ...... 7 Non-Academic Activities ...... 8 The Student Services Office...... 8 The Non-Resident Term...... 9 Study Abroad and Leaves of Absence .. 10 Graduate Studies...... 11 The Degree ...... 11 GENERAL INFORMATION Admissions ...... 12 Fees and Financial Aid...... 17 The Campus...... 22 Community Government...... 23 Campus Rules and Regulations...... 24 The Library ...... 25 The Cooperative Store...... 25 The Health Service ...... 25 CURRICULUM Literature and Languages ...... 27 Social Science ...... 48 Natural Science and Mathematics ...... 70 The Performing Arts ...... 82 The Visual Arts ...... 93 FACULTY ... 100 ADMINISTRATION...... 117 BOARD OF TRUSTEES ...... 117 ALUMNI ASSOCIATION ...... 120 ALUMNI INTERVIEWERS .. 121 COLLEGE CALENDAR 1972-73 ...... 124 The Bennington Idea search projects, and otherwise achieve some direct experience of the body of learning they are attempting to master. It is this same principle which lies behind the College requirement that all students devote part of each Bennington College is a four-year undergraduate coeducational col­ year to off-campus employment or projects which involve them as par­ lege. It makes available to students individually planned programs of ticipating and working members of the general community. study leading to the Bachelor of Arts degree. Approximately 585 stu­ The Bennington system owes its strength to a faculty which, while com­ dents will be enrolled in 1972-73. posed of professional writers, musicians, researchers, etc., also finds chal­ Bennington College students are encouraged to develop a program of lenge and fulfillment in teaching. The College is a community of scholars, study which is based on their own capabilities and interests. The College scientists, and artists, each of whom teaches the discipline he actively is, however, a liberal arts college and requires its students to avoid narrow practices, and each of whom regards the learning experience as a form of specialization in their course of study. The curriculum is flexible enough apprenticeship of student to teacher. to take into account the important differences among individuals and Learning at Bennington is seen as relevant and satisfying in itself, broad enough to promote the student's understanding of our culture. rather than solely as a routine form of preparation for future vocational Intellectual development is only one aspect of the educational process. goals. When learning takes on the character of an immediately enriching The College also gives significant weight to the emotional, ethical and experience, rather than mere preparation for life, it provides a richer esthetic factors in personal growth. foundation for the future. It is the students themselve.s who are expected to assume primary re­ Because freedom in education can easily be misunderstood, it is im­ sponsibility for their own development. Instead of being told which di­ portant to say a word about what the College is not. Bennington is not rection their studies must take, they are provided a wide range of options some form of intellectual and social commune; nor is it a college solely for and, with advice from faculty and appropriate administrative personnel, writers and artists; nor is a Bennington student free to study or do any­ they are able to make their choices themselves. Instead of being governed thing he wants. While student views on all issues are sought and re­ by social rules which are dictated by others, Bennington students are asked spected, the faculty and the administration are responsible for the quality ~olive by rules which they themselves have had a primary role in fashion­ of the educational process and the general life of the College. Our goal ing. is a community where everyone devotes his energies primarily to the task For the discipline of external authority, there is substituted the more of constructing and utilizing a fruitful context for educational develop­ rigorous discipline of individual responsibility for choices made. The ment. College, therefore, hopes to prepare students to bear responsibility, whether intellectual, esthetic or moral, by asking each to assume it in the life of the College. Practice is regarded as the testing ground and source of vitality of theory rather than as its antithesis. For this reason, students in all areas are asked to experiment, perform, do field work, compose, write, take part in re-

2 3 Organization of Study student spends from ten to twelve hours a week on each course. A course which involves studio work, laboratory work, or rehearsal periods will frequently take more of the student's time. The regular freshman coun­ THE EDUCATIONAL PROGRAM seling session, while flexible, will usually last from three quarters of an Although many students come to Bennington without a strongly con­ hour to an hour, and is normally devoted to discussing academic matters. firmed interest or a highly cultivated skill, those who have special talents The organization and allotment of time to meet various commitments find that the educational plan of the College is designed to allow explora­ undertaken is clearly the students' own responsibility. They will have tion and development. Success at Bennington, however, depends not so considerable latitude in figuring out their own way to meet this challenge, much on special talents or skills as on intellectual curiosity combined and their success in meeting it is taken as a significant measure of their with enterprise, intelligence, and discipline. capacity to function effectively as independent and responsible students. Specific courses are not required at Bennington, but there are a num­ As students move into their second year, they will discuss with their ber of educational expectations which students must fulfill in planning a counselor a program with a view to establishing continued interest and program that serves their own purposes and at the same time those of the competence in their projected field along with further development of College. Students are therefore required to include work in four different other interests. The second-year program will form the basis for advanced Divisions during their first two years, and to complete one year's work be­ work in the last two years at Bennington. yond the introductory level in three disciplines by the time of graduation. Before the end of their second year, students are asked to make an as­ In choosing their courses, entering students are expected to set up a sessment of their educational experience and to project a program for program which reflects their particular interests at the appropriate level their final two years, in the form of a Tentative Plan for advanced work. of competence, as well as their readiness to explore areas of the curriculum This work will center upon chosen areas of concentration, which will new to them. The programming of a liberal arts education at Benning­ usually fall within the province of one of the divisions of the College but ton further calls for a degree of balance among the different approaches may cross Divisional lines. They will pursue certain areas in considerable to learning in the various disciplines. As students advance in their educa­ depth, but will still be expected to carry beyond the introductory level tion, their programs are expected to reflect a coherence and sense of di­ other interests within their total program. rection as well as increased definition of educational goals. Acceptance of the Tentative Plan opens up further opportunity to ar­ Each entering student selects a tentative program before arriving at range a program closely tailored to the demands of the subject matter the College. This choice is discussed and redesigned with a faculty ad­ chosen for study. The program may include independent reading courses visor at the opening of the term, if necessary. Any of the courses finally and tutorials designed to explore interconnections between courses al­ selected may be changed within the first two weeks of each term. ready taken or subject matter not dealt with in courses regularly offered. Student programs usually include four courses or "quarters" of work Plans for advanced work are evaluated on the basis of the total college (although students beyond the freshman year may devise a program of record. An accumulation of satisfactory reports is not in itself sufficient thirds in order to work in more depth in three areas of interest) and, tor grounds for approval. The plan goes first to the appropriate Division for first-year students, a weekly counseling conference. On the average, a consideration and then to the Educational Counseling Committee.

4 5 Then, the E.C.C., a faculty committee charged with maintaining the edu­ by instructors and copies are given to students and their counselors. It is cational policies and standards of the College, may accept a failure or the College's expectation that the students will share and discuss these false start resulting from exploration of a new area, particularly if students comments with their parents. have been urged to extend their studies into untried fields. But to gain Students who would like at some point to study abroad or at some other approval of their plans performance must convince the committee of institution for a time are expected to incorporate their intentions in their serious interest in the total liberal arts education, and their capacity for Tentative Plan. sustained and independent advanced work in at least one area. While With the acceptance of their Tentative Plans, students are free to carry creative abilities and technical skills in the arts and sciences are valued as out programs for advanced work. During the course of the last two years, highly as intellectual capacities in the more academic fields of endeavor, it is possible to modify plans as interests and needs change, or as new op­ specialized talents of a high order are not in themselves considered suf­ portunities for consolidating interests become evident. During the latter ficient justification for continuing in the liberal arts program at Ben­ part of their third year, students prepare a Confirmation of Plan which nington. includes a statement of plans for senior work, specifying courses, tutorials, If, despite passing reports in all courses, students have not demon­ and the exact nature of their senior project. This project is an inde­ strated their capacity for advanced work and the required degree of com­ pendent piece of work, usually a thesis or creative project, produced with mitment, then their respective plans will not be approved and they may the guidance of appropriate members of the faculty. After the Confirma­ be asked to withdraw. Occasionally a student may be granted further tion of Plan has been reviewed and approved by the faculty of the ap­ time in the College if the committee anticipates improved capacity for propriate Division or the Interdivisional Committee and by the Educa­ advanced work within another term or another year. tional Counseling Committee, students are prepared to enter into the final stage of their academic work at Bennington. It is the ultimate responsibility of students to demonstrate the depth of their own interests, the sense of commitment to their work, their realiza­ ROLE OF COUNSELING AND ADVISING tion of the intellectual or artistic discipline demanded by that study. Their instructors will be teaching subjects of intense interest to them, and Each student at Bennington meets regularly or as the need arises with expect their students to respond accordingly, without prodding. Instruc­ a member of the faculty for counseling or advising, a relationship of es­ tors are prepared to discuss any difficulty a student may be having, but sential importance to the educational process. All new students are as­ they expect their students to take the initiative in seeking advice. Stu­ signed a faculty counselor with whom they may meet weekly. The coun­ dents are also expected to go to their respective instructors to consult selor serves to communicate and interpret the objectives and expectations about extra work they would like to undertake, or to discuss ideas which of a liberal arts education as it is conceived of at Bennington and tries to grow out of their study but which they may have had no chance to express help the student make maximum use of the opportunities available to him in the classroom or studio. or her at the college. With the counselor, the student will discuss his pro­ Evaluation of the students' programs at Bennington is not based on a gram planning and will review with the counselor the progress made in mechanical marking system, nor is it measured by competitive standing in that program. Other uses of counseling depend upon the student's needs a group. Each of the disciplines studied has its own standards of achieve­ and interests. Through counseling the student can get a better sense of ment by which their work is measured. Descriptive comments are written the expectations of the college, of his capacities and limitations in meeting

6 7 them, of the study habits that need correction or development. Counsel­ and advice about how to solve or resolve non-academic problems. Finan­ ing may also be used to study educational material growing out of a course, cial aid for current students, housing, the Non-Resident Term and Post drilling on fundamental techniques, developing new study skills, con­ Graduate offices are all administered by this office's staff. Employment, centrating on a specific project as agreed upon by the counselor. Nor­ both on and off campus, recreation, social service, liaison with student mally the student has the same counselor for the entire year, but if for any organizations are all concerns of S.S.0. It is an office which prefers not reason the counselor-student relationship is unsatisfactory, procedure is to administrate but if argument, persuasion or arbitration fail, it will, for available for reassignment without embarrassment. instance, solve housing problems by administrative decision. S.S.0. In the final year each senior has an individual t~torial in connection works closely with the Health and Food Services, the Dean of Studies with the senior project. The tutor also serves for whatever counseling Office, Maintenance and Security. It maintains an emergency telephone or advising are necessary in the final year. which, between the hours of 5 p.m. and 9 a.m., makes help available im­ mediately from a member of the S.S.O. staff. NON-ACADEMIC ACTIVITIES THE NON-RESIDENT TERM Many, though not all, extra-curricular activities at Bennington can be seen as extensions of the students' academic interests and activities. As In addition to meeting formal academic expectations, all Bennington part of their work within the various divisions, students participate in students spend nine weeks each winter away from the College in non­ workshops that are open to all members of the community. Academic resident work activities. This program usually complements study with Divisions, in consultation with students, arrange concerts by students and a different kind of experience. During the resident terms at the College, faculty, and by invited artists; dance and drama performances; documen­ the student is living and working in a small, relatively homogeneous aca­ tary, foreign language, and other films; and exhibitions in the Barn Gal­ demic community. When students leave the College for their Nor\-Resi­ lery and the Suzanne Lemberg Usdan Gallery of painting, sculpture, archi­ dent Term, most of them enter professional or business situations where tectural design, and photographs, which are the work of Bennington stu­ they encounter other values and challenges. dents and faculty members as well as of professional artists from outside Students work for various institutions and enterprises - schools, gov­ the College. ernment or social agencies, research laboratories, hospitals, museums, A Special Events Committee, composed of students and faculty, ar­ theatres, offices, stores. First- and second-year students seldom have ranges a schedule of events to supplement and broaden divisional presenta­ either defined vocational aims or highly developed skills. For these stu­ tions. This committee also works with a student Recreational Policies dents a non-resident job is designed to add to their self-confidence and Committee to organize a program of recreational and social activities. maturity, to broaden their views of the practical world and, where pos­ There is no program of compulsory physical education or athletics. sible, to point to a prospective major interest or clarify or confirm one already in view. Upperclassmen usually seek work which will contribute THE STUDENT SERVICES OFFICE directly to their major interest, but may elect to do independent study or thesis research if they prefer. The Student Services Office is concerned with the students' daily life The non-resident assignment is worked out on the basis of all the on campus. It is the non-academic office where students come for help practical factors involved. Among the opportunities available, the stu-

8 9 dent may choose one which is appropriate not only to educational needs toward the Bennington degree is evaluated after the student's return, on but also to the financial circumstances limiting the choice. Each year the basis of both the record of study abroad and the student's performance during the fall the student is urged to work out a Non-Resident Term plan after returning to Bennington. Normally, study abroad is approved for with the assistance of the counselor or advisor and the staff of the Non­ juniors who have established their academic standing at Bennington and Resident Term Office. As much help as may be required is given to the who can justify such study in relation to their over-all program of study student, but the initiative for making plans and the responsibility for for the Bennington degree. carrying them out are the student's. Bennington regularly grants leaves of absence to students in good stand­ The chance to earn money during the Non-Resident Term varies great­ ing who wish to spend time away. ly with the opportunities available each year and with the skills students have to· offer at a given stage in their career. The students who must GRADUATE STUDIES earn some part of the costs of their college education are usually able to combine wage-earning with an educationally productive assignment. While Bennington College does not have a formal program for graduate Grants to a limited number of students are available each year for use studies, a few selected students have been accepted occasionally into the during the Non-Resident Term from the Anne Hambleton Memorial Divisions of the performing and the visual arts, where a course of studies Fund and from the Josephine Winmill Austin Memorial Fund, the leading to a Master of Arts degree was devised for them. Gladys Ogden Dimock award in social science, and a special college fund Some graduate assistantships, carrying with them free tuition, room and for students on financial aid. Financial need, past Non-Resident Term board, as well as a stipend are also available. performance, and appropriateness of the proposed activity in relation to the student's over-all educational program are the bases for Non-Resident Initial enquiries should be directed to the secretary of the appropriate Term grant awards. Division at the College. Non-Resident Term work is considered an integral part of the student's whole college program. The students themselves report in detail on their THE DEGREE activities, as do their employers or the persons to whom they are re­ sponsible. These reports form a part of the cumulative academic record Students normally obtain the Bachelor of Arts degree in four years. upon which the degree is awarded. Unusually mature and capable students may qualify in less time, but 'the College reserves the right to expect more time from students whose educa­ tion is not satisfactorily completed in the usual four-year span. The degree STUDY ABROAD AND LEAVES OF ABSENCE is awarded upon successful completion of the student's work within the Bennington students may elect to take a year of study abroad with the area of specialization, as judged by the appropriate division; upon recog­ approval of the appropriate divisions or the Interdivisional Committee nition by the Educational Counseling Committee that the total record and the Educational Counseling Committee. A student may spend a represents the quantity, quality, and substance of work that the liberal Non-Resident Term abroad if his plan is approved by his advisor, the arts degree at Bennington implies and upon recommendation of gradua­ Dean of Studies and the Director of the Non-Resident Term. Credit tion to the Board of Trustees by the faculty as a whole. 11 10 General Information A word about Free Schools/Alternative Schools/Schools Within Schools: Candidates applying from the variety of unstructured schools which are becoming increasingly more common should submit a brief ADMISSIONS description of the program and how it functions. If grades and rank In making its decisions, the Admissions Committee tries to assess two are not given, brief evaluations by instructors should be substituted for things: the ability of the candidate and the manner in which that ability the more normal high school transcript. Essentially, our expectations has been used. The Committee looks for drive, staying power and in­ for such candidates are exactly the same as applicants with a more typical dependence, experience in making decisions, and for sustained pursuit of secondary school background. Within the context and the terms of each goals. In addition, the admission decisions depend on applicants' knowl­ particular program, we expect the same kind of sustained drive and fruit­ edge of themselves and upon their knowledge of Bennington College as ful use of abilities as we do from all other applicants. Candidates from the next appropriate step in their education and development as human such programs must take the Scholastic Aptitude Test and three Achieve­ beings. Evidence of the applicant's ability in the form of grades, College ment Tests. Board scores and recommendations is necessary but equally important is FRESHMAN APPLICATION SCHEDULE AND PROCEDURE a demonstration of choices made in using intellectual and creative ener­ gies. It should be obvious that sex, economic, racial, geographic or re­ Applications for admission and financial aid must be completed by ligious background has no bearing on the consideration of applicants. January 15. The Admissions Committee decisions are mailed in mid­ Candidates present their own case for admission, both in a written April. The College complies with the Candidates' Reply Date of May 1. statement, submitted samples of work (no originals please) and in inter­ A preliminary application will be sent on request. When it is returned views with a staff member and a student. We encourage inquirers to with the $25 non-refundable application fee, additional forms are for­ visit the campus before December 1 since only applicants are interviewed warded to the candidate: a Personal Statement, a Family Statement, between that date and the completion date of January 15. Since an in­ Secondary School Report and a Recommendation Form to be given to terview is required, appointments should be made well in advance. If a teacher of the candidate's choice. Applicants are expected to make a campus visit is impossible, appointments must be made (before January interview arrangements, at the College or with alumni whose names are 15) through alumni listed in the back of the catalogue. These regional listed in the back of the catalogue. Interviews should take place as soon representatives will direct you to an interviewer near your home. after the preliminary application is filed as possible, certainly before January 15. Bennington requires the Scholastic Aptitude Test of the College En­ trance Examination Board and three Achievement Tests, one of which ENTRANCE AT SPRING TERM must be the English Composition Achievement Test. Applicants must direct the CEEB to forward all test scores to Bennington College; SATs The new mobility of college students has increased the number of should be taken in November, Achievements in December or January. available openings in the Spring Term which begins at Bennington in In any case, the January test date is the latest that can be accepted. If, March. We encourage spring entrance for transfer candidates but sug­ for good and sufficient cause, a candidate is unable to meet the test dates, gest it is a difficult time for entering freshmen. Applications for the an exemption must be requested of the Admissions Office. Spring Term are accepted from April 15 of the prior year to January 1.

12 13 Decisions are made by February 15. Spring candidates should be aware to demonstrate capacity for sustained and independent advanced work of the fact that grants for Reduced Fees are rarely - if ever - available in at least one area and present course work supporting such a proposal. for March entrance and, if an initial award is not made, there is little Each two-year transfer applicant is required to have an interview at. the C~ llege likelihood of future grants. The Early Decision plan for spring entrance with a member of the faculty teaching in the field of the proposed ma1or to dzsc~ss conforms to the normal early procedure and date, i.e. November 1 com­ his plans for advanced work. An interview with a member of the Adn:us­ pletion and December 1 notification. However, such early docision is sions Staff and the Dean of Studies is also required. Students makmg possible only for those candidates who have completed at least one year application to the Literature Division are requ~s~~d to submit _samples of college. It is sometimes possible to notify candidates of decisions be­ of critical as well as creative work; to the Art D1v1s1on, a portfolio; or to fore February 15 if a special need is demonstrated. the Music Division, an audition. TRANSFER APPLICATION SCHEDULE AND PROCEDURE Transfer applications for September term are accepted until March 15. However, early application is encouraged. On receipt of the P~e­ Bennington is always ready to consider transfer students whose reasons liminary Application and fee, final forms (Personal Statement~ Family for transferring are sound. A student wishing to apply as a transfer Statement, Secondary School Report and three Recommendations) are should carefully read the section of the catalogue entitled THE EDU­ mailed to the applicant, who is responsible for forwarding a college tran­ CATIONAL PROGRAM. The College does not automatically assign script and making appointments for interviews. Ap~licat~ons comple~ed transfer students status as freshmen, sophomores, or juniors. The level by March 15 will be acted upon by the normal not~fica_t10n date (m1d­ at which a student works (i.e., beginning, intermediate or advanced) is April). We will, however, accept late transfer apphcat10ns through.out decided in consultation with the counselor and individual instructors who the spring, with the assumption that some current students may .w.1~h­ take into account the extent of work done elsewhere in relation to the draw. These late applications will be considered, with the poss1b1hty demands of course work at Bennington. The transfer student's standing of acceptance if openings occur. Transfer students are especially_ wel­ at Bennington, and therefore the prospective date of graduation, are de­ comed in the Spring Term because their prior educational experience termined by the faculty after at least one term's resident work. facilitates mid-year adjustment to the College's social setting and curricu­ Usually only those transfer students who can be expected to progress lum. at the usual rate are admitted to the College, but it is well to realize that unforeseen academic difficulties may make it advisable and neces­ EARLY DECISION PLAN sary for a transfer student to spend additional time in achieving the Ben­ A candidate for Early Decision must present an exceptionally strong nington degree. Since it normally takes a transfer student at least two case for admission. The SAT and three Achievement Tests (one of which years to complete work for the Bennington degree, the College does not must be the English Composition Test) must have been taken in the ju~­ encourage transfer applicants who have had more than two years of col­ ior year; the completed application for admission (and, when .appropri­ lege work elsewhere. We do not accept special students or those who wish ate, the application for financial aid) should be on file early m the fall to enroll for only a term or a single year. and no later than November 1. Interviews with a staff member and a Those students who have had two years of college work should have student should be completed by October 15. Candidates will be notified given thought to the plan for advanced work before applying, be ready of admissions decisions about December 1. All accepted candidates, ex-

14 15 cept those applying for financial aid, are expected to withdraw their port of parents and school and present an especially strong case of pre­ applications from other colleges. Financial aid applicants should continue paredness and motivation. All applicants having only three years of to pursue other applications since our Financial Aid· Committee does not secondary school are considered Early Admission, whether or not they make its decisions until April 15. have attained a diploma, and are required to have an interview with the Candidates accepted under the Early Decision plan are exempted from Dean of Studies in addition to staff and student interviews. further tests but completion of the senior year in good standing is expected. ADVANCED PLACEMENT The Admissions Committee decisions on Early Decision candidates are "Take," "Refuse" or "Defer." Applicants offered "deferred" status are Bennington supports the Advanced Placement Program of the College reconsidered when the initial application is supplemented by further doc­ Board. The College has no required courses, however, and has always umentation such as mid-year grades, further examples of work, etc. and intended that students should work at the level and rate of their ability. are given the final decision April 15. Grades received in the Advanced Placement Program examinations are, therefore, used in the planning of programs for entering students, but not DEFERRED ADMISSION AND/OR INTERIM YEAR used for exemption of courses. Language placement tests are adminis­ tered by the faculty. We are aware of, and approve in many situations, the feeling of some high school seniors that a year's experience between secondary school and college would be beneficial. A year away from formal academic work frequently hones the student's sense of direction and purpose. FEES AND FINANCIAL AID In order to undertake such a plan, the College recommends one of two procedures. The first, and most commonly followed, is to apply routinely Bennington College has an unusual fees and financial aid policy. For during the Fall Term of the senior year, outlining a tentative plan of work, those who can afford to pay them, the fees reflect almost the full cost of travel or independent study for the intervening year, and requesting a education. For those who cannot afford to pay the full cost, sufficient decision on the regular date for deferred entrance. If the Committee's financial aid is provided to make it possible to come to Bennington. Thus, decision is affirmative, the candidate is requested to submit a final plan in effect, there is no one fee for a Bennington education. There are, by June 15 and to provide an assessment of the year "off" by January rather, ranges of fees applicable to people within different income ranges. 15 of the following year. By asking those who can afford to pay the full cost of their education to do so, we can use income from our small endowment and the gifts of alumni The second is simply to take the year off and apply to the College for and friends of the College to cover the costs of those who cannot meet the admission in the fall of the year following graduation. In this case, the full cost of their education here. This makes it possible for us to reduce applicant should present an analysis of the year's experience in the Per­ the fees of approximately 25 per cent of our student body. In a sense, sonal Statement. then, each student pays fees according to his own family's capacity to EARLY ADMISSION meet the cost of his education. The College occasionally admits a student after only three years of Bennington College charges its students a single comprehensive fee for secondary school. Such an application must have the unqualified sup- tuition, room and board, and health services on campus. There are no

16 17 special fees for laboratories, private music instruction, music practice ment plan. Each plan is offered for one term at a time, and the premiums rooms, the library, or graduation. must be paid with the payment due August 1 for the fall term and January Meals are provided for students living on campus as part of the com­ 8 for the spring term. The College forwards premiums to the insurance prehensive fee; there are no rebates or special arrangements for meals not companies. Information on both plans will be sent with each term's bill. eaten. Students living off campus may have meals on campus and pay For students who are regularly enrolled, there is no charge for room and for them individually. board in the College infirmary no matter how long the stay. There is no The fee schedule for 1972-1973, which is subject to annual review in charge for the services of the College physician on campus, but there is a order to reflect costs, is $5,075 for the academic year. charge of $10 per visit after the first three visits per term to a psychiatric Half the comprehensive fee is due and payable in full August 1 for the guidance counselor. There is no charge for drugs prescribed by the Col­ fall term; half is due and payable in full January 8 for the spring term. lege physician for acute illness, but drugs prescribed by other physicians The College cannot reserve a place for a student whose payment is not and prescriptions filled for chronic conditions are billed to students. received by the due date. FINANCIAL AID New students pay an advance reservation payment of $250 (non-re­ fundable) upon acceptance. If they are accepted after August 1 or Jan­ The admissions office is interested in drawing able students from all uary 8, they must pay the full comprehensive fee for the term upon ac­ sections of the country and from all economic groups although the funds ceptance. Former students who return to Bennington after an absence for financial aid are limited. The resources available allow for only 25 pay an advance reservation payment of $250 (non-refundable) upon ac­ per cent of the entering students to receive financial aid. ceptance for readmission: by April 15 for the fall term and by November 15 for the spring term. The advance reservation payment is credited Financial aid is awarded on the basis of the College Scholarship Service against the bill for the next term. determinations and the Bennington College Application for financial aid. The amount of the grant is re-evaluated each year and returning students Current students will pay, in person, a non-refundable registration fee must submit a current C.S.S. form, the Bennington College Application of $100 when they register in May for the fall term, and again when they for financial aid, and a certified copy of their parents' most recent Inter­ register in December for the spring term. Students who have not paid nal Revenue Service 1040 form, page 1. their College bills will not be allowed to register. The registration fee is credited only against the bill for the term immediately following pay­ In addition to the parents' contribution, each student will be required ment. The College cannot reserve a place for a student who does not yearly to contribute $1,700 from earnings and loans. register or pay the registration fee. Applicants for financial aid should explore Federal and State guaran­ Financial aid grants are credited equally against the fee for each term, teed loans available through local banks. Local and national organiza­ but may not be applied against the advance reservation payment or regis­ tions, and individual states sponsor many scholarship programs. tration fee. Entering freshmen and transfer students who wish to apply for financial Two insurance plans in which students and their parents should be in­ aid should request a Bennington form from the Admissions Office when terested are a tuition refund plan and an accident and sickness reimburse- they file their preliminary application for admission. In addition, they

18 19 should obtain a Parents' Confidential Statement from their school or col­ ELIZABETH HALL McCULLOUGH SCIENCE AWARDS lege and submit it to the College Scholarship Service. The College will Five annual grants of up to $1,500 are available to students who have distribute the forms for the following year to students already receiving shown evidence of aptitude and serious interest in natural science and such aid, and to others who request forms. mathematics.

The following named funds are available to students who qualify in the MARTIN FOUNDATION SCHOLARSHIPS particular ways described: Occasional grants from the Martin Foundation provide two or three unrestricted scholarships. ALUM I SCHOLARSHIPS Voluntary annual gifts from Alumni, Parents, and Friends make avail­ AARON MENDELSON SCHOLARSHIPS able a number of unnamed scholarships each year in varying amounts. A gift from the Aaron Mendelson Trusts provides scholarships in vary­ ing amounts; preference is given to girls from the State of Michigan. COTILLION SOCIETY OF CLEVELAND SCHOLARSHIP This Society makes occasional grants to Bennington College for aid to JESSIE SMITH NOYES FOUNDATION AND a freshman from the greater Cleveland area. WILMOTH OSBORNE LOAN FUND GEORGE ADAMS ELLIS SCHOLARSHIPS The College has limited funds available to students for small loans A fund established by Margaret R. Ellis and Ann Ellis Raynolds, the through the Jessie Smith Noyes Foundation and Wilmoth Osborne loan income of which provides scholarships for deserving and qualified stu­ funds. Because these are revolving funds, the amount available at any dents who are residents of Vermont. time depends on the repayment of loans outstanding. Interest at 5 per cent begins immediately and full payment of the loan is due one year HARCOURT FOUNDATION SCHOLARSHIP after the student leaves the College. The Alfred Harcourt Foundation makes occasional grants to aid a stu­ dent attending Bennington. Students who are interested in teaching or PRESSER FOUNDATION MUSIC SCHOLARSHIP professional training are given preference. The Presser Foundation awards an annual scholarship grant of $400 to THE JOHNSON FOU DATION (TRUST) SCIENCE a student majoring in music at Bennington College. Preference is given SCHOLARSHIPS to those who expect to become teachers. A grant has been made available to the College by The Johnson Foun­ dation (Trust) for two or three scholarships to incoming freshmen; based HELENA RUBINSTEIN SCIENCE SCHOLARSHIP on interest and aptitude in the natural sciences. Three grants of $2,000 are available to students who have demon­ strated marked interest in science. AG ES M. LINDSAY SCHOLARSHIPS A grant from the Agnes M. Lindsay Trust is made to the College on an SUMMERFIELD FOUNDATION SCHOLARSHIP FU D annual basis, providing enough funds to aid from .four to six students. Income from the Summerfield Foundation Fund is available to a Ben­ Preference is given to students from rural areas of New England. nington student without restriction as to interest or field of study.

20 21 NATHALIE HENDERSON SWAN SCHOLARSHIPS priority for single rooms. Houses are divided into suites of four or five Since 1963-64, several grants totaling $10,000 annually are given from rooms and a bath. Each house has its own living room, lounge, and the proceeds of an endowment fund established by Joseph R. Swan in kitchenette facilities; most of the houses, and many of the suites are co­ honor of his wife, a founder of Bennington College. educational. A limited number of upperclassmen may also choose to live off campus. THE CAMPUS COMMUNITY GOVERNMENT The College is located in the southwest corner of Vermont, four miles from the Village of Bennington and one mile from North Bennington. The entrance to the College is between the two villages on Route 67A. The community constitution in force at the College assumes that all Bennington is reached by train or airplane to Albany, and from there to members of the college community share responsibility for its non-aca­ Bennington by car or bus (approximately one hour). There are several demic government. The entire community, including students, faculty bus trips daily, both north and south, between New York and Benning­ and administration participate in the formulation and administration of ton. From Boston the College is served by the New Englander Coach bus policies, standards and regulations under which students live. Student line through Williamstown, Mass. organs of government are free to offer their advice on academic matters. The campus occupies about five hundred and fifty acres of land. The Agencies concerned with the planning and management of a specific main part of the campus consists of fifteen student residence houses ar­ aspect of community life include: House officers, Student Council, Stu­ ranged around a central lawn and the Commons building. Inside Com­ dent Educational Policies Committee, and the Faculty Meeting and its mons are the student lounge, post office and switchboard, snack bar, din­ various sub-committees. ing rooms, theatre, studios and the infirmary. The main classrooms, House officers consist of either a House Chairman and an Assistant faculty and administrative offices, the Cooperative store, and a three­ House Chairman, or two co-Chairmen, at the discretion of the House. quarter round theatre are in the Barn. The Crossett Library is located They are chosen by the members of the house to manage the daily affairs near the Commons and the Barn. The Elizabeth Harrington Dickinson of the House, as well as to serve on Student Council. Science Building houses labs and classrooms while the connecting David Student Council, consisting of all House Chairmen and Assistant Tisham Lecture Hall provides a meeting place for the College community. Chairmen, with one vote per house, is the general executive body of the Both were completed in 1970. The Suzanne Lemberg Usdan Gallery and student government. It co-ordinates student administration of the several a kiln room, first phases of a proposed Arts Center, were added to the houses, formulates legislative proposals for student vote, serves as an ad­ campus in 1972. Across the meadow, Jennings Hall, originally a large visory body on matters concerning the welfare of the houses, conducts residence, houses the Music Division. The Carriage Barn provides re­ elections and referenda. It is also the disciplinary body that deals with hearsal and concert space for music and dance. infractions of some of the social regulations of the College. Instead of en­ Each of the student houses accommodates about thirty students in forcing responsible behavior through fixed penalties attached to specified single and double rooms. However, freshmen and sophomores have no infractions, the Council employs flexible but no less stringent measures to

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maintain acceptable standards of conduct on campus. No such disci­ THE LIBRARY plinary cases have arisen in the past year. The library services of the College center in the Edward Clark Crossett The Student Educational Policies Committee evaluates instructors and Library. The collection now numbers 65,000 volumes, chosen for their the curriculum. It is completely advisory. Parallel committees of the relevance to the curriculum and undergraduate education and kept faculty and trustees make the actual decisions in this area. current by regular additions of new publications and withdrawal of out­ Every member of the teaching faculty, and every member of the ad­ of-date books. Over 400 periodicals are currently received. The library ministration of the College who has been afforded suffrage in educational resources include art slides and records of drama and poetry. The Li­ matters by the teaching faculty, has the right to vote in faculty meetings. brary is open 89 hours a week during term time, and librarians are avail­ Determination of College policy affecting the educational standing of the able for consultation on the use of the Library and solution of biblio­ College and the education of students is the exclusive domain of the graphic problems. Music scores and records are housed in Jennings Hall. Faculty Meeting and its designated sub-committees. The community may meet in separate constituencies to deliberate and THE COOPERATIVE STORE vote on matters of interest to those constituencies, and it may also meet as a single body to discuss matters of general concern. In cases where the The Cooperative Store is maintained on campus to provide the com­ separate constituencies disagree upon a policy, the difference is usually munity with books and supplies. Membership in the Cooperative Store refered to a Constitutional Council composed of three members of the is open to faculty, staff, students and employees upon payment of $10.00, administration, three members of the faculty, and three students. refundable when the member leaves the community permanently. The direction and management of the store is vested in a representative Board During recent years students have voted a modest tax to provide a Stu­ of Directors, elected annually by the membership. Surplus earnings are dent Fund for the support of various activities. distributed to members in the form of rebates on purchases.

CAMPUS RULES AND REGULATIONS HEALTH SERVICE Bennington College has long since abandoned the role of substitute parent. We expect the students we admit to undertake primary re­ The Health Service is concerned with all aspects of health - preven­ sponsibility for the regulation of their own lives on campus, no less than tive and educational as well as remedial, mental and emotional as well as for the d'irection of their own educational programs. physical. Students are welcome to discuss their personal problems with the physician or the psychiatric counselors either during regular office Currently good sense, responsibility, and consideration are the pre­ hours or by appointment. Every effort is made to cooperate with the vailing guidelines to conduct; there is no curfew, nor are there restrictions family doctor or specialists in the student's care and treatment. on the hours for visitors in student houses. A sign-out system is available and strongly recommended, but not mandatory. Of course, students are The dispensary and infirmary are located on the first floor of the Com­ subject to civil laws regarding the use and abuse of alcohol, drugs, and mons building. The dispensary is open daily while College is in session, automobiles. and a nurse is always on duty and available by telephone from all parts of

24 25 the campus. The doctor lives near campus, and maintains close com­ Curriculum munication with the Health Service when not holding office hours. The Henry W. Putnam Memorial Hospital in Bennington, four miles The curriculum at Bennington College is constantly changing and the courses in­ away, is used when x-rays and laboratory work are required, as well as cluded in this biennial catalogue, which were up-to-date at press time, are meant to give an indication of what is taught at the College. A complete and current list of when a student is seriously ill. While the College doctor is on the active class offerings may be obtained from the Registrar's Office. Hospital staff, a student requiring hospitalization is usually turned over to the care of a specialist. The College also has provision for outside LITERATURE AND LANGUAGES psychiatric consultation when needed. Entering students are expected to have a general physical examination The Division's curriculum is designed to offer the student a variety of before admission, preferably by the most recent family doctor. The Col­ approaches to literary study in English and other languages. Although lege doctor will see each student early in the fall and go over the medical a number of courses are organized within conventional categories of pe­ history at this time, making arrangements for any special care needed. riod and genre, others emphasize areas of literature defined by thematic Tetanus toxoid and polio protection are expected before admission. A or other special relations or represent particular critical orientations. student should also have the report of a negative t.b. skin test or a chest Workshops in verse and prose writing are a standard part of the cur­ x-ray taken within a year. riculum. Students have the opportunity to study certain foreign lan­ guages at the introductory and intermediate levels, and literature courses The regular College fees cover the cost of dispensary service, simple are offered in these languages. Students in all literature courses are ex­ medications, free infirmary care, and routine services provided by the pected to demonstrate not only their mastery of specific material but also College physician. Occasionally a situation arises when more service or an imaginative and discriminating appreciation of literary values and medication is required and an additional charge must be made. This is techniques in general. true also if a student needs more than the average amount of time from When considering the application of a prospective major, the Division the psychiatric counselor. A health insurance policy is available to stu­ looks for evidence of serious commitment to literature and marked pro­ dents and is recommended. All students receiving financial aid must ficiency in formal literary study. In addition, the Division will take into have some form of hospitalization insurance. account the nature and quality of a prospective major's total academic program insofar as it judges this program relevant to the student's work in Literature. A literature major will normally have had two terms of introductory level courses and at least two additional terms of work in English or foreign literature or in writing workshops. During the last two years, the student will usually give half of the course time to inter­ mediate and advanced work within the Division. In the senior year, a major will usually devote a quarter each term to thesis tutorial, prepar­ ing a written thesis which will be a substantial demonstration of ability to pursue with profit a sustained literary endeavor. The thesis may con­ sist of a critical essay focussed on a well-defined literary topic or an orig­ 26 inal work in any literary form or genre and may be written in a foreign language. 27 LITERATURE CLASSICAL GENRES ALAN CHEUSE The study of the major literary types of classical antiquity - epic, INTRODUCTORY COURSES lyric, dramatic - as esthetic creations as well as in relation to the civ­ ilization which produced them. The following courses are designed to introduce students to the appreciation of Fall term. literar)' values, forms and techniques through the intensive reading of selected texts and frequent assignments in critical, expository and creative writing. Students nor­ mally take two diverse introductory courses in their first year as prerequisites to fur­ LITERARY TYPES ALAN CHEUSE ther work in literature. Exceptions and variations are, however, possible. Modern versions of classical genres will be investigated, with special To insure that classes are small and reasonably well balanced in size, students emphasis placed on the study of new forms such as the novel and the registering for these introductory courses are asked to indicate three choices in order short story. of preference for the Fall Term; Spring Term choices will be made later. Spring term.

LANGUAGE AS FICTION AND ACTION BEN BELITT FORMS OF FICTION NICHOLAS F. DELBANCO Fictive process in Joyce's Portrait of the Artist, with collateral reading in Forster, Hayakawa, Jane Harrison, William James, and Sir James Frazer; Short, long works of twentieth-century authors: the nature of spaced and histrionic process in the theatre of Shakespeare's Antorry and Cleopatra, pages' time. with collateral reading in Shaw, Dryden, Plutarch and Aristotle. Fall term. Fall term.

MODES OF THE LYRIC VOICE ALVIN FEINMAN THE LYRIC MODE BEN BELITT Who is speaking in lyric poetry, and why, and how: versions of the Aspects of lyric form: (1) Poetry and Prose, (2) Image and Symbol, lyric "I"; its roles, occasions, resources; historical, generic, technical re­ (3) The Linguistics of Poetry, (4) The Pulse of Poetry: Rhythm, Meter, flections. Examples from Pindar to the present. Time, (5) The Forms of Poetry, (6) Meaning in Poetry. Fall term. Spring term.

WOMEN IN AMERICAN LITERATURE JOSEPHINE CARSON RIDER TEXTUAL ANALYSIS ALVIN FEINMAN A survey of the role of women in American literature, primarily in fic­ Training in analysis and interpretation of intensely organized literature tion of the nineteenth and twentieth centuries. Drama and poetry will through close study of passages and/ or the whole of selected major works be included, and regional viewpoints stressed. from Chaucer to Joyce. Spring term. Spring term.

28 29 CLASSICS OF LITERATURE CAMILLE A. PAGLIA TRAGIC THEMES IN DRAMA AND FICTION BARBARA HERRNSTEIN SMITH Description to be announced Among the topics considered are the structure and effect of dramatic RELIGIOUS EXPERIE CE CLAUDE FREDERICKS tragedy, classical conceptions of tragic heroism, and the transformations of tragic themes in nineteenth and twentieth-century literature. Read­ The nature of religious experience and some of the ways in which words ings include works by Aeschylus, Sophocles, Euripides, Shakespeare, attempt to communicate it - by dialogue, biography, letter, sermon, Racine, Chekhov, Tolstoi, Dostoevsky, Melville, Joyce, and Beckett. parable, essay, adage, sutra, koan. The texts to be read will be chosen Spring term. from dialogues of Plato, enneads of Plotinus, gospels of Mark and John, letters of Paul, sermons of Eckhart, the Dhammapada, the Vajracchedika­ prajnaparamita-siitra, the Hekigan Roku koans. INTERMEDIATE COURSES Fall term. The courses listed below are open to second-, third-, and fourth-year students POETIC IDIOM CLAUDE FREDERICKS who have had at least two terms of work in literature. A reading, both close and extensive, of the poetry of Donne, Blake, and Pound as representative of the three chief traditions in English poetry. LITERATURE AND BELIEF BEN BELITT Some effort will be made, as well, to discuss the ideas - political, es­ This is not a "course in the Bible" or "the Bible as literature." The thetic, religious - that shaped the worlds of these three poets. aim is to relate selected texts in the Old and New Testaments to the tra­ Spring term. dition to which they have given rise, and conversely, to suggest the tradi­ tions which account in part for the existence of certain great texts. The AN INTRODUCTION TO ENGLISH POETRY STEPHEN SANDY disciplines applied are those which pertain to the study of literature and The art of reading and criticizing poetry approached through inten­ to the techniques of devotional and speculative thinking. The theme in sive analysis of selected poems of major poets. Poets to be studied will common to all texts is that of the clash between the wish to worship and be chosen from among: Chaucer, Wyatt, Spenser, Shakespeare, Donne, the wish to investigate - between legalism and prophecy, dogma and Marvell, Milton, Pope, Wordsworth, Yeats, Eliot, Stevens, Lowell. revelation, the corporate and the personal sanctions - as models of be­ Spring term. lief. The principal texts are Judaeo-Christian: selected Psalms, Deu­ teronomJ', I and If Samuel, II Isaiah, the St. Matthew Gospel, Paul's Epistle THE ENGLISH LYRIC BARBARA HERRNSTEIN SMITH to the Romans, I and If Corinthians, Galatians, Acts, selected chapters from A study of recurrent themes and changing forms in English poetry, Genesis and Exodus. Emphasis is placed on the character of the Messianic with emphasis on the work of selected Renaissance, nineteenth and Hero as an archetype of survival, restoration, and service. Supplementary twentieth-century poets, including Shakespeare, Donne, Wordsworth, reading in Dostoevski's Idiot and Brothers Karama<,ov, Kafka's Trial, Mann's Keats, Eliot and Stevens. Magic Mountain, Melville's Billy Budd, Forster's Passage to India, Beckett's Fall term. Waiting for Godot, St. Augustine's Confessions, West's Miss Lonelyhearts, etc.

30 31 FICTION'S PROGRESS ALAN CHEUSE AMERICAN NARRATIVE ALAN CHEUSE An investigation of the origins of prose fiction by means of the study The quest for an "American" literature, beginning with the scrutiny of selected classical and medieval texts, and Don Quixote. of the earliest writing about life on this continent and paying particular Fall term. attention to the development of North American short story, romance, and novel. Readings will include works by C. B. Brown, Cooper, Poe, Hawthorne, Melville and Twain. THE SEVENTEENTH-CENTURY LYRIC Spring term. BARBARA HERRNSTEIN SMITH A study of English lyric poetry from 1600 to 1660: Cavaliers and AFRO-AMERICAN WRITERS ROBERT STEPTO "metaphysicals," themes and styles in amatory verse and the poetry of religious experience. Among the poets considered are Jonson, Herrick, The course will consider four or five writers who wrote, or are writing Donne, Carew, Herbert, Crashaw, Vaughan, and Marvell. today, in a variety of literary forms (e.g. W. E. B. Dubois, Claude Mc­ Fall term. Kay, Langston Hughes, Richard Wright, and Amiri Baraka) and who have made an effort to define and act on beliefs as to the social responsi­ bility of the literary artists. MILTON BARBARA HERRNSTEIN SMITH Fall term, 7972. A study of the poet's development and achievements. Readings in­ clude all the major works, a generous selection of the minor poems and THE MANYOSHU, LADY MURASAKI, AND ZEAMI prose writings, plus biographical, historical, and critical materials. CLAUDE FREDERICKS Spring term. An introduction to the study of Japanese literature through a careful reading of poems from The Manyoshi:i, Lady Murasaki's novel the Genji THE AUGUSTAN AGE RICHARD TRISTMAN Monogatari, and plays of Zeami. Other works ancillary to these will al­ so be read, however, and the relationship of the literature to painting, Readings in the major writers of the age, from Dryden to Johnson, with calligraphy, and music will be stressed. The crucial influence of Zen special emphasis on the satirical mode and the theme of the "town." Buddhism on Japanese culture will be examined in some detail. Spring term. Fall term.

SHAKESPEARE RICHARD TRISTMAN PICTURES OF THE FLOATING WORLD CLAUDE FREDERICKS A study of major and exemplary plays, with particular attention to the A reading of the three great seventeenth-century writers of the ukiyo-e late romances. - poetry of Basho, novels of Saikaku, and plays of Chikamatsu. Spring term. Spring term.

32 33 MODERN RUSSIAN LITERATURE MARTIN HORWITZ THE PROBLEMATIC OF LA GUAGE IN LITERATURE AND PHILOSOPHY DAVID WOLFE A reading of selected works from the Symbolist period to the present. Some attention will be devoted to the relation between politics and lit­ Problems of literary language will be studied, as well as philosophical erature in the Soviet context. Advanced Russian students will meet an questions of epistemology, ethics, and language which contribute to an additional hour and a half a week for discussion of the texts in Russian. understanding of the problems encountered by writers of imaginative lit­ Other students will read the texts in translation. terature. The course will concentrate on these problems less as they are Spring term. expressed as themes than as they are manifested in the problem-bearing language of literary and philosophical writing. The texts which will be used as a basis for discussion are Plato, Cratylus; Heidegger's essays on ADVANCED COURSES language and poetry; Wittgenstein, Tractatus Logico-Philosophicus; Barthes, These courses are designed for third- and fourth-year students who have had at Writing Degree ,Zero; and works by Mallarme, Rilke, Hofmannsthal, Djuna least four terms of work in literature. Additional prerequisites may be indicated Barnes, and Beckett. A knowledge of French and German will be useful, by the instructor. but are not a prerequisite.

THE CONTEMPORARY NOVEL NICHOLAS F. DELBANCO INDEPENDENT READING This course will deal with trends in modern fiction, English and Ameri­ This course is available, upon the approval of the entire division, to can. Fourteen living authors will be discussed - with a novel the text especially qualified students, normally juniors or seniors who have had in each case - and collateral reading requested. The novelists are as at least four terms of work in literature. The student will, with the as­ follows: Baldwin, Barth, Beckett, Bellow, Burgess, Donleavy, Durrell, sistance of a member of the Literature and Languages faculty, design a Greene, Hawkes, Lessing, Mailer, Nabokov, Pynchon and Updike. course of readings centered upon some well-defined literary topic, genre, Fall term. or period and will be examined on these readings at the end of the term. Students interested in applying for this course are advised to consult with ROMANTICISM ALVIN FEINMAN the Secretary of the Division. The major English Romantic poetry (Blake, Wordsworth, Coleridge, Byron, Shelley, Keats), including reference to other literatures and to WORKSHOP COURSES subsequent extensions and reactions. Philosophical and critical readings in addition to the poetic texts. Workshops are open to second-, third-, and fourth-year students by permission THE AMERICAN POET STEPHEN SANDY of the instructor, usually on the basis of submitted samples of written work. Class size is strictly limited. A close study of important American poets from the Puritans to the present. Likely choices: Bradstreet, Taylor, Freneau, Emerson, Tucker­ WRITING POEMS STEPHEN SANDY man, Dickinson, Whitman, Crane, Robinson, Williams, Stevens. Open to about fifteen qualified students. Class discussions of work by' class members, by other writers, and of

34 35 topics assigned. Open to qualified students upon consent of the instruc­ with a creative process moving from observation to transformation in the tor after submission of sample work. work of the poets named, and with its effect on the order and materials Fall term. of poetry and the content of reality. Critical work in poetry supplements lecture and discussion, with an option of creative work wherever desired. PROSE FICTION BERNARD MALAMUD A workshop course in the nature and technique of prose fiction. There PROSE FICTION NICHOLAS F. DELBANCO will be readings in the short story, novel, and theory of fiction, and class A workshop course in the nature and technique of prose fiction. There discussion of student work. will be readings in the short story, novel, and theory of fiction, and class Spring term. discussion of student work. One term. GROUP TUTORIALS THE BIRTH OF THE NOVEL ALAN CHEUSE These tutorials are open to students with at least two terms of work in literature The novel studied in light of its social ongms, with special emphasis by permission of the instructor, usually on the basis of an interview. Emphasis is on the definition of the realist, naturalist, and symbolist modes. on independent study, and enrollment is limited to six students. One term.

LATIN AMERICAN LITERATURE AND SOCIETY THE FUTURE OF PROSE ALAN CHEUSE ALAN CHEUSE AND EDUARDO GONZALEZ The study of new narrative strategies, both in fiction and nonfiction, A study of the relationship between art and society in Latin America by means of the analysis of Doctor Faustus, The D eath of Virgil, Anti-Memoirs, and the Caribbean, using texts from the Discovery to the present day. The Golden Notebook, Hear Us 0 Lord from Heaven T hy Dwelling Place, H op­ Guest lecturers and discussants. Reading knowledge of Spanish useful. scotch, and other modern texts. Fall term. One term.

NOT OFFERED 1972-73 AUTOBIOGRAPHY NICHOLAS F. DELBANCO A study in the genre; or from Augustine to Malcolm X and back again. POETRY AND THE IMAGINATIVE PROCESS BEN BELITT Readings in memoir, religious, political, social, ersatz, pedagogical, lit­ The aim is to explore the processes by which poetry is written and erary tracts. Plausible texts: Mill, Bunyan, Quincey, Aiken, Harris, imagination is served, by an examination of poets and poems: specifically, Graves, Guevara, Sassoon, Nabokov, Conrad, Conroy, Coleridge, etc. the poems, notebooks, and correspondence of Gerard Manley Hopkins and a group of contemporary poets including, W. C. Williams, Wallace METAPHYSICAL FICTION ALVIN FEINMAN Stevens, Marianne Moore, Rainer Maria Rilke. The concern of the Studies in making and unmaking time in writers who challenge the course is not with theories of knowledge and imagination as such, but idea of fiction, explore its limits and paradoxes. Relations of literary and

36 37 extra-literary fictions. Readings in Valery, Rilke, Sartre, Borges, Beckett WORDSWORTH, COLERIDGE, SHELLEY STEPHEN SANDY (others, time permitting). A view of Romanticism through an intensive study of the work of these One term. poets. Open to no more than fifteen qualified students. In certain cases a student may elect one term only. POETRY AND REALITY ALVIN FEINMAN Philosophical and critical issues in the "defense" of poetry; its relations to other uses of language and self, other modes of projecting the world. ENGLISH POETRY 1890-1940 STEPHEN SANDY The course concentrates on contemporary approaches, and stresses the Emphasis on Hardy, Yeats, the War Poets, Lawrence, Empson, Auden. standpoint of the creator. Some recapitulation of the origin of the prob­ This is a lecture course with regular discussion periods. Open to qualified lem in Greek thought (Plato on "truth,'' Aristotle on Metaphor); the students. Romantic revision of "reality" (Blake, Coleridge, Nietzsche); recent con­ One term. tributions including, Heidegger, Wittgenstein, Cassirer, Stevens, Auden, Frye. One term. POETIC THEORY BARBARA HERRNSTEIN SMITH Discussion will focus on selected problems and issues: e.g., the defini­ HOMER, PINDAR, AND AESCHYLUS CLAUDE FREDERICKS tion of poetry, the relation of literary mimesis to representation in other An introduction to the study of Greek literatme through the close read­ artforms, the nature and grounds of interpretation and evaluation. Read­ ing of the Iliad, the Olympian odes, and the Oresteia. Other works by ings will include material from anthropology, linguistics, philosophy, and these writers as well as works by other Greek writers also will be read, psychology as well as selected texts in the history of esthetics and literary and an attempt will be made to see them all in the context of the world criticism. - political, artistic, religious, scientific, philosophical - in which th<:y One term. were written. Homer will be read in the Fall, Pindar and Aeschylus m the Spring. METER AND METAPHOR BARBARA HERRNSTEIN SMITH DANTE CLAUDE FREDERICKS The nature of these two problematic features of literary language will The year will be spent chiefly in a careful reading of the Commedia, be examined in the light of contemporary linguistics, psychology, and but the other works of Dante, in particular the Canzoniere, will also be philosophy as well as traditional literary theory. read as well as those of writers, classical and medieval, who influenced One term. Dante's art and vision. Some effort will be made to demonstrate the particularly intimate relationship that exists between .Dar:te's poem. ~nd the world in which he lived. o knowledge of Itahan 1s prereqms1te, MEDIEVAL LITERATURE RICHARD TRISTMAN but a bilingual text will be used, and discussion will make constant ref­ Dante and his origins in the first term, Chaucer and his posterity (con­ erence to the original text. cluding with Spenser) in the second.

38 39 IRONY AND PASTORAL RICHARD TRISTMAN Emphasis on writing and text analysis. One hour a week will be de­ Civilization and its discontents, as these are portrayed in diverse sa­ voted to grammar and phonetics, and one hour to workshop with the as­ tirical and nostalgic works. Readings will include Juvenal, Chaucer, sistant and in the laboratory. There will be structural analysis of French Cervantes, Shakespeare, Marvell, Swift, and Pope. and study of some problems of French grammar, verbs, tenses, moods, One term. pronouns, and clauses. There will be two hours a week for introduction to "Explication de Textes," and close examination of vocabulary, sen­ tence structure, meaning and style in a set of passages from French lit­ LANGUAGES erature. Conducted in French. LANGUAGE COURSES Prerequisite: Intermediate French or equivalent. Fall term. Language courses are offered in the following sequences: FRENCH - Beginning, Intermediate, Language and Style GERMAN - Beginning, Intermediate RUSS IAN - Beginning, Intermediate, Advanced SPANISH - Beginning, Intermediate CREATIVE FRENCH jEAN RAYNAUD All new students planning to continue a language must take the place­ A class designed to teach and give practice in writing in French. As­ ment test to determine the level at which they enter a sequence. Regular signments include the writing of digests, essays, short stories, and poems classwork in beginning and intermediate language courses must be sup­ as well as the preparation of translations. Attention is given to the study plemented by practicing conversation, grammar, and reading with the of vocabulary and syntax, and problems in translation and the analysis Foreign Assistants, and by study of language records and tapes. For this of style. work, classes will be divided into groups of up to five students who will Prerequisite: Language and Style. meet for a half-hour twice a week. Class limited to twelve students. The Foreign Assistants are post-graduate students from France, Ger­ Spring term. many, Russia, and Spain, sharing the life and studies of the students on campus. They assist the language instructors in group work and labo­ ratory exercises. TRANSLATION TUTORIAL jEAN RAYNAUD

FRENCH Exercises and study in comparative structures between English and French. A literary project: translating of a literary work by a French LANGUAGE AND STYLE jEAN RAYNAUD author. Study and criticism of existing translations. This one-term course is designed for the student who will go on to the Open to advanced students in French. study of French literature beginning with French Literary Theories. One term.

40 41 INTRODUCTORY COURSE IN FRENCH LITERATURE REBELS AND REVOLUTIONISTS: ROUSSEAU, DIDEROT, LACLOS AND SADE FRENCH LITERARY THEORIES DAVID WOLFE The course will consider some of the major literary works written dur­ A one-term course given in both the fall and spring terms. Designed ing the second half of the 18th century, not only as the expression of the for students who wish to pursue the study of French literature in French. philosophical and social ideas which brought about or inspired the French The main literary trends from the 16th century to today (humanism, Revolution, but also as the embodiment of man's basic spirit of rebellion. baroque, classicism, enlightenment, romanticism, realism, symbolism and Texts: Rousseau, Les Confessions; Diderot, La Religieuse; Laclos, Les Li­ surrealism) will be closely examined. The texts will include fiction, po­ aisons dangereuses; Sade, Les Infortunes de le vertu. etry, drama, and criticism. Conducted in French. Conducted in French. Prerequisite: French Literary Theories or equivalent. Prerequisite: Language and Style or equivalent. One term. Not offered, 7972-73. Fall or spring term. FRENCH CONTEMPORARY POETRY CLAUDE LABROSSE INTERMEDIATE COURSES IN FRENCH LITERATURE A consideration of the main currents in French poetry since the Second World War. LA FRENCH MYTHOLOGIQUE I: LITERATURE AND Conducted in French. FOLKLORE GEORGES Guv Prerequisite: French Literary Theories or equivalent. 1) The fairy tale: Perrault, Histoires ou Contes du temps passe; Mme d'Aul­ Spring term. noy, Contes; Michelet, La Sorciere; Nerval, Les Filles dufeu; Alain-Fournier, Le Grand Meaulnes. 2) From popular literature to the philosophical essay: Rabelais, Gargantua, Pantagruel, Le Quart Livre. ADVANCED COURSES IN FRENCH LITERATURE Conducted in French. Prerequisite: French Literary Theories or equivalent. A LA RECHERCHE DU ROMAN: MARCEL PROUST Fall term, 7973. A structural analysis of Du COte de chez Swann and Le Temps retrouve with LA FRANCE MYTHOLOGIQUE II: LITERATURE AND thematic references to the other volumes of Proust's sequence, especially HISTORICAL TRADITION Le COte de Guermantes and Le Prisonniere. Conducted in French. 1) Mythology and history; La Quete du Graaf. 2) The lessons of history; Prerequisite: Two years of French Literature. Bossuet, Oraisons Funebres. 3) Human and historical time; Chateaubriand, One term. Not offered 7972-73. Memoires d'outre-tombe. 4) The mythology of socialism; Proudon, Quest-cc que la propriete? LA PROBLEMATIQUE DE LA SOCIOLOGIE LITIERAIRE Conducted in French. CLAUDE LABROSSE Prerequisite: French Literary Theories or equivalent. Spring term, 7974. An evaluation of sociological methodology in literary criticism through

42 43 / / an examination of major French fiction. Particular emphasis will be L'ECRITURE CINEMATOGRAPHIQUE: placed upon nineteenth-century works. AN ANALYSIS OF THE "NEW WAVE" CINEMA Conducted in French. 1) The "camera-style": Astruc, Melville. 2) An "author" of films: Prerequisite: Two )'Cars of French Literature. Resnais. 3) The moviemaker as a writer: Allio, Godard, Jessua, Lelouch, One term. Robbe-Grillet, Schoendoerffer, Truffant, Varda. 4) The "cinema-veri­ te:" Marker, Reichenbach, Rouch. / Conducted in French. LECTURE DE LAUTREAMONT GEORGES Guv Prerequisite: Two years of French Literature. An "explication de texte" type of study of lsdore Ducasse's entire work. One term. Not offered 7972-73. The various methods of "new criticism" will be applied and evaluated. Conducted in French. Prerequisite: Two years of French Literature. One term. Not offered 7972-73. GERMAN

KEYS TO CONTEMPORARY WRITING I: COURSES IN GERMAN LITERATURE PHILOSOPHICAL TRENDS A course for advanced students of French Literature. Works to be ex­ INTRODUCTION TO GERMA LITERATURE BRUCE MIKEL amined: Artaud, Le theatre et son double; Bachelard, La psychanalyse du feu; This course will treat the main currents in German literature from the Caillois, L' homme et le sacre; Cioran, Precis de decomposition; Levi-Strauss, classical age to the rise of naturalism. First term: selected works by Les­ Tristes tropiques; Foucalt, Histoire de la Jolie; Goldmann, Pour une sociologie sing, Goethe and Schiller. Second term: literary trends from roman­ du roman; Barthes, Mythologies. ticism to the age of realism as exemplified in major authors of each period. Conducted in French. Conducted in German. Prerequisite: Two years of French Literature. Prerequisite: Intermediate German or equivalent. One term. Not offered, 7972-73. STUDIES IN GERMAN LITERARY GENRES BRUCE MIKEL KEYS TO CONTEMPORARY WRITING II: FICTION A study of various genres in German literature: the Novelle, the Lyrik, A close study of the following works: Bataille, Le bleu du ciel; Beckett, Drama and Roman as they exhibit both historical development and con­ Malone meurt; Sarraute, Portrait d'un inconnu; Butor, La Modification; Simon, tinuity as well as specific individuality. The course will treat a broad Le Palace; Robbe-Grillet, Dans le labyrinthe and La Maison de rende;;,-vous. spectrum of authors and periods. Conducted in French. Conducted in German. Prerequisite: Two year of French Literature. Prerequisite: Intermediate German or equivalent. One term. Not offered 7972-73. Fall term.

44 45 week for discussion of the texts in Russian. Other students will read the CONTEMPORARY GERMAN LITERATURE BRUCE MIKEL texts in translation. A close study of selected literary works as they reflect the personalities Spring term. and theories of their authors and related political and cultural forces of their time. Dramatists such as Brecht and Di.irrenmatt, novelists such as Mann and Resse and contemporary poets will be considered. SPANISH Conducted in German. Prerequisite: Introduction to German Literature or equivalent. Spring term. COURSES IN SPANISH LITERATURE

The following courses are conducted in Spanish. Intermediate Spanish or its RUSSIAN equivalent is a prerequisite.

BEGINNING RUSSIAN MARTIN HORWITZ CERVANTES, BORGES, CORTAZAR This course is designed to cover elementary Russian grammar in one (A STUDY IN MODES OF FICTIONAL COEXISTENCE) year. Since it involves an intensive study of the language, students should EDUARDO GONZALEZ be prepared to spend a minimum of five class hours per week: four hours devoted to grammar and drill and one hour in the language laboratory. Beginning with the anonymous La;:,arillo de Tormes and some of Cervan­ tes' Exemplary Novels, the course will concentrate on the coexistence with­ COURSES IN RUSSIAN LITERATURE in certain.fictions of different "subworlds" or "anti-worlds," defined (with varying emphasis) in social, religious and metaphysical terms. Some consideration will be given to pertinent theory: from the work of Fou­ INTRODUCTION TO RUSSIAN LITERATURE cault, Genette and Barthes. MARTIN HORWITZ Fall term. A study of selected works from the end of the 18th century to the pres­ ent day. Fall term: through the 19th century. Spring term: 20th cen­ tury. THE CONTEMPORARY LATIN AMERICAN NOVEL Prerequisite: Advanced Russian or its equivalent. EDUARDO GONZALEZ A close reading of three crucial works: Julio Cortazar's Rayuela, Ga­ MODERN RUSSIAN LITERATURE MARTIN HORWITZ briel Garcia Marquez' Cien anos de soledad, and Juan Rulfo's Pedro Paramo, A reading of selected works from the Symbolist period to the present. with the ultimate aim of defining the specific ways in which these three Some attention will be devoted to the relation between politics and lit­ novels have achieved their status among the most important creative ac­ erature in the Soviet context. complishments of the current novelistic production in Latin America. Advanced Russian students will meet an additional hour and a half a Spring term.

46 47 HISPANIC POETRY EDUARDO GONZALEZ bining one or more of the disciplines within the Division with courses out­ Works from seven poets will be read: Lope de Vega and Quevedo side the Division. The essential requirement is that students wanting to (from the Baroque period), Antonio Machado and Federico Garcia Lorca follow a Social Science major work out their plan with two or more mem­ (from the first part of the twentieth century), and Pablo eruda, Cesar bers of the Social Science Division and obtain Divisional approval of the Vallejo, in the Spanish language during the contemporary period of Plan. The general expectation is that students majoring in the Social South American literature. Science Division will do half their work in the Social Science Division or One term. in the Social Sciences together with the related disciplines described in Not offered 7972-73. the Tentative Plan. Each Social Science Division major is also expected to design and carry LITERATURE AND SOCIETY IN CONTEMPORARY out a senior project or thesis. By the spring term of their junior year SOUTH AMERICA EDUARDO GONZALEZ students will request a Confirmation of Plan for Advanced Work. The request should include a description of the project or thesis and be sup­ Social, cultural and political issues, as reflected in the writings of Oc­ ported by the tutor or tutors with whom the student will work, and must tavio Paz, Ezequiel Martinez Estrada, Carlos Fuentes, Alejo Carpentier, be approved by the Division. Jose Marfa Arguedas, David Vinas, Ernesto Guevara and others. Spe­ cial attention will be devoted to the status of the black and the different FROM HOBBES TO MARX SOCIAL SCIENCE FACULTY indigenous minorities. One term. The course has two main objectives: to develop students' abilities to Not offered 1972-73. recognize and resolve major problems in social theory, and to acquaint See also Latin American Literature and Society, p. 36 above. them with some of the main achievements of western social thought. The work of the course consists of close reading, discussion, and critical evalu­ ation of such texts as Thomas Hobbes' Leviathan, Adam Smith's The Wealth of Nations, Jean-Jacques Rousseau's The Social Contract, G. W. F. Hegel's Introduction to the Philosophy of History, and Karl Marx's Capital. SOCIAL SCIENCE Open to first-year students, and to second-year students who are not planning to major in the Social Sciences. The Social Science Division includes the disciplines of Anthropology, Economics, History, Linguistics, Philosophy, Politics and Psychology. ANTHROPOLOGY Students planning to do their major work in the Social Sciences should work out a Tentative Plan for Advanced Work by the spring term of Students wishing to emphasize anthropology in their curriculum should their sophomore year. establish their competence by satisfactory performance of work with those Students may concentrate their study in one discipline in the Social teaching anthropology. Subject to the degree requirements of the Col­ Sciences, or they may build a concentration combining two or more of lege, graduation with emphasis on anthropology will usually include sat­ these disciplines. They may also work out a Social Science major com- isfactory completion of the senior project under the supervision of an an-

48 49 thropologist and, in most instances, consultation with another member terial referred to as ethnoscience, structural analysis, the new ethnogra­ of the Psychology-Anthropology subdivision. The form this independent phy, etc. Each student will be expected to do a "field" project using work takes will depend on the individual circumstances of the student. some of the diverse methodology associated with the field. Open to third- and jourth:year students with adequate background. RELIGION IN AN ANTHROPOLOGICAL PERSPECTIVE Prerequisite: Psychological Anthropology (and a linguistics course recom­ KENNETH M. KENSINGER mended but not required). An examination of the nature and function of religion from an anthro­ Spring term, 7973. pological viewpoint. Following a survey of various anthropological ap­ proaches, the course will focus on religion as a cultural system, as a social SOUTH AMERICAN INDIAN ETHNOGRAPHY system and as psychotherapy. KENNETH M. KENSINGER Open to all students. Survey of South American Indian Cultures focussing on the non-peasant Fall term. groups. The theoretical orientation will be that of cultural ecology. Prerequisite: Introduction to Cultural Anthropology or equivalent. INTRODUCTION TO CULTURAL ANTHROPOLOGY Spring term, 7974. KENNETH M. KENSINGER SOCIAL STRUCTURES AND KINSHIP I A survey of the basic concepts of cultural anthropology. Emphasis will KENNETH M. KENSINGER be on developing an awareness of cross-cultural similarities and differ­ ences through the examination of theory and ethnographic data. Cross-cultural approaches to the analyses of kinship, marriage, .family Open to all students. descent and alliance groups. The course will focus on the basic concepts Spring term. and analytic tools with the examples drawn from the ethnographic litera­ ture on non-Western societies. PSYCHOLOGICAL A THROPOLOGY KENNETH M. KENSINGER Open to third- and fourth-year students and qualified second-year students. Fall term, 7972. An examination of the developments in psychological anthropology: Beginning with the students of Boas and Sapir, we will examine the dis­ THE ANTHROPOLOGICAL IMAGINATION putes and ideas which produced modern psychological anthropology. As JOANNA KIRKPATRICK such the course is a history of ideas. Open to third- and fourth-year students only. A course on theoretical approaches, levels of analysis, and the relation Fall term, 7972. between socio-cultural systems and access to strategic resources. Ethno­ graphy, sociology and literary materials will be used to explore a variety of cultural adaptations and their relevance to the articulation of self and COGNITIVE A THROPOLOGY KENNETH M. KENSINGER society. An introduction to social anthroplogy. This course is based on the assumption that culture consists of cognitive Open to all students. patterns learned by individuals as members of a society. It covers ma- Fall term, 7973.

50 51 THE SOCIAL ANTHROPOLOGY OF SOUTH ASIA: INDIA, ECONOMICS PAKISTAN, CEYLO jOMINA KIRKPATRICK A survey of selected ethnographies of peasant village and tribal com­ munities, from the standpoint of conflict-cohesion theory. The caste sys­ THE RISE OF ECONOMIC SOCIETY HARRY w. PEARSON tem, and its relation to tribal cultures, will be explored with reference to family, community, economy, region, cognitive categories and hier­ The elements of the uniquely economic social order of modern Western archy - both social and sexual. Biography, autobiography and prose society are traced in the development of markets and money, technology, fiction in English will be examined in the latter part of the term as re­ the city and economic rationality from primitive to modern times. The sources for examining the contradictions of life in caste society. major problems and some inherent contradictions of Western economic Prerequisite: Introductory anthropology or its equivalent. society are examined. The principal works studied are Redfield, The Spring term, 7973. Primitive World and its Transformations; Malinowski, "The Primitive Eco­ nomics of the Trobriand Islanders;" Polanyi, The Great Transformation; MEDICAL ANTHROPOLOGY I A D II JOANNA KIRKPATRICK Mumford, The City in H istory and The Myth of the Machine; Weber, The Cit)', and The Protestant Ethic and the Spirit of Capitalism; Ellul, The Tech­ Explores medicine as an ethnographic category, utilizing theory of cul­ nological Society; Tawnoy, Religion and the Rise of Capitalism; Veblen, The tural and social structural analysis. The first term's study explores folk Theory of the Leisure Class; and Marx, Introduction to the Critique of Political medical systems cross-culturally and their concepts of illness, treatment Economy. and cure. These medical systems are related to the degree of social in­ Open to all students. tegration within the society and to world view. The second term's work Fall term. concentrates on medical systems in modern societies, and on problems in the delivery of health services to tribal and peasant people in modern states. Prerequisite: Introductory anthropology, or pre-medical science. PRIMITIVE AND PEASANT ECONOMIES HARRY w. PEARSON 7973-74. An examination of economic organization in primitive and peasant societies and the theoretical problems related to the transition from tribal STRUCTURE OF RITUAL jOANNA KIRKPATRICK to peasant economies. Topics will include: the meaning of "economic" A study of the place and significance of ritualization in human behavior, and the relevance of economics, systems for the mobilization of producers viewed as a dialectical process. The course begins with Van Gennep's and productive resources, the organization of work, systems of exchange, Rites of Passage, moves through various approaches in ritual analysis to a the organization of trade, the function of money, the nature and function consideration of V. W. Turner's work, and ends with Erving Goffman on of wealth, economic rationality, and the relation between economic de­ interaction ritual. Rethinking the relation between self and society as velopment and social change. Interest throughout is focused on the many­ exemplified in ritual. faceted interaction of economy and society. Open to third- and fourth-year students with adequate background. Open to second-, third- and fourth-year students. Not offered 7972-74. Spring term.

52 53 THE TRANSFORMATION OF ECONOMIC SOCIETY: agrarian and mercantile, and local in character. We shall seek answers AMERICA IN CRISIS HARRY w. PEARSON to the question of what was happening to old ways of life and channels of authority as the modern state was progressively taking shape. This course is based on the conviction that the predominantly eco­ Open to all students. nomic social order of American society is not providing adequately for Fall term. the personal, social and political needs of its members. The problem areas examined from this point of view are the family, health, education, the arts, religion, sports and recreation, transportation, communication, THE RISE OF MEDIEVAL EUROPE, 500-1100 politics and the environment. Readings will cover the theory and opera­ WALLACE P. SCOTT tion of the economy as a social system, the inherent problems of the sys­ The course is intended to introduce the student to certain selected topics tem, the nature and dimensions of the problem in each specific area, and in medieval European history and to various historical interpretations and the possible modes of transformation to a pluralistic society. analyses of the developments studied. Among the topics or problems con­ Open to all students. sidered are "the decline and fall of Rome," the legacy of classical civiliza­ Spring term. tion, the origins and development of feudalism, the First Crusade. Open to first- and second-year students. THREE SYSTEMS OF POLITICAL ECONOMY: Fall term. CAPITALISM, SOCIALISM, ANARCHISM HARRY w. PEARSON The three systems examined in their theoretical formulations are the YEARS OF DECISION, 1828c1865 RUSH WELTER market ordered or capitalistic system, the state ordered socialist or com­ The course continues the study of critical developments in American munist system and the communitarian anarchist and syndicalist systems. history through close examination of the origins of the New England tex­ Each is examined as a system of social philosophy as well as an operative tile industry, the election of 1832, and the Kansas-Nebraska Bill. form of economic order. Readings will cover the classical formulations Open to second-, third- and fourth-year students. of each system as well as the theoretical variations and modifications Fall lerm, 1972. which have been developed by contemporary exponents of each system. Open to second-, third- and fourth-year students. Fall term. THE COLONIAL EXPERIENCE: THREE EPISODES IN AMERICAN HISTORY RUSH WELTER HISTORY The course introduces students to the origins of American civilization through the close study of three significant events: the Antinomian con­ troversy in Massachusetts, the rise of Benjamin Franklin to prominence CONTINUITY AND CHANGE I PRE-INDUSTRIAL EUROPE in Pennsylvania, and the development of a revolutionary outlook in Vir­ (17TH AND 18TH CENTURIES) R. ARNOLD RICKS ginia. This exploration of Europe on the eve of the French and Industrial Open to second-, third- and fourth-year students. Revolutions will begin by inquiring into a society still largely traditional, Fall term, 1973.

54 55 FROM TRADITIONAL SOCIETY TO WORLD POWER: THE AMERICAN: AN HISTORICAL ANALYSIS OF GERMANY IN THE 19TH CENTURy R. ARNOLD RICKS AMERICA THOUGHT AND CHARACTER RusH WELTER This is a seminar intended primarily for advanced students in history, Probably no area of Europe in the nineteenth century underwent philosophy, or literature who wish to use one of these disciplines as the changes of greater magnitude in the economic, social, and political point of departure for a sustained exploration of characteristic American spheres than Germany. This course will examine the sources and char­ social ideas and values. It is intended to provide both an 'B.istorical un­ acter ?f some of.the pressures, and the responses to them, with particular derstanding of Ameiican thought and a strategy for approaching its sep­ atte~tion to the impact of the French Revolution and Napoleon, the Rev­ arate elements analytically and systematically. olutions of 1848, and the balance of forces in the pre-World War I Wil­ helmian Empire. Open to third- and fourth-year students. Open to third- and fourth-year students. 7973-74. Fall term. THE RISE AND DECLINE OF LIBERALISM R. ARNOLD RICKS An approach to Europe in the nineteenth and twentieth centuries THE DEVELOPMENT OF THE ENGLISH STATE AND through an examination of liberalism and some of its political manifesta­ SOCIETY WALLACE P. SCOTT tions, pursuing its evolution and vicissitudes down to the period of the The course will span the period from approximately 1485 to 1760 al­ Second World War. t~ough no effort will be made to offer a comprehensive survey of En~lish Open to second-, third- and fourth-year students, and first-year students who have ?1story between these dates. Selected topics will be considered in study­ studied Continuity and Change in Pre-Industrial Europe. ing the development of major institutions such as Crown, Church and Spring term. Parliament in relation to changes and continuities in English society and thought. THE HIGH MIDDLE AGES, 1100-1350 WALLACE P. SCOTT Open to third- and fourth-year students. The course is concerned with an investigation of interrelations among social, political, economic and intellectual developments in medieval THE IDEA OF A CONSTITUTIO RUSH WELTER Europe. Particular attention will be given to study of the role of the Church in the "medieval synthesis." . An a~vanccd group tutorial limited to students who have shown a spe­ cial aptitude for the close study of ideas, whether in history, political the­ Open to first- and second-year students. ory, philosophy or literature. The work will consist of a joint exploration Spring term. of the attitudes the American people have traditionally held toward their THE EMERGE CE OF MODERN AMERICA, 1865-1900 federal and state constitutions. Students will be expected to assume a RusH WELTER major responsibility not only for the conduct of group discussions, but al­ so for unsupervised general reading in relevant aspects of American his­ This course will approach the development of the modern American tory. nation through close examination of three major phenomena: Recon­ 7972-73. struction, the Populist movement, and the war with Spain. Students will

56 57 PETER LACKOWSKI be expected to draft significant interpretive essays on each topic, using ADVA CED SYNTAX the_ classroom as a forum for the discussion of specific issues in interpre­ Issues in linguistic theory will be explored in one or more of several tation and of likely solutions for them. ways, including the following. Theories which were originally developed Open to second-, third, and fourth-year students. to describe European languages may be tested by working with a native Spring term. speaker of an "exotic" language. Particular aspects of English grammar may be subjected to intensive analysis. Linguistic universals may be GERMANY IN THE TWENTIETH CENTURY R. ARNOLD R1cKs sought by examining a large sample of the world's languages. A trans­ After examining aspects of the impact of World War I, this term will formational grammar of one of the more familiar European languages focus on atte_mpts to bring state and society into congruence in the Wei­ may be constructed. Issues in semantic theory may be considered. The mar Republic, and the Nazi seizure of power and consolidation of the choice of topics will depend upon the background and interests of the Third Reich. students in the class. Open to third- and fourth-year students. Prerequisite: Syntax Spring term. Spring term.

LINGUISTICS HISTORICAL LINGUISTICS GROUP TUTORIAL PETER LACKOWSKI LANGUAGE I (Fall) and LANGUAGE II (Spring) PETER LACKOWSKI The study of historical change in language. Examples drawn from the . The_se courses ~ill consider language as a human activity which has history of English and other languages familiar to the students enrolled. bi~lo?ical root~, hist?ry, geographic and cultural diversity and charac­ Open to students by permission of instructor. t~nstic pr?perties which set it apart from other symbolic and communica­ Fall term. tive funct10ns .. The first ~em~ster w_ill emphasize the diversity of language, the second will emphasize its universal properties and its relation to thought. CHILD LANGUAGE Open to all students. GROUP TUTORIAL PETER LACKOWSKI, SALLY SUGARMAN

SYNTAX PETER LACKOWSKI This group tutorial is concerned with the way children learn the gram­ The theory and methods of generative-transformational grammar will mar, phonology and semantics of the language they eventually master. Students are expected to conduct observations and experiments in the b~ dem~nstrated by an ~nalysis _of English. Material from other languages will be mtroduced for illustrative and comparative purposes. Bennington College nursery school. Open to second-, third- and fourth-year students. Prerequisites: Either Early Childhood or previous work in linguistics. Fall term. Spring term.

58 59 PHILOSOPHY it is about, and of attempts to transcend these limits. Topics include sub­ stance, attribute, relation, essence, accident, predication, identity, in­ dividuation contingency, necessity. Readings in Aristotle, Spinoza, Lieb­ GREEK PHILOSOPHY j AMES FESSENDEN niz, Bradley and Strawson. A~ int~oductio.n to some problems in ethics, epistemology and meta­ Open to students with previous work in philosophy. physics with readings from Plato and Aristotle, and some attention to the Fall term, 7973. cultural background. Introductory course. ALIENA TIO STEVEN HARRIS Fall term, 7972. A study of the concept of alienation as it has emerged in Western thought. We will be particularly interested in its relation to conscious­ GERMAN IDEALISM ]AMES FESSENDEN ness, self-consciousness, and reason. We will trace the development of Some problems in Schiller, Fichte, and Hegel, with occasional refer­ the concept of alienation from its original philosophical uses to its later ence to the criticisms of Kierkegaard and Marx. Marxist, sociological, psychoanalytic meanings, and the attempts to com­ Intermediate course. bine these in such movements as existentialism and the "Freudian-Left." Fall term, 7972. Open to second-, third- and fourth-year students. Fall term, 7973. NIETZSCHE j AMES FESSENDEN The early and the major works are studied in the context of German WITTGENSTEIN STEVEN HARRIS Idealism and the theories of Schopenhauer, Wagner, and others. An intensive study of his earlier and later philosophical writings. We Open to students by permission of instructor. will also consider his relation to various movements in analytic philosophy, Spring term, 7973. Open to students by permission of instructor. Spring term, 1973. AESTHETICS ]AMES FESSENDEN Anal~tical treatment of some issues in the philosophy of art, including PHILOSOPHY OF THE SOCIAL SCIENCES STEVEN HARRIS expression, representation, genres, modernism, and others. Intermediate course. A variety of issues centering around the relation of the social to the Spring term, 7973. natural sciences. We will consider such questions as: the natures of theories, explanations, prediction and evidence in each; objectivity; the relation between scientific theories and a scientific method; science as a METAPHYSICS STEVEN HARRIS social phenomenon. A study of what there is and what we can say about it. An examina­ Open to students with previous work in the social sciences. tion of attempts to fix the logical limits of thought in its relation to what Spring term, · 1973.

60 61 EXISTENTIALISM AND PHENOMENOLOGY STEVEN HARRIS GREEK PHILOSOPHY - PRESOCRATIC THOUGHT A study of the phenomenological movement and of its development ANNE v. SCHLABACH into an ontology. Readings in Husserl, Heidegger, Sartre, and Merleau­ The study of the ideas of Greek philosophers from Thales to Protagoras. Ponty. Open to all students. Open to students with previous work in philosophy. Fall term, 1973. Fall term, 1973. GREEK PHILOSOPHY - PLATO TO PLOTINUS FORMAL LOGIC STEVEN HARRIS ANNE v. SCHLABACH Sentential cal~ulus and first order predicate calculus are developed in Study of representative works of the later Greek philosophers with a natural de.duct10n syst~m. Formal systems, and the axiomatic develop­ particular emphasis upon social and moral theory. ment of logic are exammed. Interpretation and effective decision pro­ Open to all students. cedures are considered, along with proofs of consistency and complete­ Spring term, 1974. nes~. The aim of the course is to develop in the student a facility at doing logic as well as an understanding of what logic is. AMERICAN PHILOSOPHY ANNE v. SCHLABACH Open to all students. The first term of this course is an exploration of significant modes of Fall term, 1973. American thought about the nature of man, his individual destiny, his social role, and his view of the world order. Readings will range from INTRODUCTORY PHILOSOPHY: the Calvinistic Platonism of Jonathan Edwards to the cultural individ­ PHILOSOPHY OF KNOWLEDGE STEVEN HARRIS ualism of John Dewey. Emphasis will be placed upon more technical philosophical problems An introduction to what philosophy is through a study of some central during the second term. Issues will be approached in the context of the issues in Epistemology and Metaphysics. Readings from traditional and major American schools of philosophy, idealism, realism, and pragmat­ contemporary sources. ism. Readings from Royce and Whitehead, Santayana and R. B. Perry, Spring term, 1974. Chauncey Wright, James, Peirce, Dewey, and C. I. Lewis. Open to second-, third- and fourth-year students. MEANING AND TRUTH STEVEN HARRIS Not offered 1972-73. Theories of meaning and theories of truth or reference and their in­ terrelations are key issues in contemporary philosophical work. We will THE IDEA OF COMMUNITY I AMERICAN IDEALISM examine issues concerning a cluster of concepts including judgment, be­ GROUP TUTORIAL ANNE v. SCHLABACH lief, understanding, meaning, reference, analyticity, truth, propositions A study of the relationship between the individual and society as con­ and facts. Readings will be mostly in contemporary sources. ceived by the American transcendentalists and Josiah Royce with sup­ Prerequisite: Some philosophy, logic and permission of instructor. plementary critical literature. Spring term, 1974. Open to second-, third- and fourth-year students. Spring term, 1974. 62 63 POLITICS PSYCHOLOGY

POLITICS: ANALYSIS AND ACTIO LEONARD ROWE Students wishing to concentrate in psychology should submit a pro­ The purpose of this course is to provide students with the necessary gram of study, compatible with the degree requirements of the College, tools, concepts, and approaches to enable them to appreciate and to study which will permit their becoming cognizant of the various modes of in­ politics as a principal method of distribution of societal value~. Although quiry characterizing the field. The proposed plan should assure mastery much of the material will be drawn from the American experience, as­ of the data, methods, and concepts necessary for the execution of a perti­ pects of other political systems will be examined for comparative and nent senior project demonstrating the student's ability to do independent illustrative purposes. and sustained work in psychology. Open to all students.

INTRODUCTIO TO PSYCHOLOGY RONALD L. COHEN PARTIES, POLITICS, AND ELECTIONS LEONARD RowE Questions about human behavior will be explored from a variety of An examination of party politics and political participation in the perspectives including motivation, cognition, and perception. There will United States with the 1972 election campaign as a case study and van­ be a certain social psychological emphasis within which the questions tage point. will be posed. Therefore, the effects of the real or imagined presence of Open to second-, third- and fourth-)'ear students. other individuals or groups on motivational, perceptual, and cognitive Fall term. processes will be stressed. At various points in the term, other psychology faculty will present more intensive examinations of problems in their field. MODERN POLITICAL AND LEGAL PHILOSOPHY Open to all students. GROUP TUTORIAL DONALD R. BROWN Fall term. Open to second-, third- and fourth-year students. Fall term, 7972. PSYCHOANALYTIC THEORIES OF PERSONALITY RICHARD c. BLAKE SOCIALISM: DEMOCRATIC A D OTHERWISE A one-semester course dealing in some detail with personality theory LEONARD ROWE as formulated by Freud and amended by the ego psychology of Hartman An examination of socialist theory and practice in the light of demo­ and Rappaport. Attention is paid to the cultural approaches of the neo­ cratic and humanistic values. Freudian and existentially oriented theorists. Open to third- and fourth-)1ear students. Open to second-, third- and fourth-year students. Spring term. Fall term.

64 65 ABNORMAL PSYCHOLOGY RICHARD C. BLAKE EXPERIMENTAL PSYCHOLOGY: RESEARCH METHODS LOUIS P. CARINI This one-semester course deals with the developmental and dynamic principles of modern psychopathology and discusses with the aid of para­ This course deals in general with method, and, specifically, it deals digmatic case histories the neuroses, character disorders, psychosomatic with the development of techniques appropriate for conducting ex­ ailments, and the functional psychoses. perimental inquiries in the areas of perceptual constancy, concept forma­ Prerequisite: Psychoanalytic Theories of Personality tion, and language. The emphasis is upon both theoretical and substan­ Spring term. tive issues. Students are expected to conduct experiments of their own devising. Prerequisite: Previous work in Psychology. SYMBOL AND PSYCHE LOUIS P. CARINI Fall term. This course endeavors to investigate the functions that symbols, and language more generally, play in the development of consciousness and SYSTEMS AND THEORIES IN PSYCHOLOGY LoUis P. CARINI conduct. The sources will be readings in psychological philosophy as well as in the psychology of language and of concept formation. The major psychological and philosophical-psychological systems prior to 1930 are the focus during the first part of the course. Beginning with Intermediate course. Ebbinghaus, the men and systems dealt with include the early Freud, Spring term. Dewey and the Functionalists, Watson and early Behaviorism, and Wer­ theimer and the Gestalt movement. Using the psychologies of the 1925- EDUCATING THE DEVELOPING CHILD LOUIS p. CARINI 1930 period as a point of departure, the remainder of the course examines the learning theories of Guthrie, Thorndyke, Tolman, Hull-Spence, and This course seeks to integrate knowledge about the nature of the child's Skinner; the therapeutically oriented theories of Freud, Sullivan, Rogers emotional and intellectual development with what is known about learn­ and Kelley, and the social psychologies of Mead, Lewin, ewcomb, and ing and about methods of teaching. The aim is to provide a theory of Festinger. instruction consonant with the child's abilities at particular stages of Open to third- and fourth-year students who have had one year of Psychology. growth. The views of developmental theorists will be examined along Spring term. with the information about development that they and others provide. The facts that all agree upon will then be considered, and the adequacy of the theories as a basis for methods of teaching at the various stages will AGGRESSION, ALTRUISM AND JUSTICE: PROBLEMS IN be assessed. Finally, the aim is to provide a theoretical and practical EXPERIMENTAL SOCIAL PSYCHOLOGY RONALD L. CoHEN account of teaching and learning that fits the growing child's ability to Does the representation of violence in the media increase (modeling learn. hypothesis) or decrease (catharsis hypothesis) the expression of aggressive Open to third- and fourth-year students. behavior? What are the personal and situational determinants of altru- Fall term.

66 67 istic behavior? How do notions of justice, fairness, and morality develop PSYCHOLOGICAL PERSPECTIVES ON WOMEN in children and how are those notions related to overt behavior? Material SHARON ToFFEY SHEPELA from literary, journalistic, psychiatric, and sociological, as well as social Why are women the way they are, what made them that way, and is psychological sources will be employed, with an emphasis on attempts to it all inevitable? A psychological perspective on these questions, con­ study these phenomena in the psychological laboratory. sidering socialization, biology, role learning and conflict, and the role of Open to qualified third- and fourth-year students. society, among other topics, will be the focus of this course. The effects Spring term. of these processes on life choices and options, and personal and interper­ sonal satisfactions will be discussed as will alternatives. RACE, SEX, A D CLASS: SOCIAL PSYCHOLOGICAL Prerequisite: Previous work in ps;dwlogy or permission of the instructor. IMPLICATIONS OF CLASS, STATUS, AND POWER Fall term. RONALD L. COHEN How does an individual's race, sex, and class affect the attitudes and behavior of others toward him or her? How do the processes underlying PERCEPTUAL LEARN! G AND DEVELOPMENT the operation of those distinctions compare? How do individuals attrib­ SHARON ToFFEY SHEPELA ute attitudes and understand the behavior of others with varying race, The patterns of physical energy from a complex musical work reaching sex, and class backgrounds? How do these characteristics of individual the ear of an accomplished musician and a musical neophyte are the same, persons relate to the characteristics of institutions? Material will be and yet they do not hear the same thing. The musician can detect and drawn from literary, journalistic, and sociological, as well as a wide describe features of the music which make distinct patterns, and still the variety of social psychological sources. neophyte won't hear. How he learns to hear, and what he learns to hear, Open to second-, third- and fourth-year students. as well as what we see, and how we learn to see it, will be explored in Spring term. this course. The subjects of our study will range from newborns to adults. Prerequisite: Perception Spring term. PERCEPTIO SHARON ToFFEY SHEPELA The way the human organism interacts with its environment, and ex­ tracts the information necessary for its operation within that environ­ ANIMAL BEHAVIOR - ETHOLOGY SHARON ToFFEY SHEPELA ment, is the basis of perception. The limitations of the perceptual sys­ tems, plus their remarkable versatility and adaptability, will be studied, The study of the behavior of animals in their natural settings, with an as will the nature of the information which is used by the perceiver. emphasis on the biological substrates, the evolution of behavior, princi­ Open to those who have had the perception sections of Introductory Psychology or ples of behavioral organization, and communication. their equivalent. Prerequisite: Previous work in biology. Fall term. Spring term.

68 69 NATURAL SCIENCE AND MATHEMATICS Each of the instructors will be responsible for one-third of the program. The course will begin with an examination of the cell as the basic biologi­ cal unit of structure and function, and will progress to consideration of Scientific principles and thought form a foundation for understanding the interrelationships of cells to form tissues and organisms. the biological and physical universe. The Science Division offers a flex­ Consideration of the organism and its effects and interactions on and ible curriculum designed to teach the main principles and give students with its environment will comprise a second area of study. Finally, the mechanisms that pertain at the environmental, individual, sufficient depth in one discipline to make advanced study possible. cellular and subcellular levels to sustain and maintain these relationships For those students who choose to do their work in the Science Division, will be studied. the emphasis may be in the fields of biology, chemistry, mathematics, physics or in meaningful combinations of these fields. Work beyond the Laboratory: Two hours. introductory level in a second related field is normally expected. The Open to first-year students. areas to be included depend upon the student, the field of choice and the Fall term. judgment of the science faculty. Small classes and individual attention give students the chance to in­ ENVIRO MENTAL STUDIES SCIENCE FACULTY vestigate as deeply as they wish in areas of particular interest within any science course. Tutorials are available to qualified students who desire Consideration of environmental crises from a variety of viewpoints. to go beyond the regular course offerings and exceptional students can The aim is to develop a scientific background, and to supplement this with appropriate ideas from other disciplines. The nature of this course find an advanced program designed for their specific needs. is subject to change from year to year. Contributions from both staff Ordinarily, a science major is expected to complete at least sixteen members and outside speakers are a major part, as is a term-long team terms of work in the Division, which may include student projects and approach to some specific environmental problem, involving both library theses. research and field work. Responsibility for this course is shared by several of the Science staff. Fall term. BIOLOGY

GE ERAL ECOLOGY EDWARD FLACCUS I TRODUCTORY BIOLOGY BIOLOGY FACULTY Interrelationships at the organism and population levels of organiza­ Introductory Biology is designed as a joint effort on the part of the tion. A descriptive foundation will be laid with early field trips. Then Biology faculty to achieve several purposes. It will serve as an introduc­ attention will be paid to ecosystem structure and function; homeostasis, tion to the areas of Biological Science in which there are advanced level succession, biogeochemical cycles, energy pathways. courses, and it will assure a core level of information on which these Laboratory: Four hours. courses can be based. This course is also designed to serve the interests Prerequisite: Introductory Biology or Botany of the student who is not contemplating additional work in the field. Fall term.

70 71 TAXONOMY OF HIGHER PLA TS EDwARD FLAccus omus, toad, and bread mold. The laboratory will be conducted as proj­ ect work with students working with materials and techniques of their Study of structure, identification, naming, and relationships of the vas­ own selection. cular plants, with emphasis on the flowering plants and the families im­ Prerequisite: Introductory Biology or its equivalent and consent of instructor. portant in the eastern United States. There will be both field and lab­ Limited to ten students. oratory investigation, and the students will collect, press, mount, and Spring term. identify their own collection of plants. Laboratory: Four hours. Prerequisite: Introduction to the Plant Kingdom. MORPHOGENESIS JoHN F. WoHNUS Spring term, 1973. A detailed study of the development of the animal organism from the time of gamete and zygote formation to the realization of the adult struc­ INTRODUCTION TO THE PLANT KINGDOM EDWARD FLACCUS ture. Laboratory work during the first half of the term will focus on mam­ The basic principles of structure, cell and tissue function, reproduction, malian development utilizing the pig as the type specimen. Comparisons evolution, and ecology of the higher plants will be developed. Then the with other forms will be made as necessary or desired. The last half of major groups of plants will be studied, with emphasis put on live material the term in laboratory will be devoted to student projects. These may collected in the field. involve experimental procedures and techniques or be devoted to addi­ LaboratorJ1: Four hours. tional study of morphological detail. Open to all students. Laboratory: First half of term, four hours; second half of term, as necessary. Spring term. Prerequisite: Introductory Biology or its equivalent. Spring term. ORGANIC EVOLUTION EDwARD FLACcus VERTEBRATE MORPHOLOGY JOHN F. WOHNUS A principles and processes approach to the evolution of plants and animals, with emphasis on modern evidence bearing on genetic mechan­ An analytical study of the gross anatomy of the vertebrates. The basic isms, natural selection, and speciation. chordate body plan will serve as the point of departure for detailed studies No laboratorJ'· of the major classes of vertebrates. Laboratory work will consist of Prerequisite: Introductory Biology and permission of instructor. thorough dissections of representative vertebrates. Spring term, 1973. Laboratory: Four hours. Prerequisite: Introductory Biology or its equivalent. I TRODUCTION TO GENETICS JoHN F. WoHNUS Fall term, 1972. A study of the basic mechanisms effective in the processes relating to HISTOLOGY AND MICRO-TECHNIQUE JoHN F. WoHNUS the realization of hereditary patterns. Laboratory work will be under­ taken using representative organisms selected for their capacity to demon­ A critical study of the microscopic anatomy of the vertebrates. Labo­ strate specific basic principles and will include the fruit fly, corn, chiron- ratory will include the methods and procedures used to prepare tissues

72 73 for study with the microscope in addition to the detailed study of the pre­ physical principles of chemistry including thermodynamics, kinetics, parations. atomic structure and chemical bonding. One laboratory per week. Laboratory: Four hours. Prerequisite: Calculus is strongly recommended. Prerequisite: Introductory Biology or its equivalent. Spring term. Fall term, 7973. PHYSICAL CHEMISTRY DENNIS AEBERSOLD Physical chemistry attempts to provide an understanding of chemical CHEMISTRY phenomena at a fundamental level. This course begins with the develop­ ment of quantum theory and uses this theory to explain atomic structure INTRODUCTORY CHEMISTRY and chemical bonding. The course then progresses to the interpretation E. ROBERT COBURN, DENNIS AEBERSOLD of the behavior of large numbers of atoms and molecules by use of statis­ The development of symbols, language and concepts by which man tical mechanics and thermodynamics. These fundamental theories are attempts to understand the nature and behavior of matter. The order then applied to a variety of chemical phenomena. of presentation of theory and hypotheJis is not necessarily historical but Laboratory : Fall term, four hours; spring term, eight hours. will be dictated by the sequence of problems brought into prominence Prerequisites: Calculus, Physics, and Physical Principles of Chemistry as the course progresses. This course is intended both for those who have not had chemistry and for those whose preparation is not· adequate to ANALYTICAL CHEMISTRY DENNIS AEBERSOLD enable them to take more advanced courses with confidence. Laboratory: Four hours. An introduction to modern chemical instrumentation and its use in Open to aLL students. analytical methods. The course will teach basic electronics, spectrom­ Fall term. etry, thermoanalytical methods, chromatography and electrometric methods of analysis. ORGANIC CHEMISTRY Laboratory: Eight hours. Prerequisite: Physical Principles. E. ROBERT COBURN, DENNIS AEBERSOLD Fall term, 7972. The chemistry of the principal classifications of carbon compounds treated with special emphasis on synthetic methods. First term: aliphatic compounds. Second term: aromatic compounds and natural products. QUANTITATIVE ANALYSIS E. ROBERT COBURN Laboratory: Eight hours. Typical gravimetric and volumetric techniques for the quantitative Prerequisite: Introductory Chemistry. estimation of various substances. Laboratory: Eight hours. PHYSICAL PRINCIPLES OF CHEMISTRY DENNIS AEBERSOLD Prerequisite: Introductory Chemistry or its equivalent. A continuation of introductory chemistry. This course will discuss the Spring term, 7974.

74 75 INORGA IC CHEMISTRY DENNIS AEBERSOLD INTRODUCTION TO CLASSICAL PHYSICS ROBERT G. CORNWELL An advanced course in inorganic chemistry. A general survey of all the inorganic chemicals will be made with emphasis on the transition This course will study the foundations upon which physics and indeed metals. Topics to be covered are: metal complexes, ligand field theory, all sciences are built. It will serve both the student interested in this sub­ organometalic compounds. ject on its own merits as well as the student needing classical physics in Labora torr Eight hours. order to pursue further work in physics or other sciences. The comple­ Prerequisite: Physical Chemistry, Organic Chemistry. mentary nature of experiment and theory in the building of physics will Fall term, 7973. be emphasized. Topics to be covered include force and motion, momen­ tum and energy, kinetic theory, and electricity and magnetism. Labo­ ratory experiments are treated as investigations rather than as routine PHYSICS technical measurements. Laboratory: Four hours. PHYSICS OF THE EARTH MICHAEL H. BANCROFT Spring term. Understanding the development and behavior of the Earth and the interaction of its parts (such as the land, oceans, and atmosphere) through MODERN PHYSICS - ATOMIC PHYSICS ROBERT G. CORNWELL the application of general physical principles is the purpose of this course. This course will discuss the physical observations and theories of the It is directed to non-scientists, so a minimal mathematical and scientific early 20th century which lead to our present understanding of extra­ background will be assumed. Among topics to be considered are: forma­ nuclear phenomena, and will also discuss selected contemporary topics in ti.on of the Earth, gravitation and tides, application of conservation prin­ atomic physics. Topics to be covered include special relativity, atomic ciples (energy, matter, momentum), continental drift, waves, geomagnet­ structure and atomic spectra, the experimental basis for quantum me­ ism and electricity, physical properties of water and air, and climate and chanics, crystal structure and semiconductors, and lasers. weather. Laboratory : Four hours. Fall term, 1972. Prerequisites: Introduction to Classical Physics or permission of instructor, and one year of Calculus (or may be taken concurrently). ASTRONOMY ROBERT G. CORNWELL Fall term. An introduction to astronomy. This course will provide both a qualita­ tive and a quantitative understanding of the physical principles involved MODERN PHYSICS - NUCLEAR PHYSICS ROBERT G . CORNWELL in our current description of the subject of modern astronomy. Topics to be discussed include the origins, evolution, structure, motions and inter­ This course will discuss the physics of the later 20th century with partic­ actions of the earth, planets, sun, stars and the larger universe. There ular emphasis on sub-atomic physics. Topics to be covered include nu­ will be some opportunity for laboratory and observational work. clear radiations, nuclear structure and models, elementary particles, and Open to students by permission of instructor. an introduction to quantum mechanics. Fall term. Laboratory: Four hours.

76 77 • ' ' t• • Prerequisites: Modern Physics - Atomic Physics or permission of instructor, tal mathematical thinking as well as the interrelationship between mathe­ and one year of Calculus (or may be taken concurrently) . matics and the every day world. The course will introduce the student Spring term. to such diverse topics as symmetry and the elementary theory of groups, numbers, topology, sets and probability, the mathematical theory of in­ PHYSICS TUTORIALS ROBERT G. CORNWELL finity and paradoxes. ' Open to students by permission of instructor. Physics tutorials fulfill two purposes. Some tutorials are designed to Spring term, 7974. cover fields of advanced physics needed by students pursuing studies in physics or other sciences, whereas others are of interest to students de­ siring a more elementary study of certain fields in physical science. Tu­ CALCULUS REINHOUD H. VAN DER LINDE . torials typical of those available are: Classical Mechanics This course will include a discussion of the real number system, ele­ ments of analytic geometry, functions, limits of functions, continuity, dif­ Contemporary Topics in Physical Science Electromagnetic Theory ferentiation of algebraic functions, maxima and minima problems, ele­ Experimental Nuclear Physics ments of integration, differentiation and integration of transcendental Quantum Mechanics functions, differentials, mean value theorems, technique of integration, Topics in Mathematical Physics and applications. Prerequisite: Three years of high school mathematics, or permission of instructor.

MATHEMATICS MATHEMATICAL ANALYSIS LEE J. SuPOWIT, REINHOUD H. VAN DER LINDE UNDERSTANDING COMPUTERS, THEIR NATURE AND FUNCTION LEE J. SuPOWIT Elements of point set typology, continuity and differentiability of func­ tions of one and several variables, Jacobians, the implicit function theo­ This course presents some fundamental concepts of modern mathe­ rem, extremum problems, theory of Riemann integration, multiple in­ matics and their relationship to computers. It is designed to give the tegrals and line integrals, infinite series, uniform convergence, and other student an appreciation of the computer. Topics will be selected from areas such as: simulation, computer games, and the notion of algorithm. topics. Open to students by permission of instructor. Prerequisite: Calculus, and permission of instructor. Spring term, 7973. ABSTRACT ALGEBRA I REINHOUD H. v AN DER LINDE FUNDAME TALS OF MATHEMATICS REINHOUD H. v AN DER LINDE A logical exposition of the fundamental concepts of modern algebra This course is designed for those students who have a general interest which are basic for the study of theoretical and applied mathematics. in mathematics and who want to acquire an understanding of fundamen- The course will include the following topics: group theory, ring theory, 79 78 integral domains, unique factorization domains and elementary theory INTERDISCIPLINARY COURSE OFFERINGS of fields. Open to students by permission of instructor. Fall term. WAVES ROBERT G. CORNWELL REINHOUD H. VAN DER LINDE ABSTRACT ALGEBRA II LEE]. SuPOWIT This experimental course will familiarize student.s having a v~riety of The analysis of a single linear operator on a finite dimensional vector interests and backgrounds with the important principles of wavelike phe­ space. Content areas: vector spaces, linear operators, decomposition nomena. The course will cover mathematical and physical aspects of theorems, applications. such topics as: Prerequisite: Abstract Algebra I Simple harmonic motion Spring term. Vibration in various media (strings, bars, membranes, water, air, electrical systems) TOPOLOGY LEE J. SuPOWIT Musical sound versus noise Elements of topological spaces, differentiable manifolds, calculus on DifTraction and interference manifolds, exterior calculus, critical and noncritical levels, spherical mod­ In addition we will discuss pertinent characteristics of sound, such as ifications, and other topics. pitch, overtones, beats, acoust.i~s and tun.ing. There will be numerous Prerequisites: Mathematical Analysis and Abstract Algebra. demonstrations, and opportunities for projects. Not offered 7972-73. This course presupposes no special scientific or musical knowledge.

INTEGRAL EQUATIONS REINHOUD H. VAN DER LINDE TOPICS IN SCIENCE AND MATHEMATICS SCIENCE FACULTY The Fredholm theorems, symmetric kernels, Green's function, the Hil­ This experimental course will be taught by at least one r~presentat ive bert-Schmidt theory, and the expansion theorem. from each of the four fields of biology, chemistry, mathematics and phys­ Prerequisite: Mathematical Analysis and permission of instructor. Not offered 7972-73. ics. The object of the course is to present a wide ran?e o~ careful.ly chosen, broad, important topics in the sciences. Each topic will require only a SEMINAR IN ADVANCED MATHEMATICS LEE J. SuPOWIT minimal amount of scientific background. Some of them may cut across REINHOUD H. VAN DER LINDE boundaries of several scientific fields. This course is intended for students who have studied a year of mathe­ Examples of the kind of topics which may be discussed: matical analysis and Abstract Algebra. In certain cases students with Nature of Matter more limited background may be admitted. The content of the course Radioactivity varies from year to year and depends greatly on the interests and needs Nuclear Reactions of the students. Main features of the course will be independent work Stereochemistry and exchange of ideas. Equilibrium

80 81 Symmetry developed works is a central act1v1ty. The b~sis for technic_al st~dy is Game Theory contemporary American dance. Related work m ballet techmque is also Topology provided. Cybernetics During the first two years a dance student will particip~te in a Core Inheritance and genetics group, take three technique classes per week at the appropnate level, .at­ Ecosystem energy flow tend dance workshop, and participate in some phase of dance production Biogeochemical cycles and performance each term. The above constitutes a Dance Quarter. Comparative methods in Science An advanced student participates in Core group, dance techniques, Additional topics for discussion will be solicited from students at the and has the option of pursuing his or her special interests by choosing beginning of the term. The student will be required to do extensive read­ from the various tutorials offered. Dance majors are expected to have a ing, and either write a short paper or perform an independent project knowledge of basic stagecraft and production. An independent creative in each of the four fields. project and a performance is required of dance majors each term. All students taking Dance are required to work on crew.

THE PERFORMING ARTS THE CORE GROUP BILL DIXON, JUDITH DUNN, ]ACK MOORE, JOSEF WITTMAN, The performing arts, dance, drama, and music, are studied as contem­ MARTHA WITTMAN porary expressions and for the insight they afford into cultures of the past. The basic class taken by all dance students. The emphasis in the Core In each division students are involved in performance and composition. is on composition with work on the introductory level i~ design, mus_ic Each division presents a weekly workshop devoted to student composi­ and stagecraft. A Core group is open to all levels and m 1972-73 will tion and interpretive work in progress. Students work on the level ap­ meet for one two-hour period per week. There will be four Core groups propriate to their previous experience and individual abilities, rather than A, E, C, D. by their year in college. During each term a series of productions, based on activities in studios and workshops, is an essential part of the teaching plan. Plays, dance programs, concerts, and occasional large-scale joint MARTHA WITTMA 'JUDITH DUNN, enterprises are offered to the College and town audience. DANCE TECHNIQUES ]ACK MOORE

DANCE Studio work in contemporary and ballet technique. There are three graded levels of contemporary dance techniqu~ ~nd one of ballet. A stu­ dent taking a quarter in dance must take a mm1mum of three classes per Dance at Bennington College emphasizes practical work in choreog­ week, a student taking a half in dance, a minimum of five. Dance tech­ raphy and performance. Composition from elementary exercises to fully niques alone do not constitute a quarter.

82 83 PRODUCTION TECHNIQUES RICHARD W. KERRY, SOUND AND MOVEMENT JOHN LucKOVIC GROUP TUTORIAL JOSEF WITTMAN One and a half hours per week. This class will emphasize the creative The interaction of sound and movement elements in dance. Exercises process of the design of sets, lights and costumes, and the techniques nec­ designed to increase the dancer's awareness and control of intuitive move­ essary for carrying them through production. This class will be required ment qualities. Investigation of dance music of various periods and cul­ of all prospective dance majors by the end of their second year. This tures. Rhythm as energy shape. Musical structures. The making of class does not constitute a quarter. magnetic sound scores. Information about and study of simple electronic modules, the tape machine, video-recorder and other audio-visual devices. Open to advanced students by permission of instructor. DANCE WORKSHOP DA 'CE FACULTY A required weekly meeting place for all students in Dance. Showing of works and films, discussion of problems. DESIGN RICHARD w. KERRY GROUP OR INDIVIDUAL TUTORIAL Design beyond the elementary level will be given in the form of in­ REPERTORY DANCE FACULTY (ROTATING) dividual or group tutorials. Creative projects of an experimental nature The study and performance of new and old dances. are encouraged. Open to students by permission of the instructor. Open to students by permission of the instructor.

LABANOTATION MARTHA WITTMAN SPECIAL PROBLEMS IN COMPOSITION A class in the study of the contemporary and internationally used sys­ GROUP TUTORIAL JUDITH DUNN, BILL DIXON tem of recording and analyzing movement, invented by Rudolf Laban. Open to advanced students by permission of instructor. The class will meet twice a week. Open to all students by permission of the instructor. SPECIAL MUSICAL PROBLEMS JOSEF WITTMAN, BILL DIXON GROUP TUTORIAL STUDENT TEACHING AND CONFERENCE DANCE FACULTY Available when appropriate. Open to senior dance majors by permission of the instructor. Open to students by permission of instructor.

SOUND LABORATORY JOSEF WITTMAN, BILL DIXON RESEARCH PROJECTS IN DANCE DANCE FACULTY Times and spaces are scheduled to assist students with various musical GROUP OR INDIVIDUAL TUTORIAL aspects relating to their dance work. Open to students by permission of instructor.

84 85 DRAMA DESIGN WORKSHOP-STRUCTURES A D CELEBRATIONS RICHARD KERRY

The drama program seeks the artistic development of actors, directors, Relationships to creation and performance, and living. playwrights and designers. It also offers students an opportunity to ex­ We will build and use (celebrations) geodesic domes, icosas, inflatables, plore drama as part of their liberal arts education through academic and and as many other performance structures as possible. studio courses and through participation in production. The usual preparation for a major includes an introduction to dramatic literature, history and theory as well as to theatre practice; plus continu­ MUSIC ing course work in acting, playwrighting, directing or design. Once ac­ cepted as drama majors, students take the production course each term The aim of Bennington's music program is a complete experience in engaging in special research and technical projects related to rehearsals the active practice of music. and preparations for performance. Intermediate and Advanced class­ The faculty believes that genuine musicianship needs a constant inter­ room and studio work is available in a variety of specialties as are in­ action of the two disciplines, composing and performing, and to this end dividual and group tutorials. The drama major is expected to produce the students work at original composing and concurrently study instru­ a creative Senior project indicating not only skill and competence, but mental performance or singing. It should be emphasized that these mus­ a high degree of originality in the chosen specialty. ical practices are made available to all students irrespective of musical background. CONTEMPORARY THEATRE WORKSHOP ROBERT GLAUDINI The broad term "composing" embodies the practical application of A workshop course in acting, movement, and voice techniques. In­ the techniques ordinarily considered separately as harmony, counter­ dividual creative work will be stressed, especially in the projects part of point and orchestration. At Bennington, even at the elementary levels, the course. Exploration of individual and group techniques through composing goes beyond exercises in abstract technique; it is valued as a body discipline (dance, yoga, etc.); sensory awareness exercises; vocal powerful vehicle both for individual expression and for providing insights work (verbal and nonverbal); acting improvisations, scene study, and into the mind of the master composer. character work (derived from traditional "method" techniques); and ap­ Devices of composition essential to all periods are subjects of study. proaches developed by the Open Theatre. However, the idioms first encountered by the student composer, and those generally stressed, are representative of twentieth-century language and PLAYWRITING ROBERT GLAUDINI thought. Believing that student composers are entitled to hear their music as In workshop classes and/or individual hours to be arranged. soon as possible, the faculty makes every effort to ensure that all student work, whether brief or extended, is properly rehearsed and, where ap­ PRODUCTION WORKSHOP ROBERT GLAUDINI propriate, performed and recorded. A rehearsal-oriented workshop leading to a production during the In vocal and instrumental study, training and performance are looked academic term. Rehearsal times to be arranged. upon not as obstacle courses in musical gymnastics, but as immediate 86 87 and concrete means of analyzing musical literature, and of experiencing Music I does not constitute a complete quarter. It must be supplemented by in­ musical tradition at first hand. The faculty places a high value on the strumental or vocal instruction. Instruction in performing skills is NOT separately musical insights and interactions afforded in the study of chamber music available during the first J1ear, but only in conjunction with the MUSIC .I quarter. and, accordingly, as students develop the needful technical skills, they Small group meetings for this instruction will be scheduled separately with the in­ become involved in group playing as an essential part of their performance structors involved. program. Joint participation of students with faculty in large and small chamber music groups, both in class and in concert,,. is frequent. In all MUSIC II LOUIS CALABRO, VIVIAN FINE performance projects, whether of the established repertory or of student Music II continues in areater depth and at a more advanced level, the work, instruction is aimed at developing the students' initiative and re­ 0 active investigations and explorations of the composing process initiated sources so that they can assume responsibility for organizing, rehearsing and directing performance. in Music I. . Music JI does not constitute a complete quarter. It must be supplemented by in­ The broad view of the essential interconnection of composing and per­ strumental or vocal instruction. Small group meetings for this instruction will be formance is shared and put into practice by the entire music faculty. scheduled separately with the instructors involved. However, the Division also anticipates that each instructor, in accordance with his individual background, temperament, and experience, will ex­ plore in his own way, and make available to his students those musical MUSIC III VIVIAN FINE areas which his individual investigations and research particularly con­ Music III advances the compositional process beyond level of M~sic IL cern. Music III will not be offered in 7972-73. Advanced training in composition will Bennington's extensive schedule of public concerts includes group and be available to students through individual or group tutorials. solo events presented by the faculty, by students alone, by students and faculty together, and with the collaboration of visiting artists - the latter often appearing also as participating guests in classes. Programs are pur­ MUSIC WORKSHOP posely chosen to demonstrate as many different periods and genres as possible, with frequent presentation of contemporary music, including FRANK BAKER, HENRY BRANT new works in all categories by students and faculty. CHORAL ENSEMBLE Techniques of choral singing and conducting. Men's and women's voices. MUSIC I HENRY BRANT, LOUIS CALABRO, Open to all students. VIVIAN FINE, LIONEL NOWAK The class is divided into groups on the basis of previous musical ex­ PERFORMANCE OF TWENTIETH CENTURY WORKS perience. These classes are under the guidance of a composer and will JACOB GLICK deal with the essential bases of music, as embodied in the composing pro­ cess. An additional period, Music Workshop, is a required part of the A variety of performing techniques will be illustrat~d and selected music commitment. chamber music works of varying difficulty will be exammed. Students

88 89 will investigate ensemble problems and be asked to prepare specific 20th SCORE ANALYSIS Louis CALABRO century compositions. This course is designed as a supplement to composing and performing Open to students with permission of instructors. and will deal with important musical works of the 20th Century. Stu­ dents will be asked to make piano reductions of selected chamber and orchestral scores and are expected to purchase a few of these scores for CONDUCTING AND ORCHESTRATION HENRY BRANT class use. Prerequisite: Music I Open to second-, third- and fourth-year students. Fall term. Spring term.

PIANO IMPROVISATION VIVIAN FINE ACOUSTICS IN MUSIC GUNNAR SCHONBECK An exploration of rhythmic, linear and vertical ideas; pianist~c text~res Phenomena of musical sounds pertaining to old and new musical in­ and sonorities. On this basis students will work to develop their heanng struments used in our culture and other cultures. and keyboard facility in the use of these resources. Open to second-, third- and fourth-year students. Open to second-, third- and fourth-year students. Spring term. Fall term.

TUTORIALS MUSICAL INSTRUMENTS - DESIGN AND CONSTRUCTION GUNNAR SCHONBECK The following instrumental or vocal studies are offered as parts of music courses Practical studies of the uses and functions of musical instruments in or as tutorials. various cultures. Piano Flute One hour class per week and four hours laboratory per week. Voice Bassoon Spring term. Violin, Viola Woodwinds, Brasses Harpsichord Percussion 'Cello Composition Guitar, Double Bass SIXTEENTH CENTURY COUNTERPOINT LIONEL NowAK Tutorial study may be undertaken in any area of music - performance, compo­ Compositional practice within the generally accepted limits of a par­ sition or research - after the freshman year. Students are encouraged to propose ticular polyphonic style. their ~wn subject matter. Tutorial applications may be considered on an individual Prerequisite: Music II or equivalent. or on a group basis, as deemed appropriate by the ~nstructor. .The later stages of Fall Term. a plan for major work in music are normally earned out tutorially.

90 91 WORKSHOPS THE VISUAL ARTS

The following Work~hops and similar group activities are not separate courses, Normally the prospective major in art will take Introduction to Studio but are considered as adjuncts in the study of any performing skill. Art during the first year, and four terms of work in art in the second year, before submitting a tenative plan. GENERAL MUSIC WORKSHOP Music FACULTY At the time the student submits this plan (which contains in addition Attended by all music faculty and students. to the basic course lists and distrubution requirements, a written account of the educational experiences of the past as well as those envisioned for VOICE WORKSHOP FRANK BAKER the future) to the Division, he/she must have demonstrated ability in at Attended by all voice students. least two media. The student will be asked to submit examples of work PIANOFORTE WORKSHOP MARIANNE FINCKEL, LIONEL NowAK for review by the art faculty during student's fourth term. The plan PERCUSSION WORKSHOP Lours CALABRO should include at least a year's study of art history or criticism if the stu­ dent has not taken such a course in the first two years, and continued CLARINET ENSEMBLE GUNNAR SCHONBECK work in two or more studios in the third year. FLUTE ENSEMBLE GUNNAR SCHONBECK Confirmation of Plan: The Confirmation of Plan restates courses to be taken and outlines work project in two or more areas; this work is viewed WOODWIND ENSEMBLE MAURICE p ACHMAN by the community in the June Senior Exhibition. CHAMBER MUSIC STRING FACULTY Requirements for D egree: Successful completion of project undertaken in advanced program. COMMUNITY ORCHESTRA CO CERTS HENRY BRANT, CONDUCTOR INTRODUCTION TO STUDIO ART PAT ADAMS, RICHARD HAAS, Rehearsal and performance of works of all periods for large combina­ L. BROWER HATCHER, SOPHIA HEAL y, tions of voices and instruments. One concert each term. Programs will STANLEY ROSEN, ROGER WILLIAMS feature unfamiliar but representative works of substantial interest, seldom to be heard elsewhere. The premiere of at least one new American work The introductory course in studio art consists of two areas of concen­ takes place at each concert. There are frequent appearances of faculty tration during the student's first year: one term in three-dimensional composers and soloists, student soloists and student composers and con­ studies; and one term in two-dimensional studies. The art faculty (prac­ duc:o:s. All concerts involve the collaborative participation of qualified ticing painters, sculptors, printmakers and a ceramist) will offer an ex­ mus1c1ans and musical groups residing in the Bennington area, and fre­ tended course concentrating not only upon their particular craft but also quently of guest artists. problems pertaining to art in general. Attitudes toward history, form, In order to receive credit for work in music, all students will be expected design and drawing will be covered. to attend and participate in rehearsals and performance of one Commu­ Open to first-year students and others by permission. nity Orchestra Concert each term. Introduction to Studio Art is prerequisitive to advanced work in art.

92 93 is given to historical as well as contemporary developments in the art of STUDIO COURSES the print. Each student will be expected to include one drawing class as part of ARCHITECTURE ROGER WILLIAMS the studio work. This studio course is concerned with basic ideas about doing and ex­ Open to all qualified students. periencing architecture. Projects will be assigned to connect the design process and design media to real architectural space and form. Students SERIGRAPHY ROGER LOFT will be encouraged to act directly on various materials and full-size spaces on one hand; and on the other, to formulate problems toward an ideal PAINTING PAT ADAMS, PHILIP WOFFORD architecture. History and the analysis of master works will be an adjunct This course will cover conceptual and perceptual aspects of the pictorial to the course, and drawing and model-making will be taught as needed. disciplines. . Each student will be expected to include one drawing class as part of Each student will be expected to include one drawing class as part of the studio work. the studio work. Open to all qualified students. Open to all qualified students.

CERAMICS STANLEY ROSEN DRAWING AS END AND MEANS PHILIP WOFFORD This course is concerned with fundamentals of the art of pottery ex­ Drawing explored as a statement in itself vis-a-vis a_ multiplicity of ploring the use of clay by various formative methods (potter's wheel, hand­ mark-making processes, and the "study" aspect of drawing as a form of building, etc.). The student will experiment with clays and glazes, uti­ compositional handwriting. . . . izing them to further the development of the form, and will also learn to Open primarily to painting students to replace one term of painting studio. stack and fire the kilns. Forms may be studied in terms of function and Fall term. its implications, and as direct creative experience. All students taking this course for the first time will attend a weekly SCULPTURE L. BROWER HATCHER, ROGER WILLIAMS, class on materials and techniques of ceramics. ISAAC WITKIN Each student will be expected to include one drawing class as part of This studio course is designed to explore the basic principles of sculp­ the studio work. ture. Projects will be set to examine the relation and _art~cula t ion. of Open to all qualified students. / forms, to investigate materials, and to stimulate a questioning and in­ quiring standpoint in the student's approach to sculpt~re. _The co~rse GRAPHIC ARTS RICHARD HAAS will also include life modeling and drawing. Instruction will be given Traditional techniques in cutting and printing from woodblocks and in such techniques as wood and stone carving, oxyacetylene and electric the processes associated with intaglio printmaking such as hard and soft welding, clay modeling, plaster casting and direct building-up in plaster, ground etching, aquatint, life-ground etching, and engraving are empha­ and wood construction. sized in this course. Demonstrations of methods and procedures, group Each student will be expected to include one drawing class as part of discussion and criticism of work in progress, and analyses of formal prob­ the studio work. lems are planned with a view to the making of original prints. Attention Open to all qualified students.

94 95 WORKSHOPS TUTORIALS

ART HISTORY WORKSHOP SIDNEY TILLIM COLOR TUTORIAL PAT ADAMS A conbined studio and art history course in which problems in nine­ Problems designed to establish the color properties of hue, value and teenth and twentieth century art will be explored in a studio context with saturation will be assigned. The effects upon color of such variables as with actual pictorial and sculptural assignments. The course will begin quantity, location, extension, surface will be observed. Analysis proceeds with present-day art and work back through the various modernist move­ to student's paintings; reference will be made to master colorists. ments to Romanticism. For art majors. A commitment for the entire year preferred. Prerequisite: Introduction to Studio Art. Open to art majors. Fall term. Prerequisite: Introduction to Studio Art or equivalent. GRAPHICS TUTORIAL RICHARD HAAS Fall term. LECTURE COURSES DRAWING OF REAL SPACE RICHARD HAAS PRINCIPLES OF QUALITY SIDNEY TILLIM A course to cover fundamental problems in drawing three-dimensional The course will undertake a chronological study of the major paintings space - including linear and atmospheric perspective, light and shadow and tendencies during the period 1200-1600. The course involves a sys­ in nature, drawing of architectural interiors and exteriors and unusual tematic approach to taste and style based on concepts of form, structure, vantage points in drawing. space, color, shape, etc., as they might contribute to a working definition Spring term. of "principles of quality." Prerequisite: Introduction to Studio Art or equivalent. Offered 1972-73. SCULPTURE TUTORIAL ROGER WILLIAMS Criticism and studio work for advanced students. Beginning ·students BAROQUE TO NEO-CLASSICISM SIDNEY TILLIM may enroll by permission of the instructor. Limited to eight students. A course dealing with 17th and 18th century painting (primarily) in Europe and America. Not a "survey," but study will proceed chrono­ logically from the Carracci and Caravaggio to David. Clarification of TUTORIAL IN REPRESENTATIONAL PAINTING SIDNEY TILLIM the visual-formal process and corresponding iconographical development will be analyzed in the context of relevant socio-historical imperatives. A studio tutorial for students interested in the problems of representa­ Prerequisite: Introduction to Studio Art or equivalent. tion as they are emerging against the background of avant garde art and Offered 1973-74. avant garde attitudes. In addition to work in their own studios, students

96 97 will work in class from models, motifs, or setups, or through other ap­ improvisational and compositional concepts as they relate to various forms proaches (from drawings, studies, memory, et cetera). Not a course in of 20th century music. pop art or its cognates. Evidence of drawing ability required; some ex­ Admission by permission of the instructor. perience in oil painting preferred, though not absolutely necessary. EARLY CHILDHOOD SALLY SUGARMAN LIFE DRAWING A D MODELLI G TUTORIAL ISAAC WITKIN This course concentrates on the first five years of life, examining ways Drawing and modelling are taught not as ends in themselves, but in­ in which children of different cultural, social and economic backgrounds tended rather to provide an objective means of probing volume and struc­ experience the various stages of development. Family and community r. ture in space. interaction will be studied and home visits, workshops and seminars with Open to art majors and prospective majors. the nursery school parents will be arranged. The nursery school serves Prerequisite: Introduction to Studio Art, or equivalent. as a laboratory where students are expected to take an active part in planning and executing special learning projects and experiments. Part 1· ' PAINTING TUTORIAL FOR SENIORS PHILIP WOFFORD of the student's laboratory time may be spent at other pre-school groups in the community. Individual and group criticism dealing with style, technique and con­ Open to second-, third- and fourth-year students. tent problems on an advanced level.

PHOTOGRAPHY NEIL L. RAPPAPORT INTERDIVISIONAL COURSES I. Basic photographic controls: exposure, development and printing examined in depth during first term; zone system during second term. STUDIES IN CONTEMPORARY BLACK MUSIC BILL DIXON Technique will be the major emphasis; black-and-white the major me­ This course will concern itself by lecture seminar, workshop and per­ dium. Beginners accepted; an adjustable camera the only requirement. formance with an exploration of areas of music made by Black people II. Advanced photographic controls; refinement of basic procedures. from the mid-1940's up to the present. There will be a bibliography and Zone system, artificial lighting, filters, archival processing and other a discography from which the students will work. topics will be discussed. Emphasis on the picture making process. Ex­ Open to all students, musicians and non-musicians. ploration of contemporary photography. III. Tutorials: individual projects with students who have completed ELEMENTS OF COMPOSITION AND CONTEMPORARY advanced controls course. IMPROVISATION FOR THE MUSICIAN BILL DIXON A group tutorial which will explore and analyze through the areas of Each of the above photography courses is a full-year course and no new enroll­ performance, available literature, scores, leadsheets and recordings both ments are accepted for the spring term.

98 99 Faculty Award in Poetry, 1962; National Institute of Arts and Letters Award in Poetry, 1965. Author: Wilderness Stair, 1955; The Enemy Joy: New and Selected Poems, 1964; Nowhere But Light, 1970. Translator: Selected Poems of Rafael Alberti, 1966; DENNIS R . AEBERSOLD CHEMISTRY Pablo Neruda, A New Decade (poems 1958-1967), 1969; and others. Drama, film, book reviews and poetry in The Virginia Quarterly Review, The Nation, The Southern B.A., Occidental College, 1967; Ph.D., Brown University, 1971. Instructor in Review, The New Yorker, etc. Bennington College, 1938-42; 1947-. Introductory Physical Chemistry, Brown University, 1969-71. National Institute of Health Predoctoral Fellowship, 1969-71; member of American Physical So­ ciety. Bennington College, 1971-. RICHARD C. BLAKE PSYCHOLOGY A.B., City College of New York, 1950; M .A., University of Michigan, 1952. Psy­ r. PAT ADAMS VISUAL ARTS chology intern, Veterans Administration Mental Hospital, Fort Custer, Battle B.A., University of California at Berkeley, 1949; Brooklyn Museum Art School. Creek, Mich., 1951-52; Veterans Administration Mental Hygiene Clinic, De­ Fulbright grant to France, 1956-57. One-man shows: Zabriskie Gallery, New troit, Mich., 1952-53; Teaching Fellow, Psychology Department, University of York, biennially 1954-72. Group shows: "41 ·Aquarellistes Americains d'Au­ Michigan, 1953-54; psychology intern, then assistant psychologist, Psychological jourd'hui," Museum of Modern Art Traveling Exhibitions; Stable Gallery; "The Clinic, Bureau of Human Adjustment, Ann Arbor, Mich., 1953-56; Visiting Lec­ Private Myth," Tanager Gallery; "Experiences in Art," Hirschi-Adler Galleries. turer in psychology, Williams College, 1962-64; Visiting fellow in psychology, American Federation of Arts exhibitions. "The New Landscape" (Kepes); Marlboro College, 1964-66. Dean of Studies, Bennington College, 1970-. Ben­ "Collage USA;" "Inform and Interpret" (Zabriskie); "Lyricism in Abstract Art" nington College, 1956-. (Ashton); "Color Forum" (University of Texas). Collections: Whitney Mu­ seum, Hirshorn Museum, University of California, and others. National Council HENRY BRANT Music for the Arts Award in Painting, 1968. Visitin!f Critic at Yale Art School, 1971. Studied at McGill University School of Music and Juilliard School of Music. Bennington College, 1964-. Taught at Columbia University, Juilliard School of Music, and University of British Columbia. Composer and conductor of music for radio, films, ballet, and FRANK SHERMAN BAKER Music theatre. Recipient of Loeb, Seligman, and Coolidge prizes. Guggenheim Fellow, B.Mus., Eastman School of Music, University of Rochester, 1933. Concert and 1946 and 1955; Prix Italia, 1955; American Academy of Arts and Letters Grant, radio appearances on leading networks, United States and Canada, 1935-50. 1955; Copley Award, 1962; Ditson Award, 1964. Pioneer in development of New York recital, 1948. Associate director, County Conservatory, Suffern, N.Y., spatial-antiphonal music. Performances, comm1ss10ns: leading American and 1950-53. Founder and director, Lyric Theatre of Rockland County, N.Y., 1950. European orchestras, choruses, networks. Bennington College, 1957-. Bennington College, 1955-. DONALD R. BROWN POLITICAL SCIENCE BEN BELITT LITERATURE B.A., University of Vermont, 1953; M.A. and Ph.D., Harvard, 1960. Assistant University of Virginia A.B., 1932; A.M., 1934. Assistant in English, University Professor of Government and Social Studies, Harvard, 1963-66; Executive Secre­ of Virginia, 1932-36. Assistant literary editor of The Nation for two years. Shelley tary, Committee on General Education at Harvard, 1961-66. Ph.D. Thesis, Memorial Award in recognition of achievement in poetry, 1936; Guggenheim Problems in Valuation and Description: M ethod in the Study of Politics. Acting Dean of Fellow, 1946; Bradshaw Fellow, University of Virginia, 1947; Oscar Blumenthal Studies, Bennington College, 1967-68. Dean of Faculty, Bennington College, Prize for poetry, 1956; Chicago Civic Arts Award, 1957; Brandeis Creative Arts 1970-; Acting President, Bennington College, 1971-72; Bennington College, 1966-.

100 101 LOUIS CALABRO RONALD L. COHEN PSYCHOLOGY Graduate study, Juilliard School of Music, 1948-53. First recipient, Richard B.A., University of Minnesota, 1966. At University of Michigan, Teaching Fel­ Rodgers Scholarship for Composition, 1952; Elizabeth A. Coolidge Award for low, Department of Sociology, 1967-68; Rackham Prize Fellow, 1968-69; Teach­ Chamber Music, 1952 and 1953; Guggenheim Fellow, 1954 and 1959; Phila­ ing Fellow, Departments of Sociology and Psychology, 1969-70; Teaching Fellow, delphia Art Alliance Commission, 1959; Ditson Award, 1961; Grant from Ver­ Department of Psychology, 1970-71; Candidate in Philosophy, 1971; Ph.D., 1972. mont Council of the Arts, 1971; Commission from Vermont Music Teachers Bennington College, 1971-. Association, 1972. Latest works include Environments for Amplified Clarinet and Brass, 1969; "Latitude 15.09°N", an oratorio, 1970; Triple Concerto for Three Celli and Orchestra, 1971; The Young Pianist's Concertino, 1972. Publications by Elkan ROBERT G. CORNWELL PHYSICS Vogel of Theodore Presser; Recordings by Century Recordings and by Com­ posers Recordings Inc. Bennington College 19 55- B.A., Haverford College, 1960; at Princeton University, M.A., 1962; Ph.D., 1965. Woodrow Wilson Fellowship, 1960-61; National Science Foundation Fellowships, 1961-64. Instructor, Princeton University, 1964-65; Assistant Professor, Middle­ bury College, 1965-67; University of South Carolina, summer 1967. Member: LOUIS CARINI PSYCHOLOGY American Physical Society, American Association of Physics Teachers, American Association for the Advancement of Science, Phi Beta Kappa, Sigma Xi. Co­ At Clark University, B.A., 1949; M.A., 1951; Ph.D., 1955. Instructor at Leices­ author of several articles and abstracts in scientific journals. Bennington Col­ ter Junior College, 1951-52; attached to Research Facility, Rockland State Hos­ pital, Orangeburg, N.Y., 1952-58; Research Associate, Columbia University De­ lege, 1967-. partment of Psychiatry, 1957-58. Contributor to scientific and scholarly journals. Member of the first Board of Trustees, The Prospect School, 1965-67. Benning­ ton College, 1958-. NICHOLAS F. DELBANCO LITERATURE A.B., Phi Beta Kappa, Harvard, 1963; M.A., Columbia University, 1966, under Woodrow Wilson Fellowship. Author: The Martlet's Tale, 1966; Grasse, 3/ 23/66, ALAN CHEUSE LITERATURE 1968; Consider Sappho Burning, 1969; News, 1970; In The Middle Distance, 1971. Bennington College, 1966-. B.A., Rutgers University, 1961; Graduate study, Rutgers University. Managing editor, Studies on the Left, 1965-66. Articles and book reviews in The Nation, Studies on the Left, The New York Times Book Review, Los Angeles Times. Co-editor: WILLIAM R. DIXON DANCE AND Music The Rarer Action, 1971. Bennington College 1970- Attended Boston University; graduated from Hartnett Conservatory, New York City. Artist in Residence, Ohio State University and George Washington Uni­ versity; Columbia Teachers' College, 1967-70; Visiting Professor of Music, Uni­ E. ROBERT COBURN CHEMISTRY versity of Wisconsin, 1971-72. Organizer of the United Nations Jazz Society; At Harvard University, B.S., 1938; M.A., 1939; Ph.D., 1941. Teaching fellow in founder of the Jazz Composers Guild for the performance of contemporary Ameri­ chemistry, Harvard University, 1939-41; Research Fellow in cancer and shock, can music; organizer of the "October Revolution," a concert series for new de­ 1941-42; Research Associate under the National Defense Research Committee, velopments in American music. RCA Victor Recording Artist. Co-Director of 1942-43. Bennington College, 1943- the Judith Dunn/ Bill Dixon Company. Bennington College, 1968-.

102 103 JUDITH DUNN DANCE JANE FORD is a 1972-73 sabbatical replacement for STANLEY RosEN. B.A., Brooklyn College; M.A., Sarah Lawrence. Artist in Residence, Ohio State University and George Washington University; Columbia Teachers College, CLAUDE FREDERICKS LITERATURE 1967-70. Former member of the Merce Cunningham Dance Company. Found­ Attended Harvard College. Author: verse play T he Idiot King and translation ing member of Judson Dance Theater in New York City. Co-Director of the of Pirandello's Tonight JI ·e Impro1:ise performed by T he Living Theatre; two plays, Judith Dun/Bill Dixon Company. Bennington College, i968-. On Circe's Island and A Summer Ghost, performed by the Artists Theatre. A Summer Ghost was published in Nm · American Plays, 1965. Founder-Director, The Banyan ALVIN FEINMAN LITERATURE Press. Bennington College, 1961-. 1. B.A., Brooklyn College, 1951; M.A., Yale University, 1953. Fulbright Fellow, ROBERT GLAUDINI DRAMA Germany, 1954-55. Taught at Yale, 1955-57; Brooklyn College, 1957-59; C. W. Post College, 1967-69. Author: Preambles and Other Poems, Oxford, 1964. Poems Active in Theatre Five, San Diego, and taught theatre workshop at University of in various anthologies. Bennington College, 1969-. California, 1964-69; Actor and director of Theatre Genesis and other off-Broad­ way theatres, film, television in New York, 1969-. Bennington College, 1971 -.

JAMES FESSENDEN is a 1972-73 sabbatical replacement for ANNE V. SCHLA­ JACOB GLICK Music BACH. Attended Peabody Conservatory and New School of Music of Philadelphia. Lec­ turer, Rutgers University, 1965-68. New York Recitals: 1961, 1964, 1965 and VIVIAN FINE Music 1968; Contemporary Chamber Ensemble, 1959-; Group for Contemporary Music, Manhattan School of Music, 1966-; Philadelphia Composers Forum, 1966- Studied composition with Ruth Crawford-Seeger and Roger Sessions; piano with 69; Contemporary Quartet, 1972-. Bennington College, 1969-. Djane Lavoie-Herz and Abby Whiteside. Taught at Juilliard School of Music; New York University; State University College at Potsdam, N.Y.; Connecticut LITERATURE AND LANGUAGES College School of Dance. Vice-president, American Composers Alliance, 1961- EDUARDO G. GONZALEZ 65. Publications: New Music Press, Lawson-Gould, Marks Music Corporation. B.A., University of South Florida, 1965; M.A., Indiana University, 1967. Teach­ Recordings: CRI, RCA Victor. Works include ballets for Graham and Humph­ ing Assistant and Preceptor of elementary courses, Indiana University, 1965-70; rey, chamber, choral, and orchestral music. Bennington College, 1964-. Instructor, Williams College, 1970-72. Articles and translations published m South American and North American reviews. Bennington College, 1972-.

EDWARD FLACCUS BIOLOGICAL SCIENCE GEORGES GUY LITERATURE AND LANGUAGES B.S., Haverford College, 1942; Civilian Public Service, 1942-46; American On Leave, 1972-73. Friends Service Committee foreign relief, 1946-47; M.S., University of New University of Montpellier; University of Lyon; Ecole des Sciences Politiques, Hampshire, 1952; Ph.D., Duke University, 1959. Taught at High Mowing Paris. Taught at Le College Cevenol, Putney School, Barnard College, Hunter School, 1948-50; Loomis School, 1951-55; University of Minnesota, Duluth, 1958- College. Literary editor, Editions de la Jeune Parque, Paris. Contributor to 69; Brookhaven National Laboratory and SUNY, Stony Brook, 1968-69. Ben­ Fontaine, L' Arche, La Nej, La Nouvelle Revue Francaise, etc. Editor, recordings for nington College, 1969-. Period, Caedmon, and Experiences Anonymes. Bennington College, 1962-.

104 105 RICHARD HAAS VISUAL ARTS 1967-68; Seminar in American Studies, Nice, France, 1961 and 1968. Author: The Passive Voice, 1966 and Democratic Humanism and American L iterature, 1972; B.S., University of Wisconsin-Milwaukee, 1961; M.F.A., University of Minne­ contributions to literary journals. Bennington College, 1949- sota, 1964. Taught at .the l!niversit~ of Minnesota, Michigan State University, th~ Walker Art Center m Mmneapohs. One-man shows include: University of Mmnesota Gallery, HCE Gallery in Provincetown, Bennington College, Sim­ ISABELLE KAPLAN LITERATURE AND LANGUAGES mons College, Hundred Acres Gallery in New York. Group shows include: On leave, 1972-73. Minneapolis Institute of the Arts, 1963; the Walker Art Center 1963· French & Licence es lettres, 1957; diplome etude superieure, 1959, Clermont-Ferrand Uni­ Co. Gallery, 1970; Katz Gallery, 1970; Max Hutchinson Galler~, 1970; Museum versity. C.A.P.E.S., University of Paris, 1961. Taught in the Lycee Clermont­ o_f Modern Art, 1970; and John Weber Gallery, 1971. Work included in collec­ Ferrand; the Lycee Dijon; the University of Durham, England. Bennington Col­ tion~ of the University of ~inn~sota, t~e Detroit Art Institute, the Minneapolis lege, 1963-. Ins~1tute ~f Arts, Yale University, Whitney Museum, San Francisco Museum, vanous pnvate collections. Bennington College, 1968-. KENNETH M. KENSINGER ANTHROPOLOGY STEVEN G. HARRIS PHILOSOPHY A.B., Wheaton College, 1953; M.A. University of Pennsylvania, 1964. Linguis­ tic and ethnographic research in Peru, 1955-59, 1960-63; instructor, Temple B.A., Columbia College, 1964; Graduate work at Columbia. Lecturer Long University, 1964-70; Visiting assistant professor, San Francisco State College; Island University, 1969; Visiting Lecturer, Princeton University, 1970.' Ben- nington College, 1970-. lecturer, Columbia University, 1970-71. Bennington College, 1971-.

DRAMA L. BROWER HATCHER V1SUAL ARTS RICHARD W. KERRY B.I.D. Pratt Institute, 1967. Attended St. Martins School of Art, London, 1967- B.F.A., Carnegie Institute of Technology, 1966; graduate work at Brandeis Uni­ 69. Taught sculpture at St. Martins, 1969-71. Exhibited at Galleriea d'ell versity, 1967. Designer, Charles Playhouse, Boston, 1967-69; Designer for NET Ariete, Milan, Italy, 1969. One-man show, Museum of Modern Art Oxford Playhouse, Off-Broadway, and NET series on WGBH Television "On Being University. Bennington College, 1972-. ' Black." Bennington College, 1969-.

ANTHROPOLOGY MARTIN HORWITZ RUSSIAN JOANNA KIRKPATRICK On leave and Sabbatical, 1972-73. B.A.,. Stanford Uni:rersity, 1958; M.A., Columbia University, 1961; doctoral candidate.' Columbia Uni.versity. US-USSR exchange program, Leningrad B.A., Stanford University, 1951; M.A., Yale University, 1954; Ph.D., University 1962-63; mstructor and assistant professor of Russian, Cornell 1963-70; Fellow at of California at Berkeley, 1970. Teaching assistant, U. C. Berkeley, 1961-62; lec­ YIVO Center for Advanced Jewish Studies 1970-71. Bennington College 1971-. turer, Syracuse University, 1965; University of California, Santa Cruz, Summer 1969; National Defense Foreign Language Fellow in Hindi, 1962-64 at U. C. Berkeley; National Institutes of Health trainee in Anthropology, 1966-67 at U. C. HAROLD KAPLAN LITERATURE Berkeley. Residences and field research in Pakistan and India. Bennington Col­ On leave, 1972-73. lege, 1967- At yniversity of Chic~go, A.B., 19?7; A.M., 1938. Taught at Rutgers Uni­ versity, 1946-49; Fulbnght lectureship, Italy, 1956-57, and France, 1960-61 and CLAUDE LABROSSE is a 1972-73 leave replacement for GEORGES GuY.

106 107 PETER LACKOWSKI LINGUISTICS BRUCE MIKEL LITERATURE AND LANGUAGES ~ .S ., Northweste~n University, 1959; M.A., 1963; Ph.D., University of Wash­ B.A., Wayne State University, 1959; M.A., Princeton University, 1963; Graduate mgto~, 19_64.; Ass1s.tant Professor, University of California at Los Angeles, 1964- study, Princeton University, 1959-62; Harold W. Dodds Fellowship. Graduate ?8; Lmgmstlc Institute 1966; Merriam-Webster, 1970; Publications in scholarly assistant, Princeton University, 1959-61; Exchange fellowship to Free University Journals. Bennington College, 1970-. of West Berlin, 1962-63; Instructor in German, Williams College, 1963-64; Brandeis U niversity, 1964-67. Assistant Dean of Studies, Bennington College, 1970-72. Bennington College, 1963-64; 1970-. ROGER LOFT VISUAL ARTS JACK D. MOORE DANCE B.F.A., Serigraphy, Tyler School of Art, 1968. Part-time instructor Pratt A.B., University of Iowa, 1949; Dance study with Hanya Holm, Martha Graham, Graphics Center, 1969; Part-time lecturer, Bennington College, 1970; Ins;ructor, Nina Fonaroff, Merce Cunningham, School of American Ballet, Doris Humphrey Tyler School of Art, 1971. Director, advisor and half-owner Chiron Press 1968- and Louis Horst. Taught at Neighborhood Playhouse School of the Theatre, 197~. Exhibited at: Tyl~r School of Art, 1968; Kornblee G~Ilery, N.Y.c.'. 1969; 1952-57; Juilliard School of Music, 1958-61. Danced with the following com­ Whitney Museum, oversized prints exhibition, 1971. N.E.T. background drops panies: Nina Fonaroff, Helen McGhee, Pearl Lang, Katherine Litz, Martha for Mozart's "The Abduction from the Seraglio," 1970. Bennington College 1972-. ' Graham, Jose Limon, Merce Cunningham, Anna Sokolow. Bennington Col­ lege, 1961-.

LIONEL NOWAK Music BERNARD MALAMUD LITERATURE B.Mus., 1933; M .Mus., 1936, Cleveland Institute of Music. Faculty of Fenn A.B., College of the City of New York, 1936; M .A., Columbia University, 1942. College, 1932-38; Musical Director, Humphrey-Weidman Dance Group, 1938-42; Author: The.Natural, 1952; The Assistant, 1957; The l)tfagic Barrel, 1958; A New Associate professor of piano and theory, Converse College, 1942-46; Professor of Life, 1961; Idiots Fzrst, 1963; The Fixer, 1966; Pictures of Fide/man, 1969; The Ten­ piano and composition, Syracuse University, 1946-48. Bennington College, 1948-. ants, 1971. National Book Award for Fiction, 1959 and 1967· Pulitzer Prize for Fiction, 1967. Member, National Institute of Arts and Letter~; American Acad­ MAURICE PACHMAN Music emy of Arts and Sciences. Bennington College, 1961- Attended Manhattan School of Music; recipient of N.Y. Philharmonic Scholar­ ship. Performances: New School Artist Choice Series; New England Wood­ wind Quintet; Chamber Arts Woodwind Ensemble; Trio Cantabile; soloist in BARBARA STEIN MALLOW Music United States and Europe; Stokowski's American Symphony and Symphony of B.M., Yale University School of Music, 1956; M.M., 1957. Studied cello with the Air. Staff member, Bennington Composers' Conference. Solo album, Golden Luigi Silva, Bernard Gr~enhouse, Zara Nelsova. In residence, Brooklyn College, Crest Records. Bennington College, 1970-. 1962-66; Faculty, Kneisel Hall Summer Chamber Music School 1964-68· LITERATURE AND LANGUAGES M annes College of Music, 1962-71; University of Maine Summer' Chamber' CAMILLE A. PAGLIA Mu~ic School, 1969-71. Founding member, Carnegie String Quartet, 1960-66. B.A., State University of New York at Binghamton, 1968; M.Phil., Yale Uni­ ReC1tals at Town Hall, 1968 and Alice Tully Hall, 1970, New York City. Ben­ versity, 1971; Ph.D. Yale University, 1972. Publications: "Loard Hervey and nington College, 1971- Pope," Eighteenth Century Studies. Bennington College, 1972-.

108 109 HARRY W. PEARSON ECONOMICS LEONARD ROWE POLITICAL SCIENCE A.B., Lawrence Col~ege, 1943;. M .A., Columbia University, 1950. At Aldelphi At University of California at Berkeley, A.B., 1951; M .A., 1952; Ph.D., 1957. College,_ Instructor m economics, 1950-55; Assistant professor and Chairman, Ford Foundation Fellow, 1960-62. Taught at University of California, Berkeley, econorrucs faculty, 1955-57. Co-editor and author with Karl Polanyi and Conrad 1957-60; Brown University, 1962-63; University of Michigan, 1963-64. Asso­ Arensberg, Trade and Market in the Early Empires, 1957. At Bennington, Dean, ciate Russian Research Center, Harvard University, 1960-63. Author: Pre­ 1961-63; Dean of Faculty, 1963-70; Acting President, 1964-65. Bennington Col­ lege, 1957-. Prim~ry Endorsements in California Politics, 1961; California Politics, 1959. Benning­ ton College, 1964-.

JEAN RAYNAUD is a 1972-73 leave replacement for ISABELLE KAPLAN. STEPHEN SANDY LITERATURE A.B., Yale University; A.M., Harvard University; Ph.D., Harvard University, 1963. Instructor, Harvard University, 1963-67; Fulbright Visiting Lecturer, R . ARNOLD RICKS HISTORY University of Tokyo, 1967-68; Visiting Assistant Professor, Brown University, A.~., Haverford College, 1948; M.A., Harvard University, 1954. American 1968-69. Author: Stresses in the Peacable Kingdom, 196 7; Japanese Room, 1969; Friends Se:vice Committee _abroad, 1948-50; Taught at Westtown School, Roofs, 1971. Bennington College, 1969-. Pennsy~vama, 1950-52; Teachmg fellow, Harvard University, 1955-59; instructor and assistant professor, Swarthmore College, 1959-63. Bennington College, 1964-. ANNE V. SCHLABACH PHILOSOPHY On leave, 1972-73. JOSEPHINE CARSON RIDER LITERATURE A.B., Ohio Wesleyan University, 1937; Ph.D., Uni~ersity of Wiscon~in, 1947. On leave, Fall 1972. Studied at Graduate Institute of International Relat10ns, Geneva, Switzerland, and Columbia University. Taught at University of Wisconsin, 1946-48. Editor, Attended University of Tulsa and UCLA. Has taught at San Francisco State revised edition of Muelder and Sears, The Development of American Philosophy, 1960. College, 1967-68; Happy Valley School, Ojai California, 1969-70. Author: Bennington College, 1948-. Drives My Green Age, 1957; First Man, Last Man, 1967; Silent Voices (non-fiction study ?f the Southern Negro woman), 1969; miscellaneous short stories in littl~ magazines. Awa_rds: Smith College, Wellesley College,. Lo~gy School ?f Music, STANLEY ROSEN Massachusetts Institute of Technology, Harvard Umvers1ty, and Middlebury On sabbatical, 1972-73. VISUAL ARTS College. Helped organize Pioneer Valley School and Symphony, Benning.ton Music Guild. Played with United States Military Academy Band, West Pomt; B.F.A., Rhode Island School of Design, 1954; M .F.A., Alfred University, 1956. Bennington College, 1960-. Albany Symphony; Springfield Symphony and Opera; Berkshire Symphony. Bennington College, 1945-. 110 111 WALLACE P. SCOTT HISTORY RICHARD G. TRISTMAN LITERATURE A.B., University of Missouri, 1942; M.A., Harvard University, 1943. U.S. On sabbatical, Fall, 1972. Army, 1943-46. Teaching fellow and tutor, Department of History, Harvard B.A., Columbia College, 1963; M.A., Columbia University, 1965; graduate study, University, 1947-48; Instructor and assistant professor of history, Amherst Col­ Columbia University. Preceptor in English and Comparative Literature, Colum­ lege, 1949-55. Dean of Studies, Bennington College, 1963-70. Bennington Col­ bia College, 1966-67. Bennington College, 1967-. lege, 1956-. REINHOUD H. VAN DER LINDE MATHEMATICS SHARON TOFFEY SHEPELA PSYCHOLOGY At New York University, B.A., 1953; M.A., 1956; Ph.D., Rensselaer Polytechnic At Pennsylvania State University, B.A., 1964; M.S., 1966; Ph.D., Cornell Uni­ Institute, 1968. Research assistant, Institute of Mathematical Science, New York versity, 1971. Teaching and research fellow, Pennsylvania State University, University, 1954-56; National Science Foundation Science Faculty Fellow, Rens­ 1964-65; Cornell University, 1965-69. Bennington College, 1970-. selaer Polytechnic Institute, 1966-67; Director, National Science Foundation Sum­ mer Science Program for high school students, 1971, 72. Member: Mathe­ BARBARA HERRNSTEIN SMITH LITERATURE matical Association of America, New York Academy of Sciences. Bennington At Brandeis University, B.A., 1954; M.A., 1955; Ph.D., 1965. Graduate assist­ College, 1956-. ant, teaching and research assistant, instructor, Brandeis University, 1959-62. Editor: Discussions of Shakespeare's Sonnets, 1963; new edition Shakespeare's Sonnets, RUSH WELTER AMERICAN CIVILIZATION 1969. Author: Poetic Closure and articles in various journals. Christian Gauss A.B., 1943; M .A., 1948; Ph.D., 1951 at Harvard University. United States Army, Award, 1968; Explicator Award, 1968; National Endowment for the Humanities 1943-46. Teaching fellow and tutor in history and literature, Harvard College, Fellowship, 1970-71. Bennington College, 1962-. 1950-51; Instructor in history, Swarthmore College, 1951-52; Member of the faculty of the University of Minnesota summer school, 1952. Staff associate, ROBERT B. STEPTO is a sabbatical replacement for HAROLD KAPLAN. American Council of Learned Societies, 1958-59. Fulbright lectureship, Uni­ versity of Manchester, 1964-65. Author: Problems of Scholarly Publication in the LEE ]. SUPOWIT MATHEMATICS Humanities and Social Sciences, 1959; Popular Education and Democratic Thought in On sabbatical, 1972-73. America, 1962; contributor to various scholarly journals. Chairman, Board of B.S., University of Arizona, 1963; M.A., University of Illinois, 1964; graduate Trustees, The Prospect School, 1967-70. Bennington College, 1952-. study and research assistant, Rensselaer Polytechnic Institute, 1964-67. Ben­ nington College, 1967-. ROGER WILLIAMS VISUAL ARTS B.A., Cornell University, 1966; graduate work in art, Hunter College, 1966-68. SIDNEY TILLIM VISUAL ARTS Assistant instructor, Cornell University, 1968. Andre Emmerich Gallery, group B.F.A., Syracuse Univ., 1950. Taught at Pratt Institute, Parsons School of De­ show, 1972. Bennington College, 1968-. sign, School of Visual Arts. Contributing Editor, Artforum Magazine. Lectures widely. One-man shows: Noah Goldowsky Gallery, 1969; Georgia State Col­ ISAAC WITKIN VISUAL ARTS lege, 1969; Robert Schoell~opfGallery, 1965, 1967; Cober Gallery, 1960 (all New Studied at St. Martin's School of Art, London, 1957-60. Assistant to Henry York). Group shows: Whitney Museum, Chicago Art Institute, Milwaukee Art Moore, 1961-64. Taught at Maidstone College of Art, Kent, 1963; St. Martin's Institute. Bennington College, 1966-. School of Art, 1963-65; Ravensbourne School of Art, Bromley, Kent, 1965. One-

112 113 man shows: Rowan Gallery, London, 1963; Robert Elkon Gallery, New York, JOHN F. WOHNUS BIOLOGICAL SCIENCE 1965, 67, 69, 71; Waddington Gallery, London, 1966, 68; Bridgeport University, Connecticut, 1970; Retrospective Show, University of Vermont, Burlington, At Williams College, B.A., 1935; M .A. , 1937; Ph.D., University of California at 1971. Group shows include: " The New Generation," Whitechapel Art Gallery, Los Angeles, 1941. Post-doctoral fellowship, Scripps Institute of Oceanography 1965; "Primary Structures," Jewish Museum, New York, 1965; Represented at La Jolla, . 1941-~3; U.S.N.R., (Oceanography Research Unit) 1943-46; Re­ Great Britain at the Paris Biennale, 1965; Open Air Sculpture at Sonsbeeck, Hol­ search Assoc:1ate ~Ith Dr. Roberts Rugh, Columbia University, 1957-58; Re­ land, 1966; "Nine English Sculptors" at Stedelijk Museum, Amsterdam and search Associate with Dr. Kurt Benirschke, Dartmouth Medical Center 1962-63. Kunsthalle Museum, Bern, 1967; "Highlights of the Season 1969-70," Larry Research Associate with Dr. Susumu Ohno, City of Hope Medical Cen'ter, 1968: Aldrich Museum, Ridgefield, Connecticut; "British Sculpture of the 60's," British 69 and NRT 1971-72; Staff Member, National Science Foundation-sponsored Arts Council Exhibition, London, 1970. Exhibition of Contemporary British ~ummer lnstitut~ for Biology Teachers, 1967, 68, 69. National Science Founda­ and American Artists, Boston Museum of Fine Arts, 1972. Represented in col­ tlon Summer Science Program for high school students, 1971, 72. Bennington College, 1946-. lections of the Fine Arts Museum of University of Sydney, Australia; Tate Gal­ lery, London; Storm King Art Center, New York, and others. Bennington Col­ lege, 1965-. DAVID WOLFE LITERATURE ~t Univers!ty o! Toronto, B.A., 1967; M.A., 1968; Ph.D., 1972. Teaching As­ JOSEF WITTMAN DIRECTOR OF Music FOR DANCE sistant, Umvers1ty of Toronto, 1967-72; York University, 1968-69. Bennington Diploma, Philadelphia Musical Academy. Piano faculty, Philadelphia Musical College, 1972-. Academy, 1950-58. On the musical staff of the dance departments of Julliard School of Music, Long Beach Summer School of the Dance. Guest artist at Con­ necticut College Summer School of Dance; Ohio State University; U.C.L.A.; TEACHING ASSOCIATES Composers Symposium. Composer of dance scores for Jose Limon,. Ruth Cur­ rier and Martha Wittman. Bennington College, 1959-. MARIANNE W. FINCKEL Music MARTHA WITTMAN DANCE A:B., Bennington College, 1944; studied at Dalcroze School of Music New York Diploma, Juilliard School of Music. Faculty member of Dance Department at City. Taught. French in Bennington public schools, 1959-60; facul~y member, National Music Camp, lnterlochen, Michigan; Connecticut College School of ~ockland Lyne Theatre, summers 1961 and 1962. Voice accompanist, Ben­ Dance; Long Beach Summer School of Dance. Member following dance com­ nmgton College, 1961-66. Member of Vermont Symphony Orchestra on dou­ panies: Philadelphia Dance Theatre, Juilliard Dance Theatre, Ruth Currier, ble bass. Bennington College, 1968-. Joseph Gifford, Anne Sokolow. Bennington College, 1959-. MICHAEL FINCKEL Music PHILIP WOFFORD VISUAL ARTS Attended

114 115 SOPHIA HEALY VISUAL ARTS ADMINISTRATION B.A., Middlebury College, 1961; B.F.A., Yale University, 1962; M.F.A., Ben­ President: GAIL THAIN PARKER nington College, 1965. One man shows: Bennington College, 1965, 1970; New Vice President: THOMAS PARKER England College, New Hampshire, 1970, 1971. Group show: Vista, 1968. Represented in Yale Art School Print Collection. Bennington College, 1968-. Dean of Faculty: DONALD R. BROWN Dean of Studies: RICHARD C. BLAKE Director of Admissions: JEAN ALDRICH (MRS. DAVID B.) PHYLLIS PEARSON Music Director of Alumni Services: CATHERINE CUMPSTON (MRS. EDWARD) Music major, Bennington College, 1957-60. B.S., Sociology, School of General Director of Business and Finance: ROBERT F. KoLKEBECK Studies Columbia University, 1964. Worked with Otto Luening and Vladimir Assistant Director of Development: MRS. EMILY L. McGREGOR Ussachezsky, Electronic Music Center, Columbia University, 1958-59; Music Director of Health Services: DOROTHY M. HAGER, M.D. (MRS. OLIVER DURAND) Programmer, WBAI Radio, NYC, 1959-60; Programming and Public Relations, Director of Student Services: REBECCA STICKNEY WMCA Radio, NYC, 1960-61. Instructor of Music and Math, Columbia Uni­ Librarian: ROBERT M. AGARD versity Tutoring Agency, 1961-63; Instructor of Music and Math, Barlow School, Secretary of the College: MRS. MARGARET P. DowLING 1963-65. Tympanist, Vermont State Symphony Orchestra, 1969-. Bennington College, 1969-. THE BOARD OF TRUSTEES NEILL. RAPPAPORT PHOTOGRAPHY MRS. RICHARDS. EMMET, New York City, Chairman B.A., Williams College, 1965. Photographer, Bennington College Poverty survey, MR. JosEPH F. LORD, New York City, Vice Chairman 1966; Deputy Director, Bennington-Rutland Opportunity Council, 1967-68; MRS. MATTHEW A. MEYER, New York City, Vice Chairman Free-lance photographer, 1968-. Bennington College, 1970-. MRS. JOHN W. NrnLDS, New York City, Secretary MR. FAIRLEIGH S. DICKINSON, JR., Ridgewood, N.J., Treasurer SALLY SUGARMAN NURSERY SCHOOL MRS. RALPH S. BROWN, JR., Guilford ,Connecticut MR. FREDERICK H. BURKHARDT, New York City B.A., New York University, 1951; M .S., Bank Street College of Education, 1957. MR. LISLE C. CARTER, Ithaca, New York Queensview Cooperative Nursery School, 1955; Director, Westport Cooperative Miss JUDITH D1MA10, Chicago, Illinois Nursery School, 1955-58; Polly Miller Day Care Center, summer 1957; Bank MR. RALPH ELLISON, New York City Street School for Children, 1958-61; Bank Street College of Education, 1958-62; MR. ALLAN D. EMIL, New York City Cazenovia College, 1963-64; Head Start Orientation Program, summers 1965, Miss HELEN FRANKENTHALER, New York City 1967; Syracuse Pre-School Program, 1967-68; Head Start Consultant, 1970-71; MR. WILLIAM T. GOLDEN, New York City Vermont Community College, 1971. Bennington College, 1970-. MR. RoBERT GUTMAN, Princeton, New Jersey MRS. EDWARD HAMBLETON, New York City MR. THOMAS P. F. HovING, New York City MR. JoSEPH S. lsEMAN, New York City MRS. ANDREW J. KARP, Brooklyn Heights, New York MRS. WILLARD H. KELAND, Racine, Wisconsin Miss SusAN KuNSTLER, Brooklyn Heights, New York

116 117 MR. FRANKLIN LINDSAY, Lincoln, Massachusetts Cooke, *Mr. John]. Coss, *Hon. Joseph Cotton, *Mr. Willard H. Cummings, MR. DAVID MALAMUT, Union, New Jersey *Mr. Stephen R . Currier, Mr. Deane C. Davis, Mrs. Robert Davis, *Mr. James MRS. ALBERT W. MERCK, Mendham, New Jersey S. Dennis, Mrs. Marshall E. Dimock, Mrs. D'Arcy Edmondson, Mr. Charles DR. ROBERTS. MORISON, Ithaca, New York Dollard, *Mr. Francis Huyck Eldridge, Mrs. Lawrence Feuer, *Mrs. Dorothy MRS. ARCHIBALD R. MURRAY, New York City Canfield Fisher, Mr. Franklin L. Ford, Miss Karen Franck, Mr. WilliamB. Franke, MRS. RoBERT C. RoHDIE, Upper Montclair, New Jersey *Mrs. George S. Franklin, *Mr. John M. Gaus, Mrs. Charles Gaylord, Mr. Leo MRS. ALBERT M. SHELDON, JR., Wayzata, Minnesota Gottlieb, Mr. William C. Greenough, *Mrs. John W . B. Hadley, *Mr. Charles MR. FREDERICK P. SMITH, Burlington, Vermont H. Hall, Mr. Wallace K. Harrison, Mrs. Edward H. Harte, Mr. Caryl P. Has­ MR. ARTHUR H. THORNHILL, JR., Wellesley Hills, Massachusetts kins, *Hon. Robert E. Healy, Mr. Andrew Heiskell, *Mrs. Arthur J. Holden, Miss SALLY WELLS WHITELEY, San Francisco, California *Judge E. H . Holden, Mr. Carleton G. Howe, *Mrs. Mary Howe, *Hon. Mor­ ton D. Hull, *Mr. Edmund N . Huyck, *Mrs. Percy Jackson, Mr. Devereux C. Josephs, *Mr. Nicholas Kelley, *Dr. William H. Kilpatrick, Miss Margaret Lar­ FORMER PRESIDENTS son, Mr. Maurice Lazarus, Mrs. Henry Goddard Leach, *Mrs. Samuel A. Lewi­ sohn, *Mr. and *Mrs. Hall Park McCullough, Mr. John C. McCullough, Mrs. *Robert Devore Leigh, 1928-41. Ewen MacVeagh, Mrs. Barnett Malbin, Mrs. Stanley C. Mortimer, Mrs. John Lewis Webster Jones, 1941-47. R. Muma, *Mr. Vernon Munroe, Mr.Jerome A. Newman, Mr. Fred Olsen, *Mr. Frederick Burkhardt, 1947-57. Arthur W. Page, *Hon. Frances Perkins, *Mrs. Ernest C. Poole, Mrs. J. W. *William C. Fels, 1957-64. Fuller Potter, Jr., *Mr. Wilson M. Powell, Mr. Philip Price, Mr. Oscar M . Reub­ Edward]. Bloustein, 1965-1971. hausen, *Dr. Lucretius H. Ross, Mrs. George R. Rowland, Mrs. Henry Salton­ stall, Mrs. Maurice B. Saul, Mrs. Frank M. Sawtell, *Mrs. Morton A. Schiffer, *Mr. Victor Schoepperle, Mr. James S. Schoff, Mr. John S. Sinclair, *Mr. Levi FORMER TRUSTEES P. Smith, *Mr. Charles E. Spencer, Jr., Mr. Shepard Stone, Mrs. Oliver G. The plan for the establishment of Bennington College had its inception in the Stonington, *Mrs. Joseph R. Swan, Mr. David Tishman, Mrs. W . Julian Under­ summer of 1923 at Old Bennington, Vermont. A charter was secured and a wood, Mrs. Irving Warner, Mrs. E. Sohier Welch, Jr., Dr. John H . Williams, board of trustees was formed in a subsequent meeting in New York during 1924. *Mrs. William H . Wills, Mrs. Kenneth Wilson, and *Mrs. Clarence M . Woolley. In 1928 the trustees appointed Robert Devore Leigh the first president, and the following year architectural plans for the college were completed. The College *Deceased opened its doors to a pioneer class of 87 girls in September of 1932. Since 1924 the following have served as trustees of the College: *Mr. Frederick Lewis Allen, Mr. F. William Andres, Mrs. Robert Ascher, *Hon. Arthur A. Ballantine, Mr. C. L. Barber, *Hon. Orion M. Barber, Mr. Jacques Barzun, *Dr. Vincent Ravi Booth, Mr. Amory Bradford, *Mr. Lindsay Bradford, *Mrs. J. Gardner Bradley, *Mr. Otis T. Bradley, Mr. Robert R. R. Brooks, *Chancellor Samuel P. Capen, *Mr. James C. Colgate, Mrs.]. Negley

*Deceased

118 119 ALUMNI ASSOCIATION ALUMNI INTERVIEWERS The jollowing alumni have been appointed by the College to direct applicants unable to OFFICERS visit the campus to official alumni interviewers near their homes. Barbara Goldberg Rohdie, 1963 (Mrs. Robert), President ALABAMA Seena Israel Fish, 1952 (Mrs. Charles), Vice-President Mrs. George M. Lamb, 1201 Forestdale, Mobile, 36618; 205-344-0030 Wilhelmina Eaton, 1950, Secretary ALASKA Elizabeth Larsen Lauer, 1953 (Mrs. Louis), Treasurer Mrs. Joseph Rudd, 2827 Lorre Rd., Anchorage, 99502; 907-344-2623 ARIZONA REGIONAL CHAIRMEN Mrs. George L. Rosenberg, 1807 N. Norton, Tucson, 85719 r. CALIFORNIA (Northern - San Francisco area) Jane Wellington Merrill, 1940 (Mrs. Roger), Boston Mrs. Joseph E. Lifschutz, 1145 Vallecito Ct., Lafayette, 94549; 415-284-7424 Patricia Groner Dubin, 1961 (Mrs. Robert) and Miss Sally W. Whiteley, 1132 Greenwich, San Francisco, 94109; 415-771-2120 Ellen Beskind Smart, 1966 (Mrs. Raymond), Chicago CALIFORNIA (Southern - Los Angeles area) Marilyn Lord Dux, 1948 (Mrs. Dieter), Cincinnati Mrs. Hugh H. Wilson, Jr., 2045 Ashbourne Dr., S. Pasadena, 91030; 213-799- Marjorie Handwerk Duncan, 1943 (Mrs. B. W.), Cleveland 7261 Nancy Markey Chase, 1961 (Mrs. Jonathan), Colorado COLORADO Cynthia Sheldon Steibolt, 1956 (Mrs. Richard S.) and Mrs. Charles Gaylord, 410 Marion St., Denver, 80218; 303-722-3474 Sara Smith Norris, 1944 (Mrs. Edward, III), Hartford CONNECTICUT Jane Thornton Iselin, 1956 (Mrs. Charles), Long Island Mrs. Ramon T. Smith, Indian Hill Rd., Canton, 06019: 203-693-8549 Tama Alcott Taub, 1959 (Mrs. Robert) and DISTRICT OF COLUMBIA Roberta Ross Moore, 1965 (Mrs. Roberta), Los Angeles Mrs. Marshall Hornblower, 4800 U St., N.W., Washington, D.C. 20007; 202- Constance Payson Pike, 1947 (Mrs. William) New Haven 337-2229 Sophie Ruderman Weber, 1952 (Mrs. Joseph), New Jersey Shore FLORIDA Sonya Rudikoff Gutman, 1948 (Mrs. Robert), New Jersey Central Mrs. Burt DeWitt, 10200 S.W. 62nd Ave., Miami, 33156; 305-661-3044 Margaret Larsen, 1944, Metropolitan New York GEORGIA Audree Rosenthal Reichblum, 1956 (Mrs. Charles), and Mrs. James N. Wood, Jr., 1031 Springdale Rd., Atlanta, 30306; 404-378-5186 Holly Long Schefler, 1965 (Mrs. Oscar), Pittsburgh HAWAII Wanda Peck Spreen, 1954 (Mrs. Kenneth), Providence Mrs. Peter C. Lewis, 3929 Old Pali Rd., Honolulu, 96817; 808-595-3351 Margot Graham Fass, 1962, Rochester . ILLINOIS Jean Woodward Salladin, 1955 (Mrs. Jean) San Francisco Mrs. John R. Hoppe, 500 Fairview Ave., Mt. Prospect, 60056; 312-253-7504 June Wineburgh Baker, 1953 (Mrs. Saul), Texas INDIANA Ann Agry Darling, 1940 (Mrs. James) and Mrs. Jared R. Carter, 219 E. 81 St., Indianapolis, 46205; 317-283-1693 Gretchen Van Tassel Shaw, 1939 (Mrs. David), Washington, D.C. KANSAS Mrs. Robert E. Mallonee, 243 Post Oak Rd., Wichita, 67206; 316-682-1807 KENTUCKY Miss Jane Allen, Glenview, 40025; 502-451-6535

120 121 LOUISIANA OHIO Mrs. Marcel Livaudais, Jr., 420 Walnut St., New Orleans, 70118; 504-861-9732 Mrs. Dieter Dux, 3945 N. Cliff Ln., Cincinnati, 45220; 513-221-2270 MAINE Mrs. Donald E. Magai, 3840 Kirkwood Rd., Cleveland Hts., 44121; 216-381- Mrs. James D. Harvie, R.F.D. #2, Brunswick, 04011 4576 MARYLAND OKLAHOMA Mrs. Bertram Pitt, 2305 South Rd., Baltimore, 21209; 301-664-3120 Mrs. Hays R . Yandell, 2610 E. 38th St., Tulsa, 74105; 918-747-5686 MASSACHUSETTS OREGON Mrs. Derek E. Till, 61 Lexington Rd., Concord, 01742; 617-369-3195 Mrs. Jack Radow, 920 S.W. Atwater Rd., Lake Oswego, 97034; 503-636-6551 MICHIGAN PENNSYLVANIA Mrs. Eliot F. Robinson, 572 Linden Rd., Birmingham, 48009; 313-644-3136 Mrs. Hugh Weedon, 311 Edgehill Rd., Wayne, 19037; 215-687-3498 MINNESOTA RHODE ISLAND Mrs. James K. Wittenberg, 2305 Oliver Ave. So., Minneapolis, 55408; 612-377- Mrs. James H. Barnett, 166 Cushing St., Providence, 02906; 401-272-7718 4229 ' TEXAS MISSOURI Mrs. Saul P. Baker, 10840 Strait Ln., Dallas, 75229; 214-368-3840 Mrs. Ruth Olson, 4545 Lindell, St. Louis, 63108 Mrs. Edward H. Harte, 222 Ohio Ave., Corpus Christi, 78404; 512-883-7815 MONTANA VIRGINIA Mrs. Eldan Smith, 2311 Highland Ct., Bozeman, 59715; 406-586-5129 Mrs. Robert Munger, Rte. 3, Lexington, 24450 NEVADA WASHINGTON Mrs. George Wheelwright III, Box 320, Reno, 89504 Mrs. BudJ. Burnett, 3717 E. Prospect St., Seattle, 98102; 206-322-1632 NEW HAMPSHIRE WISCONSIN Mrs. Gillian Burch, Old Milford Rd., Brookline, 03033; 603-673-6500 Mrs. Willard Keland, 1425 Valley View Dr., Racine, 53405; 414-632-9788 FOREIGN NEW JERSEY Mrs. Robert C. Rohdie, 670 Ridgewood Ave., Upper Montclair, 07043; 201- Mrs. William H . Edgar, 24 Ave. Nestor-Plissart, 1040 Brussels, Belgium; 36-76-98 744-2099 Mrs. Hiroshi Ono, R .R . #2, King City, Ontario, Canada Mrs. John M. Chadwick, 8 Upper Phillimore Gardens, London W8, England NEW MEXICO Mrs. Nicholas Herpin, 6 Rue des Marronniers, Paris 16, France Mrs. Paul C. Frank, Rte. 4, Box 41, Santa Fe, 87501; 505-982-5943 Mrs. John B. Wickman, 9A Bowen Rd., Hong Kong, BCC; 248236 NEW YORK Miss Laurie Freedman, Batsheva Dance Co., 9 Sderot Hahaskala, Tel-Aviv, Bennington College New York Office, 26 W. 56th St., New York City, 10019; Israel 212-246-4357 Miss Katherine Holabird, 33 Via de! Moro, Rome, Italy 00153 UPSTATE NEW YORK Mrs. Carlos A. Lopez-Lay, GPO Box 3036, San Juan, Puerto Rico 00936 Mrs. Howland Auchincloss, Jr., 931 Comstock Ave., Syracuse, 13210; 315-478- 1425 Mrs. William Vick, 2358 Baird Rd., Penfield, 14526 NORTH CAROLINA Mrs. J. Rodney Meyer, 8-A Wake Forest Apts., Winston-Salem, 27006; 919- 724-6213

122 123 COLLEGE CALENDAR 1972-73 Spring Term The College year is divided into three terms: two resident terms of fourteen weeks in fall and spring, and a non-resident term of nine weeks in mid-winter. Monday 5 March New students arrive Tuesday 6 March New students' appointments with counselors, 9:00 a.m.-12:30 p.m. Fall Term Counseling and registration for re-entering students (those away at least one term), 2:00-5:00 p.m. Thursday 7 September New students arrive Wednesday 7 March Registration for new students, 9:00 a.m.-12:30 p.m. Friday 8 September New students' appointments with counselors, Registration for returning students (those at Ben­ 9:00 a.m.-12:30 p .m. nington last term), 2:00-4:00 p.m. Counseling and registration for re-entering students (those away at least one term), 2:00-5:00 p.m. Thursday 8 March Classes begin, 8:30 a.m. Saturday 9 September Registration for new students, 9:00 a.m.-12:30 p.m. Wednesday 25 April Long Weekend begins, 1 :00 p.m. Registration for returning students (those at Ben­ nington last term), 2:00-4:00 p.m. Monday 30 April Classes resume, 8:30 a.m. Monday 11 September Classes begin, 8:30 a.m. Wednesday 15 June Classes end, 1 :00 p.m. Friday 27 October Long Weekend begins, 1 :00 p.m. Saturday 16 June Commencement Wednesday November Classes resume, 8 :30 a.m. Monday 10 September Classes begin for 1973-74 academic year Thursday 23 November Thanksgiving vacation begins, 8:30 a.m.

Monday 27 November Classes resume, 8:30 a.m.

Friday 15 December Last day of classes, all student work due

Non-Resident Term

Tuesday, January 2 through Friday, March 2

124 125 ...... ,

SARAH GARFIELD Non-profit Organization U.S. POSTAGE Permit No. 4 BENNINGTON, VT. er CD ::::s ::::s . -·::::s (C r+ 0 ::::s n 0 -CD (JQ ...CD er CD ::::s ::::s -·::::s (C r+ 0 ...::::s

bennington college Quadrille fall, 1972 quadrille fall, 1972 vol. 7 no·. -1 bennington college

Recollections on Recollecting Recollections Interview with John McCullough -4- Notes From The Year One By Thomas Brockway -7- Where Fancy Led By Catharine Osgood Foster - 11 - The College Farm By Robert Woodworth - 15- Footnote To The History Of An Art By Mary Jo Shelly - 19- Sit Down and Play With Us! Now Improvise With Us! Interview with Lionel Nowak, George Finckel and Orrea Pernel -24- Arch Lauterer: A Science of Radiances editor's note: By Ben Belitt -29- A~most since the first class entered Bennington 40 years ago, a myth The Idea of a Theater 1935-1942 has persisted that current students just missed the Golden Age. Helen Frankenthaler calls it a loaded question, but says that there certainly have By Francis Fergusson been ~oments wh.en "the community of the College could be open and -33- susceptible to all kinds of attitudes, strains, potentials, anxieties, experiments . . . and that was very healthy, very lively and exciting." There is no debate Sometimes All the Magic Ends Converge. wit~ .the voices in this issue of QUADRILLE who speak of their own especially exciting .mo~ents. But Lucien Hanks brings a point of view that, in a way, Interview with Helen Frankenthaler summarizes 1t all when he says, "Now we can tell those who dreamed of a -37- better day at Bennington that they missed no age more golden for each year groaned with its own short-comings which helped give birth to a new era." Thus We Approximate Natural Succession By Lucien Hanks -41- EDITOR: Alan Jon Fortney Notes Fom Commons - 45; Galleys - 46; Events - 48; People - 50; MANAGING EDITOR: Stephanie Louise Johnson ALUMNI EDITOR: Catherine Cumpston, Alumni Director Faculty Notes - 50; Guest Speakers - 51; Alumni Association News - 52; Alumni Class Notes - 54. QUADRl~LE is _Published four times a year by the Development Office of Bennington Coll.ege. It 1s .designed to reflect the views and opinions of students, faculty, adminis· Quadrille I trat1on, alumni, trustees, parents of students, and friends of the College. The e.ditors of QUADRILLE invite articles, statements, opinions and comment, letters to the editor, photographs, graphics, and reviews from members of all the constituencies. Bil Ray, LIFE

This seems like a good place to speculate about the uses of local history, although it's hard to be entirely philosophical. For us, coming to Bennington has been a little like marrying someone who was happily married before. We want to know about the past, we NEED to know about it. But sometimes it's hard not to feel the sting of implicit comparison. This is of course our own paranoia. Those with the longest and warmest Bennington memories are clearly committed to the future. In our own reading of the College's history, the last decade seems to have been one of steady growth. The new science facilities, expanded faculty and student body, have made it possible to feel that Bennington is a first-rate liberal arts college. Yet this isn't enough. As our chroniclers tell us, the place has often seemed unique. And it is this uniqueness as a school where the arts are accorded full academic status along with the humanities and natural sciences that we hope will be reaffirmed in the next decade, a decade marked at the outset by a major commitment to a Visual and Performing Arts Center. In themselves buildings cannot make things happen. But, we are convinced, after only a few months in Vermont, that the members of the College community are ready to make history (and generate anecdotes) worthy of Bennington's first 40 years.

Gail Parker Thomas Parker

Quadrille 3 Recollections On Recollecting Recollections

Really in a sense, these are my recollections as dates and latin declensions. She read a book by recollected in the " Recollections" of my family. They Edward Yeoman's called SHACKLED YOUTH which set it down and once that's done, it pretty much stirred her. Then her sister introduced her to the drives out any other impressions that might have New York Education Commissioner Graves who sent come along. her to Dr. William Kirkpatrick. Then and there Ravi­ QUADRILLE: What sort of man was Vincent Ravi­ Booth lost out on most of his hoped-for congregation Booth? and the College "scheme" became progressive. McCULLOUGH: Ravi-Booth himself was something QUADRILLE: Did the town of Bennington provide -:,f a bizarre combination for those days, being half any support for the "scheme?" kotch and half Italian. He was somewhat of a McCULLOUGH: The town as a community, it ;c;holar on his own, a Dante specialist with a very developed, really had very little to do with Ben­ eloquent mind which was connected in no particular nington College's formation. The pledges that Ravi­ order of intellectual consistency. I suppose Booth got from the townspeople all fell apart and the "Recollections" was a little discreet, but in the local community itself, were the way they are now­ beginning, I think, the motivation for his wanting to whatever that is. A few think the College is the start a college here was that the Reverend Vincent great~st thing on earth and the rest are sort of in­ Ravi-Booth did not find a very interesting different to it. There's usually a more forceful anti­ congregation in Old Bennington and believed if he reaction in most college communities than there is had a finishing school for girls here, it would be a here. I've always felt that Bennington had a rather source not only of more congregation, but certainly a good in-town relationship because there is not much more attractive one. of it. He began with a committee of 21 of the ladies of ROBERT D. LEIGH his congregation. My mother was included, because he had hopes of potential money. Quite by accident Leigh as our first president had a very un­ she was made chairman of the committee. She was threatened and creative forward-looking feeling all concerned about my education and that of my about him and he communicated that to his faculty sisters. Her own education had been but little. She and the faculty worked in those terms. Mrs. Leigh had spent her youth with a couple of aunts and her may have been a very creative element, too. She mother. Because her father had died of TB, instead of was a very forthright, and a very sure-of-her­ schooling they took her to Europe for a couple of opinions sort of gal. Once when Arthur Page was years. She spent a good deal of time in Florence - Chairman of the Board of Trustees, he turned to my Massacio and stuff like that - and Dresden where father during one meeting of the Board and said, " I casts, trained by Wagner (a little antiquated). were hate to feel that we do all this work and ~ake all still singing. Her only real education was a year at these decisions only to have them taken home to a Miss Spense's School. To the end of her days, she higher authority." That was Mrs. Leigh, alright. was awed by "educated" people and by education in One thing she initiated, for instance, was Ben­ general, yet here were we at the "best" schools nington College's unique "athletic" program. The being stuffed like Strasbourg geese with names and wh'ole College was without one because a gym cost like old scratch. Mrs. Leigh had run across a little JOHN McCULLOUGH a former Trustee of Bennington known dancer - Martha Graham by name - who College, is the son of Edith and Hall Park McCullough was virtually unknown except to people who dan­ who were instrumental in founding the College. On ced. Since there weren't even many of them, in those the twenty-fifth anniversary of the opening of days, her slice of cultural attention was mil'\scule. Bennington College, we prevailed upon the Mc­ Presumably, Mrs. Leigh pondered, "Well, why not Culloughs to allow us to publish their "Recollec­ have the exercise classes be an art form." Which is tions." Now, in Bennington 's fortieth year, we have what set Bennington into the whole dance orien­ prevailed on John to recollect his recollections of tation. I think it was more Mrs. Leigh's idea than "Recollections." anyone elses. 4 Quadrille Quadrille 5 blow a fuse in understanding somebody. He had LEWIS WEBSTER JONES so it wasn't conceived of as a presidential house. But EDWARD J. BLOUSTEIN tremendous breadth and humor and in­ When Leigh resigned, it came rather unexpectedly when he became president, he used it and when he Ed Bloustein had a lot of courage in many areas. tellectual inquiry. And he always looked the part, he so the Jones transition was a hard one. Even though left the College he sold it to the College so the For instance, he brought up things to the Trustees always had on an academic robe, so to speak. And Leigh had been planning all along only to spend only presidents of Bennington have been saddled with it that had not been discussed before, such as the he was an expressive advocate of ideas. so many years as president, the actualization of his ever since. abortion rate at the College, and drugs. He raised SCIENCE AT BENNINGTON theory to limit a president's term surprised some. FREDERICK BURKHARDT problems concerning the private sectors of the His great push was to build the science building. Jones entered in the w ar years which were rather I wasn't a Trustee when Fred was asked to College which were substantive to its public image. With only five science teachers, enough to cover hard ones to deal with. He wanted to try to broaden become president, but I was among the first to know He took responsibility with the Trustees instead of each of the fields, he felt Bennington was never the town-gown relationship and he got quite far in the answer because I happened to drive Mrs. for them. going to attract the gal who wanted to major in theorizing on this. This was while I was in the army, Franklin and Puff Mortimer, I think it was, to New Perhaps the most important periods of the College science and that the art-minded girl who might, with so I only have hearsay. Instead of enlarging the York City at a sort of midnightish hour. We stopped have not been during the presidencies of any of the a little push, be exposed to science could not campus, he and some local merchants, spearheaded at every available telephone to call Madison, Wis. to above, but during acting-presidencies (Harold Gray, properly get it here. He felt strongly that any by Charles Feinberg, formed Community, Inc., to see if he was going to accept the presidency. If he lewis Jones, Thomas Brockway, Harry Pearson and education in this day and age without science was a Donald Brown). An acting-president really hasn't any bad thing. mandate to be creative, but he sure can (and these Hattie Fels once overheard a Bennington student did) consolidate things and clean up the leftovers. who was showing her M.l.T. boy friend around the QUADRILLE: From your vantage point, what are Barn. When she came to the west wing, w!iere there the problems you see the College facing now? were a few bunsen burners and left over pfants McCULLOUGH: I am glad to say I don't know. scattered around, and she said proudly," ...and here is where we do science. Do you study science at QUADRILLE: Anything else you want to add? M.l.T. ?"Supposedly this apocryphal story got back to McCULLOUGH : Well, since we've invented the Bill Fels and maybe that was what conditioned him to reasons behind the dance, the president's house and feel that no education today was complete without the Science Building, I think I've done as much for the study of science. you as imagination can. 0 Notes from the Year One by Thomas Brockway

The opening of Bennington College 40 years ago earn a degree painting or dancing or blowing a horn; "We never danced on the grass. Never, never/" could not compete for headlines with the race that no one would take attendance or give "Oh, you know we did. But only for photographers." between President Hoover and Governor Roosevelt examinations; there would be no curfew or or Hitler's march to power or signs that the housemothers; and the young ladies could come and build an arts facility in the town w hose use would be depression was waxing or waning. Still the BEN­ go as they chose and, as in Rabelais' ABBEY OF didn't , the lord knows who would have run the shared by the town and the College. Come to think of NINGTON BANNER treated the opening as if it THELEME, do what was pleasing. place. What he accepted was the facing of the first it, the mix ing of the artistic aspirations of all ages of ranked with Admiral Dewey's whistlestop in North If this was not precisely what Robert D. Leigh, major impact of inflation on the College. By then, I citizens of a town with the specific learning Bennington on October l 0, 1899 and an occasional Bennington's first president, had in mind in his headed the Building and Grounds Committee and as pirations of College students was nearly as in­ newspaper farther afield noted the event as Educational Plan, catchy items in the press did un­ Ralph Larsen (Superintendent of Buildings and novative in education as the ideas that activated to unusual. unlikely or bizarre. Some thought it in­ derscore his belief in the arts, his impatience with ~rounds) kept Warning that the beam under the College to begin with. The basic failure of it all was congruous that a college with the highest tuition in the conventional syndrome of lecture, textbook, west wing of the Barn was rotting and at any that there wasn't that much cultural aspiration in the country should hold classes in a barn and teach examinations, grades and credits, and his conviction moment it could fold like a house of cards. To Bennington - but in the euphoria of an ending war, that there was educational gain and little risk in Burkhardt's credit (since nothing did fall down), Fred music in an abandoned chicken-coop. Others were that was hard to read. treating college women as adults. But the press let it rot and kept raising faculty salaries to keep astonished that on this Vermont hilltop you could When the Joneses took their first sabbatical, seldom got to the heart of the matter as President even with or even a little ahead of inflation. He was instead of doing what all the rest had done, like Leigh saw it: At Bennington each student would a much appreciated president. going to France or Mexico (one professor came back THOMAS BROCKWAY, familiar to Bennington pursue a course of studies which accorded, not with so full of mexicitis that his colleagues wanted to get WILLIAM C. FELS students and the community, wants it known that he what her elders thought would be good for her, but a "takki cab" to send him back to Mehhico), they Bill Fels projected the presidency magnificently, wrote this eye-w itness account of the Year One at with her own interests, needs and purposes, and stayed in Bennington, and Lewis built a house, partly however, he had been brought up a Christian the College, because he was NOT here that first culminated in genuine mastery in one or more fields with his own hands. It was before he was president, Scientist in a military school. He would occasionally year. of knowledge. 6 Quadrille Quadrille 7 grades and, until the Burkhardt era, whenever riding herd on students who often went galloping off transcripts were needed, the office nervously in all directions, the faculty looked forward to a quiet deduced the grades from instructors' reports. winter of recuperation wholly free of students or talk However, on the other points the president was of students. The president was disappointed to learn willing to compromise. No "official record of at­ that his faculty's dedication, unlike his own, must be tendance" would be taken, but the instructor was accepted as finite. free to deal with absences as he saw fit; and since Mr. Leigh expressed his concern over the faculty examinations had utility on occasion their use might very frankly in a letter of March 13. In it he declined be optional. Still the Leigh doubts about the to go to New York to attend a series of money­ educational value of exams had entered the blood raising meetings on the grounds that in his absence stream and from Year One Bennington students the faculty might "slip back into conventional have been tested much less by examinations than by methods and courses," a tendency which might their performance in class and studio and by their develop "so easily in our faculty at the present time." papers, the writing of which soon became, and This was not the moment for him to be away for " we remains, endemic in literature and social studies. are in almost a desperate fight to organize our work (A recent student who saved her papers discovered along the lines of the fundamental aims of the that she had written 45 in her first year.) This early College." encounter between president and faculty ended At some point Mr. Leigh apparently felt that he pleasantly enough but it warned Mr. Leigh that Total had contained the risk of faculty backsliding for he Education might be chipped away bit by bit if he renewed every contract but one. Yet as he reviewed were not constantly on the qui vive. the first year, he felt obliged to fault the faculty in With the arrival of the 87 students, the week-long their use of leisure time, which he felt to be an registration during which every student conferred important element in any scheme of Total Education. with every faculty member, and the beginning of In a community meeting in September 1933 he classes, it soon became apparent that instructors declared that the truly educated person would spend A RED BARN SERVES AS THE FIRST BUILDING OF' A NEW COLLEGE: l'HE DEDlCATION of the Recitation ·Building of Bennington College, Bennington, Vt., Which Will Give Young Women a "Highly Personalized" were taking their duties seriously and devoting time, his leisure in "recreative, enlightening and en­ Education. Dr. Willam E. Rappard of Geneva Is Seen Speaking From the Base of the Silo. nobling pursuits," not in "fast driving, gossiping, (Tlmea Wide World Photos.) thought and especially conversation to the differing needs and interests of their counselees. Whenever playing cards, watching ball games or organizing they met at meals, in the faculty lounge, or after pointless clubs." If he omitted nothing from his list evening meetings, "the talk was always about some we must conclude that the faculty diversions were student and her progress, or lack of it, and her tame and unimaginative during Year One. problems, if any." (Recent letter from Mrs. Wood­ Actually Mr. Leigh was quite well satisfied with What Bennington's first president sought in his who had never taught in college, or had taught only burn, then Mary Garrett) most of his early collaborators and spoke of them utopian college was not the regeneration of society, briefly, and were little given to professorial prac­ Mr. Leigh did not teach or counsel that year and enthusiastically as he interviewed new candidates but the education of Bennington students in "at­ tices, and thus would come to Bennington with no felt excluded from the conversations that the faculty for the second year. Lawrence A. Cremin, the titudes, appreciations and ideals," who upon dingy lecture notes, favorite exam questions, or found so fascinating. He evolved an ingenious means historian of American education, agreed with that graduation could be commended to their home pontifical aloofness. of furthering the faculty's understanding of first enthusiasm when he sweepingly characterized the communities as worthy in their various ways and as But to make sure the Leigh blueprint would not be principles of "Total Education" and at the same time Leigh faculty as "extraordinarily youthful and able." possessing purpose, energy and skills, "qualities misconstrued, the faculty and staff were asked to learn everything the counselors knew about their Mr. Leigh's own sense of mission and urgency had needed for the improvement of our culture." foregather on the campus for a month of briefing, students: With no advance warning, he proposed led him to expect more of his faculty as teachers, To this end education must proceed not only in the indoctrination and free discussion before the that they ALL SP.end their Non-Resident Term in counselors and human beings than any group of men classroom, laboratory, library and studio, but in the students came to complicate matters. Bermuda, poring over student folders. In this way and women could give. For him Bennington College student houses, at committee and community Upon arrival the faculty were given copies of the they could all discover how well students had been was everything: it was his life, the subject of his meetings, evening lectures, concerts and plays, in first Bennington College catalogue, just off the press, advised, whether they had chosen the right trial dreams, his thoughts, his conversation, his recreation and social activities. In short educational which made emphatic what some already knew: Mr. majors in the light of their interests and needs, how satisfactions and frustrations. It is understandable influences at Bennington must be totally pervasive Leigh had grave doubts about certain venerable much work they had done, and what should be that he was at times disappointed that others were and unremitting. academic practices. At an early briefing the faculty recommended for the spring term. not equally immersed in the enterprise of creating a The Trustees appeared to like the ideal of Total challenged his statement that compulsory class Attractive as Bermuda might appear, a number of utopian college. But it was the intensity of his faith Education and Mr. Leigh had no doubts about attendance, examinations and grades were "ex­ the faculty were appalled and managed to scrape up that had carried him over the barren stretches Bennington's first class (later referred to as ternal disciplines" which seriously interfere with an assortment of arguments against the scheme. But between his appointment as president in 1928 and legendary). But would the faculty accept this ideal "real incentives and internal disciplines related to the real objection was obvious. Already fairly the opening in 1932, and that now sustained him in and work tirelessly and selflessly for its attainment? the student's own developing purposes and in­ exhausted by the demands of Bennington's Total the complicated task of giving the College its unique Mr. Leigh had this question in mind as he in­ terests." Education, which went far beyond counseling and configuration. 0 terviewed candidates and seemed to favor those Discussion did not shake Mr. Leigh's opposition to Quadrille 9 80uadrille Excursions Where "Fancy" Led

by Catharine Osgood Foster

It was a hot, sunny Labor Doy afternoon at about hill in the old four-square car, and hod plenty of time half post one when I got off the train we called the to enjoy a salad and some chilled wine before the Up Flyer at the North Bennington station. It was the first faculty meeting of the year at 3 p.m. first day of the foll term of the third year of Ben­ The meeting was held on the porch at Cricket Hill nington College. Since then hundreds of other in the shade of the huge old elm that used to grow in Bennington faculty, students and visitors hove the courtyard. We sot looking out across the sunken arrived this way, along the old Rutland Railroad garden towards Mount Anthony. I remember the tracks and into the lovely, quiet village down the hill view, the sultry breeze, the warmth of the friendly from the College. Hundreds hove also gone away - greetings from other faculty members, and the way sometimes forever and sometimes on the frequent President Leigh, standing with his bock to the view, short trips away from the College we were all en­ roused us with good, lively talk about progressive couraged to toke. It was already in vogue to talk education methods and their great results. Then about "our hilltop isolation." various Division secretaries described how the rest of the week was to be devoted to registration. Since A fairly large number of us took those trips - there were at that time no set courses in the some to work or study, such as Martha Hill and other curriculum until student demand created them, our port-time faculty who commuted to second jobs in job for that whole week was to help each student the city, some for evening excursions to near-by who come to see us create a course of study that met lectures, poetry readings, union meetings or ploy three important points. Through our questions rehearsals, and others to visit Vermont, New during each meeting we aimed to get her to see England or the cities of the East. where she was; where she was going; and what she Quite a few of the trips that I took were in needed to get there. Genevieve laggard's old Dodge sedan, with the It is difficult to draw out of some unexamined fringed awnings at its four windows, named Foney. It source the answer to such questions. (And in those was this car which come to meet me that particular days, 40 years ago, it really was rather rare to be Labor Doy afternoon, with Genevieve's sister, Steeny asked to examine one's motives.) But I remember laggard, and her daughter Marcia, leaning out the that, although some seemed startled when I asked windows to greet me as I come down the platform in why they wonted to study Chaucer or the proletarian front of the fine old brick Victorian station we all novel or social groupings in a mountain village, become so fond of during those years. Genevieve those students were very good sports about being hod stayed at home that day in Dewey Apartment to prodded. By the end of the week each student hod make lunch, because the Up Flyer from New York arranged a weekly tutorial for on individual project usually come in too late to get to the dining rooms at in the field of her major plus three to six courses the College before closing time. We chuffed up the which would meet once a week for on hour-ond-one­ holf discussion group. When several students in­ . :.;;.;.'.::...... :..,,.. CATHARINE OSGOOD FOSTER. is the author of a terested in forming a group found a faculty member The exterior of the North Bennington Railroad Station looks much the same as it Alan Jon Fortney book called THE ORGANIC GARDENER, which she who was willing to teach it, the new course was always has, but the interior is being currently remodeled to house offices. wanted to call MULCH ADO ABOUT GARDENING, a formed and put in the schedule. All such news was regular columnist for the BENNINGTON BANNER, communicated via the bulletin boards in Commons and the driver of a white, flashy convertible that /sn 't or by on announcer who went around to the dining named Fancy. rooms. Quadrille 11 I 0 Quadrille After the two classes in the morning, labs and know her neighbors, and we took frequent trips up studios and rehearsals in the afternoon, most there for the demolition parties we had, pulling evenings of the week were filled with "evening down the back sheds or pulling off the plaster: Mary meetings," as we called them , and everyone went. Garrett in her old gloves; Helen Cummings in her old We all agreed that they were a sort of core blue jeans; the Wistars balancing long boards on the curriculum for the College, and besides we liked way to the collection pile. Guy Morse, the carpenter, them and the stimulating discussions they aroused always had some fine, well-seasoned Vermont on campus and in the classes preceding and philosophy to share and we all tried to pick up his following them. And there were usually very good accent and remember his exact words. parties afterward. Once in a while instead of turning towards the One frequent and favorite kind of off-campus trip country, we would get on the Down Flyer or into old was to the house of the faculty member who gave Fancy and start for the cities. We got to know the party, often impromptu. Sometimes we'd fill up something about the nearby ones on short trips to Genevieve's car, Fancy, with students to go over to Troy, Pittsfield or Albany, and on longer trips to New Old Bennington to Irving Fineman's apartment in York, New Haven and Boston. Hall House when a novelist came. Or we'd go to Otto One lesson of discovery for me was during a and Ethel Luening's house on the hill across the midnight journey to Albany after a party at Otto and valley from the College after a concert. Or up the hill Ethel Luening's following a guitar concert given by in North Bennington to George Lundberg's after a Otto's old friend, Carl Sandburg. It was the year after social scientist had given a talk. After most evening Tom Foster and I were married, and we volunteered meetings there was a lively discussion in session in to drive him to the station to catch his train to the room where the post office now is, and the party Chicago. carried it on and on. At the party one anecdote had led to another, all Sometimes the event we had gone to was off marvelously funny and all equally important to The College Farm campus. When Robert Frost decided to read for his Sondburg to tell. So of course we got started so late townspeople in South Shaftsbury, we got into the old he missed the train. The next train left in an hour, Fancy car and went up to Cole Hall to hear him joke and we drove around Albany at Sandburg's request, and philosophize with the Vermonters, answer their after having a bowl of onion soup and another beer. questions and read them "The Death of the Hired This Chicagoan told us the identity and signifiance Man." Other nights we followed him to Williamstown of every statue in the city, directed us accurately to or Hanover to hear him read. every historical square and described the old-timers When there was time we would head up the dirt who had lived in most of the historical houses we roads along the valley and up above Manchester to drove by. Sandburg's curious, inquiring mind and hunt for farms to move to. Irving Fineman found one spirit had led him to every revealing spot in Albany on the East Road in Shaftsbury, where he still lives. while he was doing research at the state library Barbara and Lewis Jones found one for weekends in there in preparation for his colossal biography of Bondville, and Genevieve laggard discovered a fine Abraham Lincoln. He was absolutely steeped in all old hilltop potato farm, Gilfeather, in Jamaica. When the local lore. We had often gone to this city and it was hot, we'd go up for a swim in the Salmon Hole thought we knew it quite well, but our horizons had at Gilfeather, and then get heated up again playing been bounded by Keeler's Restaurant on State St .. softball on the lawn in front of the little gray­ the railroad station, one second-hand bookshop, and shingled house. In the fall we'd visit the Bondville an oculist's office. Carl Sandburg knew all the Fair, with its vegetable displays, jams and jellies and bookshops and all the restaurants as well as all the its very rough and jolly, home-brew festival at­ historical points in the city. mosphere. We'd often meet the people we'd seen With an example like the one we received from before: the laundress, the Bondville storekeeper, this wonderful man in the middle of the night, we the postmistress, the man who was going to do the could not help but be spurred to develop a better haying or the one who had just fixed some loose habit of leisurely exploration of this way-stop and shingles on the roof. Little by little we got to know a then, perhaps, of all other stops we made in the good many Vermonters. future. He underscored the reasons why the college We met some more natives after Shibby Hall left encouraged us to enlarge our horizons by travelling her job as operator of the College Store, and decided away from the campus, to supplement and give to buy a place in Shaftsbury on West Mountain substance to the intense concentration of study on 1942-44 overlooking the entire Bennington Valley. We got to the isolated hilltop where we focused our lives. 0 Quadrille 13 12 Quadrille by Robert Woodworth

For three years, 1942 through 1944, the fields of toward "everyone else." This varied from reproof of the College and the Jennings Estate were devoted to the College administration for failure to command food production. This venture was undertaken all students to do their stint of farm work to disdain during a period of wartime food scarcity. The hope for the farm manager for not knowing the " right" was that students would accept the opportunity to way to plant peas. contribute to the war effort in a way which would not During the first months of 1942 plans were conflict with their beliefs and loyalties. The food was discussed concerning the use of lime and fertilizer, to be eaten by the College community; nothing was the design of a quick freeze plant (to be installed in grown for sale. the basement of Commons), the construction of a Student work groups were organized the first year vegetable storage cellar, and the purchase of seed. by Mary Jo Shelly, assistant to the President; by John In March, seeds were planted in flats, in the plant Lydenberg of the Social Science Faculty for the physiology greenhouse. The objective was 5,000 second year; and by the Farm Council (five students tomato plants, 1,500 broccoli, 1,000 cauliflower, and two faculty elected by the student body) for the 1,500 cabbage, 1,000 sweet peppers, and 1,000 third year. Each student was expected to work five celery plants. hours each week. About 25 students (out of a In April we started the vegetable storage cellar. student population of 250) worked regularly and The site selected was south of the pond and east of effectively, often coming out for extra hours when the pathway to Jennings. (There is now, 30 years help was needed. Becca Stickney and Clytie Stevens later, a large depression where the cellar was). The performed heroics for the program. About four-fifths plan was to excavate an area 42 ft. by 22 ft. and nine of the student body approved of the farm effort feet deep. Below the topsoil were hard clay and enough to report with their work groups, but many stones. We had hoped to finish the excavating by eventually lost interest. About 25 students disap­ mid-June, but had hardly begun. proved of the project to the extent that they never In the meantime, the seedlings from the appeared. Some faculty members worked regularly greenhouse had to be set out in the fields we had with the crews. prepared in April. By the end of May we had also The farm program could never have been realized planted seven acres of potatoes, six acres of beans without the constant cooperation of Frank Tschorn for drying, one acre each of sweet corn, peas, green (Director of Buildings and Grounds) and three of his beans, winter squash, and three acres of beets, men: Joe Zagata (machinery maintenance and carrots, onions, lettuce, chard, kohlrabi, endive, etc. operation); Bill Moon (herdsman); and Joe Nadeau The acre of peas was timed to mature just after the (field man). Fourth of July when summer school was to start, but Probably the most unexpected outcome of the the spring was so wet that they were ready in mid­ project was the unprecedented amount of criticism June just after college had closed and most of the (almost entirely unfavorable) voiced by " everyone" students had gone home. A few of us were very busy picking that acre of peas. The idea for the War Farm at Bennington College With a wet spring followed by a wet summer we was proposed by ROBERT WOODWORTH, science had problems with cultivating. We had an old For­ faculty member from 1935-1969. Because he was mal! tractor but there were no cultivators for it and teaching full time and growing his own home gar· we could not get any. One of the men bolted a den, he impressed upon members of the Farm hardwood three by four on the drawbar and with Council that he could not be expected to work the three one-horse cultivators hooked on we did the farm. He would only plan and manage it. He cultivating. This required four people where only one estimates that he put in around 2,000 hours working would have been necessary if we had had the proper the Farm. rig for the t ractor. 14 Quadrille Quadrille 15 opened for the spring term, but the spring was so Each year the college farm contributed farrr The excessive moisture not only encouraged the Sweet corn was just ripening and in the next three cold and wet that this proved to be impossible. From produce to the North Bennington High School for weeds but also the crops, which gave heavy yields weeks 13,000 ears of golden cross bantam corn February to mid-April those who worked in the Barn canning and the hot lunch program. earlier than anticipated. Our plan was to get the were picked, stripped, blanched, kernels cut off, were inconvenienced by the "unpleasant odor" from The objectives of this farm enterprise were to food into the quick freeze plant but it was not ready packaged, frozen and stored. Also 200 bushels of the brooders. Except for this disturbing factor, the produce food during a time of scarcity and to provide until mid-August, so the summer students HAD to eat green beans, 50 bushels shell beans, 50 bushels shop and greenhouse were admirably suited to an opportunity for students to contribute to the war lots of fresh vegetables. broccoli, and 40 bushels cauliflower were pu1t into brooding chicks. We lost very few chicks. The job of effort. It was realized from the beginning that we Potato production was perhaps the most suc­ frozen storage. getting over three tons of poultry meat into the would do well if we met our expenses. If the farm cessful part of the farm program. We consistently After fresh vegetables came three weeks of freezer was undoubtedly the most disliked part of had been operated on a profit basis we often would had good yields of excellent quality. Each year we potato harvest. Our potato digger was 30 years old the whole farm operation.· Many of the students have done much better than that. devoted a large part of the land south of the stone and was so worn out that it had already been would not pluck chickens. Some were willing to pay As we neared the end of the farm project, wall at the end of Commons lawn to this crop. discarded once. We patched it up, and nursed it other students to pluck for them. The next year we decisions had to be made about the future use of the We needed the vegetable storage cellar by fall along and we got the crop above ground. Parts were brooded chickens in the dairy barn. fields and equipment. The fields had been and we kept deciding that we would tackle that welded and much old wire was used to hold things In 1943 we also raised pigs. Nine sows and one thoroughly worked, and limed, and green manured. project as soon as other work was under control. We together. The potato yield was 1500 bushels of good boar were selected for breeding. The litters from the It was decided to seed them for the production of finally realized that with this approach we would tubers from 90 bushels of seed. Such a yield would sows were raised and when space became available high quality hay. The farm machinery, had been never get to the cellar, so we decided to plunge in. not win any prizes but we got all the potatoes we in quick freeze we put in over two tons of pork. repaired and adjusted and consistently oiled so that Using our old Farmall tractor with a quarter yard needed for the year at a time when many of the local We also undertook beef production in 1943. We it was in much better condition than when we found scoop (every scoopful had to be loosened by shovel farmers did not bother to dig their potatoes because bought bull calves from the Fillmore Farms herds. it in 1942. We had a 3,000-bushel capacity vegetable and pick) four of us finished the excavation in eight of blight. Our makeshift spray operation had paid These were fed for a year and a half, then butchered, storage cellar which would be useful for many years. clays. One favorable aspect of clay was that there off. That job was finished just in time to start picking and over four tons of beef put in our quick freeze. The new quick freeze plant also allowed purchase of were no cave-ins. The sides were cut vertical and apples. The Sunday before we started a heavy wind There was a feeling throughout the country during meat and vegetables in wholesale lots at a sub­ stayed that way. The largest boulders encountered blew 200 bushels off the trees. However, we got 400 the late summer and fall of 1944 that the war was stantial saving. weighed about two tons, but the old Farm all I ugged bushels of hand-picked apples into the storage over. Student interest in farm work dropped to In 1945 we hired some men to grow potatoes and them out easily. A trench was dug from the lowest cellar. almost zero and the Trustees, faculty and Farm sweet corn, both of which require a minimum of part of the cellar floor down toward the pond and Me~nwhile, six acres of beans were ready to be Counci I and Farm Manager judged that it was time to hand work. We found we could not afford to pay four-inch drain tile laid to make sure that water threshed. We got out an old Westinghouse small liquidate the whole enterprise. There just was no wages for farm operations. From that time on our. .vould not remain in the cellar. grain thresher which had not been used for twenty­ longer any interest in the project. lands were rented out for hay production. 0 Then the building began. Our crew went up to the five years. After two hours of greasing and belt Jennings woodlot on East Mountain. Fifty thousand patching it was running. The white kidney beans board feet of hemlock had just been cut for use in were put through. making board walks for campus. We had no asphalt The food effort during the 1942 seasons resulted walks then. The crew trimmed the unused tops of the in the production of about $6,000 worth of hemlocks, getting out 200 pieces 18 feet long. We vegetables at fall wholesale prices. Our costs were had no horse to drag out the logs so we carried them well below this figure but only because most of our out to the wood road. The college truck transported labor was volunteer. them to the cellar site. The sides and ends of the In 1943 and 1944 we continued with vegetable cellar hole were lined with posts nine feet high. Two production. There would be no waiting for the rows of posts were set down the middle to form a 5 completion of the quick freeze plant, and our foot corridor, and additional posts were placed to vegetable storage facility was ready and waiting to form six bins (7 ft. by 7 ft.) on either side. A floor be filled. High protein animal food was scarce and was laid on two by sixes. A door (4 ft. by 6 ft.) was expensive so we decided to raise poultry, pork and made of studs and boards and insulated with rock beef. Field crops for animal feed were added to our wool. Stone walls were laid U? '.)!"'! either side of the program. Buckwheat, field corn, oats, mangles, and door to hold back the top fill. A ventilator was placed hay were grown and fed to poultry and stock. in the roof for partial temperature and humidity Our poultry project was designed to provide fryers control. Total capacity 3,000 bushels. Labor for and broilers but not eggs. In 1943 we purchased digging and building - 700 man hours. Work on the 2,000 one-day-old cockerels. The shop and storage cellar was finished just in time to put in the greenhouse at the northwest corner of the Barn early potatoes. were used for the brooders. The plan was to move The quick freeze plant was ready by mid-August. t~e young birds to other quarters before college 16 Quadrille Footnote to the History of an Art by Mary Jo Shelly

At the time modern dance badly needed to con­ get there, and then in addition bear amicably with solidate its scattered forces and prove itself more one another's presence if they did. The exciting than a passing phenomenon, Bennington College possibilities of the venture however were evident to provided the environment to do it in. Robert Leigh these pioneers, and Martha Hill prudently scheduled was seeking a sensible use of the College facilities the four artists to arrive and depart in sequence that during summer interval but did not want to go into first session. competition with the writing, painting and music Then there had to be students. People interested workshops already operating nearby. He had been in this modern dance were known to exist, usually impressed with the unexpected impact dance had hiding out as somewhat maverick members of had on the College and hit upon the notion of a college physical education departments. To break summer school of the dance. even, the school had to ferret out 60 of these To him it was a fresh idea. To Martha Hill, the one mavericks to attend and pay a fee based strictly on person accepted both by professionals and costs. I educators as pre-eminently qualified to develop a The Up Flyer doesn't run any more, but it used to program of modern dance, it was the answer to a tail behind the New York City express to Albany, be long-held dream. The project, which would make .1 hauled backward across the Hudson River, and after Bennington renown from coast to coast from 1934 a discreet pause, putt on its own steam up the on, headed toward reality out of nothing more Vermont Valley. The Up Flyer performed this little ....:>mentous than a conversation between them on ritual on July 7 , 1934, and disgorged at North Cricket Hill one autumn afternoon in 1933. There Bennington station, not the requisite 60, but over were, even among the Trustees who authorized it, 100 summer dance students from half the states in those less than enchanted with the plan. the Union. A great deal of what followed can be charac­ No one could have anticipated it, but-reduced to terized as successful defiance of the logically im­ three inadequate words - it all happened. possible. From the outset, the President and his Even more applicants had been turned away Director of Dance knew they were taking at best a because space had run out: this circumstance was promising gamble. Financial subsidy began and repeated every session thereafter. The Summer ended with access to the College facilities. All other School of the Dance answered a ready-made need basic services had to be paid: A token payment to be and its timing was miraculously r ight. The day the sure, but a payment to be met, nevertheless. first session of the Bennington School of the Dance The keynote to success would be the capture of began, the College unwittingly became party to a the four acknowledged modern dance leaders of the radical change of course in one performing art which day - Martha Graham, Hanya Holm, Doris Hum­ would, in time, effect them all. phrey and Charles Weidman. These untameable pioneers were not known for lovingly cooperating This vastly over-simplified sketch of events from with each other's work. It seemed on the face of it that day to the final days of the school means uncertain that the four would agree to trek to scrubbing out all but the essential and the unique in remote Vermont for little more than it would cost to the picture. The essential : a program of study that Martha Hill had already laid out for the College's MARY JO SHELLY was assistant to the first President Dance Division and had only to be duplicated for of the College, and the administrator of the School of the School of the Dance. The unique: an unexpected the Dance. In addition to helping drive dancers, dimension of performance t he school promptly props and thumbtacks to and from the armory, she generated which has become known as the Festival had the job of tactfully turning away aff/cianadoes of the Dance. from the sold-out Festivals of the Dance. The original program provided on ly studio work in Quadrille 19 Martha Graham the basics of dance. Performances for a public encounters with these lotter-day Green Mountain audience were not even contemplated. The first Boys become on exercise in tactful suspense. In the planners ignored the fact that dance MEANS dancing end, since the boys would be off to summer en­ for someone else and that the act of bringing any campment, someone might as well use the place. We number of dancers together to study dance will of were in. necessity culminate in performance. The four artists We were in for four successive August seasons of ended their assigned periods of teaching with history-making Festivals of the Dance w ith one "demonstrations" of technique "given" by advanced narrow squeak in the most ambitious year of all, students. The audience for these demonstrations 1938, when the Notional Guard expected still to be consisted of students and miscellaneous visitors to drilling precisely when the Festival hod been widely the school. These demonstrations proved to be announced to begin. In prospect of defeat, Arch dramatizations in sheer movement - uncostumed, conjured up a substitute in the form of a goyly unstoged, unscripted - which in their own way, striped tent erected on campus. It leaked like a sieve were as evocative as many a finished production. and bucked like a ship in full soil but would, if all The point could hardly be missed. The school must else foiled, house the performances. Luckily, the provide for performance from then on: the Festival. 1938 Festival was performed in the Armory, and the At once the question of housing the Festival arose. Notional Guard performed elsewhere. Response to the pion for the School suggested on This capsule account scarcely explains why, like equally strong interest in the Festival. One person - the perennially oversubscribed student body, the Arch Louterer, member of the College drama faculty audience crowding into the Armory from miles away and so for associated with the School only as astute always exceeded the maximum 500 seating observer - already hod the answer in mind. Deeply capacity. Perhaps it is enough to soy that for modern affirmative of modern dance as on ideal medium for dOnce, its time hod come and here was a place for it his concept of theater, foreseeing accurately the to come to. It was a distinctly partisan audience scale of performances the School would produce, whose applause took the somewhat perilous form of and all too aware the Commons theater could not stomping its feet on the floor of make-shift bleachers contain them, he found the answer where no one where they sot. They were oblivious to the annual else would even hove looked. late-summer phenomenon of southwestern Vermont which come in the form of violent thunderstorms Four miles away, in the town stood the Vermont accompanied by deluges that mode the lighting State Armory, on unadorned brick rectangle with a flicker and turned the unpaved parking lot into mud. large open floor, a shallow balcony and a stage one· Even in 1935, with the weather at its characteristic tenth the size of the Commons stage. Prowling worst, the single scheduled performance hod to be around the place, Arch sow it differently. The repeated in response to demand. logically impossible was never more successfully Mere recital of titles from the Festival programs defied than by Arch's transformation of this un· would signify little except to officionodos of the promising structure into a theater that conformed modern dance in those long ago days. As a matter of dramatically to the requirements of dance. The record, however, a substantial number of the works audience would occupy the balcony and port of the that accounted for the rapid advance of modern open space, the rest of that area become the stage. dance in this period hod their premiers in the The tiny Armory stage become incidentally, though Vermont State Armory. Within the span of a six· consistently, utilized as on element of the setting. week season, each hod been conceived , There would be no curtain, only fin-like panels choreographed, rehearsed, costumed, provided with angled along both sides for entrances and exits. either on original or arranged musical score, and its Lighting would come from equipment hung overhead own staging. The accomplishment owed nothing to from the cross beams, unconcealed, but unobtrusive anyone's endowing it. The Festival was never ex· because all focus would be on the dancing. pected to pay its own way. It belonged as on integral , Two practical problems remained. Everything, port of the School. Endowment come from the talent down to the last thumbtack, would have to be and plain hard work of the many dedicated to carried from the campus and taken bock again. And, produce it. Such freedom for the artist to move from there was the tactical question of negotiations with idea to finished execution, heretofore non-existent, the Vermont Notional Guard. It was, after all, their released a surge of creative activity. Not all Armory. While it hod accommodated appropriate productions were masterworks . Not all su rvived civic events, no one hod ever proposed to turn it into intact to be performed again, but few were wholly a theater for, of all things, dancing. Protracted wasted and a number stand permanently as land· Quadrille 21 20 Quadrille Charles

Louis Horst Accompanist

marks in the history of the art. first gamble at Bennington. Happily, on over­ At the some time, with on eye to the future, for subscribed student body turned up for a full program each of three seasons the some kind of opportunity of study; and heavily attended elaborate demon­ was given two young dancers, invited as Fellows of strations of technique like those at Bennington in the School. All necessary support was provided them 1934 substituted for a Festival. the result being a Cl'ld their work was presented as the curtain raiser to distinct impetus to further study of the art. the Festival. The wisdom of the move shows in the Upon return to Bennington in 1940, the beginnings careers those artists hove since pursued, placing of a radical extension of the original pion took place more than one of them in the forefront of dance with the initiation of separate units for drama, today. music, and stage design. The School of the Dance The Festival. by reason of its uniqueness deserves become the School of the Arts, prototype of the now emphasis, but without overshadowing the invaluable familiar centers for the performing arts. With war contributions of the School in its own right. In ad­ coming closer, the larger project hod a brief but dition to the careers of the Fellows of the School. substantial history. Teaching continued as before. from the student body have come equally effective Driven out of the Armory, production nevertheless dancers and choreographers of what con be called went on with first-rote works in dance and drama, the second or perhaps third generation of the both aided by music and adopted to the Commons American style. Then from the efforts of the many theater. The full potential of the arts center was students who never sought professional careers, but however never to be realized. By 1942, the war continued teaching, come the first way for doomed it. professional companies to tour. Called pejoratively, It seems like a brief moment in the history of the the gymnasium circuit - which in fact it portly was College and in the history of dance, but the overall - it nevertheless took modern dance from coast to effect was immediately recognized. Long before coast, thus escaping the outrageous expenses of newspapers assigned professional critics to the exclusively New York performances, building a wide dance world, one such post existed. The person who and varied audience, and immeasurably enhancing filled it wrote, " It is not often that on event in the the growth and maturing of the new form. history of on art con safely be pointed to as a Hanya Holm To return to the sequence of events at Bennington, milestone of progress until time hos given it per­ \ ofter five sessions of the School and following Ar­ spective." The writer, John Mortin - now critic mory performances from 1935 through 1937 by emeritus of the dance world - wrote that from single companies, the staging in 1938 of large-scale Bennington in August 1934 on the occasion of the works by all four at once climaxed this phase of the completion of the first session of the Bennington venture. By chance a break in the sequence come at School of the Dance. Clearly that prophesy hos long the right time. Mills College, with a comparable For since been fulfilled to the lasting credit of the West center in mind, invited the School to move College providing on environment for those dance intact to California. For Mills it closely resembled the pioneers to work in. D Martha Hill 22 Quadrille Quadrille 23 'Sit Down and Play With Us! 'Now, Improvise with us.'

NOWAK: What year was it George? When did you breakfast room. He had a large map out and he had come? an egg cup. I noticed that he had one boiled egg in FINCKEL: 1942. I arrived alone and they gave me a there, corn flakes and a touch of ketchup. I thought tiny little room in Jennings. I was invited to a big that was rather an odd breakfast. In the middle of his cocktail party the next night. Oddly enough I had map, there was a fly walking around. I sat down next never been to a big cocktail party before that and I to this man, because there was no one else to talk to. was both shy and not very verbal then about cocktail He was deep in his map. He said "Now, Rommel is Orrea Perne/, parties. I didn't have the technique of moving around right there on the desert. This fly is showing me the Lionel Nowak, and making small-time chat, you know, as you have way the Germans are handling the desert situation." and George Ftnckel to do at cocktail parties. So, instead, I drank a lot. I Now we didn't even introduce ourselves, he just wasn't in very good shape when I left the party. It started right in. "Now, that fly, you watch that fly. It's end I used to pass through here. It would be exactly and Henry would be peaceful and everyone else was late October, getting chilly, and it was ab­ going to show us where the German army is going." I at noon and we'd go to one of the restaurants would be content. solutely black when I left this place. I wasn't familiar had quite an ordinary breakfast, a cup of coffee and downtown, and all these very odd, strange-looking NOWAK: We had a different experience w ith with the campus so I asked some passing students some toast. As I was leaving, I asked some people. people used to come in there for lunch. I thought to pianists. We slammed a car door on one of our the direction to Jennings. They pointed out the main "Does' anyone know that gentleman sitting in the myself, "This Bennington College must be heaven. applicant's fingers. road with tall trees lining it. When I looked straight breakfast room?" They told me it was Buckminster They're such fabulous looking people. With crazy QUADRILLE: Why did you do that? ahead, I couldn't see a thing, but I discovered that if I Fuller. clothes and everything." The New York Times used NOWAK: I don't know. It must have been a Freudian looked up between the trees, I could see enough sky PERNEL : My coming here was at 12 hours notice. I to publish a lot of what was going on here in the slam. up there to guide me. Unfortunately, because I was rehearsing with Bruce Simonds at Yale, and I got summers when Martha Graham, The Budapest FINCKEL : I can't remember his name, but he WAS a wasn't looking at the road, I think, I stepped on a an S.O .S. Would I please take a 7 o'clock train to Quartet, Hindemith, once in summer and Kirkpatrick spectacle. He asked us, " What would you like me to skunk, and it sprayed me. I got to Jennings and hung Bennington the next morning, and some students were here. play?" We said, "What would you like to play?" He my coat in the closet in my room. The next morning, I would tell me what to do. So I rushed up. There was a PERNEL: I think for a long time people thought said, " I can play anything." So we named some heard Murray McGuire and the complete grounds snowstorm and it was fantastic. And I thought, Bennington College was just a summer school. One obscure Bartok second concerto, or something like staff making a search of Jennings, trying to locate a "Either I stay in Jennings and starve all day long - I of the very good things that was instituted rather that, and he knocked it off. Somebody else named skunk. It was hanging in my closet and nobody had no snow shoes - or I straggle over to Commons early on was Otto Luening's insistence of a per­ some other obscure something, and he knocked that discovered what or where the source of the smell for breakfast. Well, there was a new teacher who formance seminar every week. I don't think that had off, too. Then we asked him to do a trio with some of was. After about four days it began to pale a bit. WAS equipped with snowshoes and he happened to been done before. Perhaps that's general now, but us. And he said "Give me a week's notice. I might be About then' I had to go to New York for some reason, stride ahead of me to Commons so I strode in his it was an awfully good idea that they should practice able to put it together." We had to tell him that and I took the train from Albany. It was a rainy day, I footsteps, and we landed up for breakfast. Well, the before, because it is a performing art. I think they sometimes in this job someone can come up to you remember. I put on this overcoat, which was fairly only other person who was there was Theodore used to work up for their concerts, and not have the and say, " Let's go to Jennings and play." Many of recovered by then, and went out in the rain. And it Roethke who came down, very disgruntled, and practice of it before. them came to play with a huge program, a recital began to get awful all over again. By the time I got to muttered, " I wish I were back in my mother's ~omb. " FINCKEL: It hasn't been that necessarily that way program, and yet they couldn't read very well. the train, it was really at a high point, and all the That was my introduction to Bennington! with everything who has applied for a position here. NOWAK: Well, I think there's something about the trainmen were running around looking under the NOWAK: I came in '48, but there was nothing ex­ I remember, not far back when a violinist arrived. way we choose our new faculty members that's very seats for a skunk. Well, of course, it finally paled, but dting about my arrival. Nothing. Everything went We had our first faculty meeting of the year, and important. We kind of insist that the people we get in the first impr essions were rather strong. perfectly smoothly. Henry Brant got up and said, "Now this coming year, have this spirit. And the way we find out is that we The morning after I got back to Bennington, I went we're locking up the library, and we're not going to put it to them awfully tough when they come. Where FINCKEL : Tell me, did you feel at home immediately? over to breakfast, and there was only one man in the perform any music that's printed, except music that else would you find a faculty that says, "OK, now, so PERNEL: I was familiar with the College, having is printed either right now or tomorrow or a week you've got a name, all right, let's forget your name. played here before I ever taught here. But I must say, We excerpted freely from a recent interview taped hence. I looked at this poor violinist and she was Come on. Sit down and play with us. Now, improvise I felt 'absolutely at home immediately. Great fun, with LIONEL NOWAK, who is still holding down the absolutely green. She had gone through this long with us." very exciting, and one got the sense that if you had a piano forte, GEORGE FINCKEL, still be to be found in training, and she wasn't going to be able to play the FINCKEL : We're going to make up a piece together. his stronghold of antiques and music on Route 7, and good idea, you could jolly well go ahead with it, music she had spent her life learning. Of course the NOWAK: We wouldn't have a person unless he or ORREA PERNEL , who was visiting the area from her which was wonderful. I had never taught in a college rest of us knew that Henry made this overture every she is willing to take every chance , and not m ind it. home in Switzerland. The y reminisced, logically before in my life. year. Then the next day we'd hear all this Mozart, And they have to be able to do it a ny time, and that enough, about musk at Bennington. FINCKEL: I had a job teaching in the Putney School Brahms, and Tchaikowsky coming out of the building makes a difference. 24 Quadrille Quadrille 25 FINCKEL: - It's a very tough screening process. And PERNEL : I think that the Non-Resident Term has been it's almost immediately that you sense the spirit­ one of the reasons. Just having that jump in time, no giving kind of thing one has to have in the teaching consecutive time. Its one of the very good things profession. about Bennington. Actually, the two big breaks in the year - NRT and summer. So that you have time NOWAK: Look at even the sabbatical replacements to grow. That's important. I think this pushing and we've gotten for Schonbeck. They'll try anything. pushing and trying to get more and more things in, They're incredible. They don't rest on any laurels. just dries you up faster. You need the time to fill up They are always in there. again. I'd like to mention ... I don't know when it began ... FINCKEL: Bennington has always had such faith in its this idea that all students should start to compose, faculty that the faculty could set up any kind of even those who had never heard any music at all. curriculum it chose, even if it wanted to do it for one This was an accepted procedure in painting where year. The Administration has that kind of faith in you give children paints and paper and you just let these people to allow them to try almost anything them get on with it. It had never been done with that comes to their mind. It is a particularly unusual music to my knowledge. Is that right? kind of teaching privilege thdt Bennington has. NOWAK: I can tell you exactly when it started. It was PERNEL: We were also very interrelating. It seemed in 1956 when Ted Strongin and I made a little ex­ to me that it was awfully nice when one student periment. We said, " You know, we don't get much went and played to different members of the faculty. composition around the music building. Maybe there We really knew our students awfully well. And that are people around the campus who compose or performance seminar had an awful lot to do with it. would Ii ke to." So in room 136, we would give a kind Because you heard everything. of little composers' conference, every other Tuesday. A couple of dancers came in with compositions, and FINCKEL: Instead of getting an orchestration out of a that got some of our music students interested. We book, for example, Lionel would ask his students to taped their stuff and then we would play it back. At write a composition for 'cello. Then he'd invite me the end of that year, I said to Teddy, "You know, this down to play for the students and give a little talk is a good idea. We ought to do it in all our classes." about the instrument, tell about its range and its So we did. I think that it was that Symposium in 1955, possibilities of sound. So this was another thing that when Edgar Varese and Hans Hoffman were here grew out of this weighting of the two professions, that led us to this notion. I think you should say that composition and performance. Varese's having been here and his stand when he said, "You have to be up to date. Your watch has to NOWAK: I don't know quite what you're alluding to, be on time." I think that's what kicked it off. Pernie, but this business of confidence and the in­ terrelationship of the faculty is very important. For FINCKEL : That Varese thing gave the whole instance, many times when I would have my piano department such an energy at the time. It was a class, a lot of Julian DeGray's students would come brand new idea to call of all classes for a week to down and play and this didn't bother him at all. Or celebrate some artistic event of this kind. And that one ~f my students would say, "I think I'll study with the Administration should be so much in favor of this Julian DeGray next term." "That's fine." I would say, kind of thing that it dug out the money to make it "You need a different kind of approach." If someone come into being. It gave the department a was getting ready for a concert, I would say "Why tremendous energy. don't you go down and play it for Mr. DeGray." Now this kind of thing is impossible in most con­ NOWAK: It was called the Symposium on Music and servatories. Everyone's so jealous of his own little Art. Bennington College produced the first per­ studio, and his own little group. formance of a great piece by Varese; the first American performance of his " Deserts." It had been FINCKEL : A thing that has always seemed mysterious done once abroad, in Paris, I think. But we did it six "It was a brand new idea to coll off a// classes for a w eek to celebrate some ar­ to me was how this high spirit or creativity has been months later, here, the first American performance. tistic event of this kind." Hans Hoffman and Edgar Varese at the Symposium on maintained such a long time. Never let up that high Music and A r t in May, 1955. creative pitch. PERNEL : That was very exciting. Quadrille 2 7 26Quadrille A Report From The President and Vice President Regarding the Finances of Bennington College

Electronic "Instruments" assembled for the American premier, at Bennington, of With a list of donors the piece by Edgar Varese entitled "Deserts." July 1971 · June 1972

FINCKEL: Paul Feeley just wanted to celebrate the terpoint?" No. "Any ear-training?" No. "Any har­ fact that America had come into its own as an arts mony?" No, I don't think so. And he kept looking center, in the painting world. No longer did you have over her compositions, and finally said, "I don't to go to Europe to be a professional painter. You understand how Bennington does it." could stay right here. And he was going to use Hans Hoffman as an example of a man who had gone PERNEL: But they DID have ear-training. They all had through many phases and aspects of painting and to play an instrument, and they were encouraged to lived in this country. And he asked us if we could play too, and that's a fine kind of ear-training. think of someone in music who would be comparable FINCKEL: And those pieces they wrote were always to Hoffman whom we could celebrate. And we After a few months at the College we feel that there is nothing immediately said Varese. played almost immediately. So that gave them an Bennington needs more than money, or rather good friends who will give ear-training. Very shocking to some of them, money, for there always is more to being supportive than sending checks. NOWAK: Prior to that Symposium, I was, in a sense, sometimes, too. Right now our needs are greater than usual, for we need money for a Visual and Performing Arts Center as well as for operating expenses. The Arts the only person who taught composition. Paul Bently QUADRILLE: Has the philosophy of the Music Division Center is essential if the College is to fulfill its present curricular designs, had taught some before I came. But when I came, I changed during your time here, Lionel? much less experiment in new areas. Our plan for financing it is conservative, taught it in the old-fashioned way. No performance but we do not yet have enough in hand to carry out the plan. unless finally the work was rather perfected, you NOWAK: I don't think it's changed, really, it has The College has achieved a balanced operating budget, but only by know. So who wanted to work at that? grown. When it pushes into a direction, it always paying a real price. Several introductory courses are larger than they should pushes with vigor, and at this moment, composition be. Seventeen applicants turned Bennington down last spring because other FINCKEL: This idea of insisting on composition im­ seems to be very important. But still, the whole colleges could give them larger scholarships. mediately had varied reactions from the students as chamber music notion, the whole notion that music The College is expensive, but no more expensive than other in­ can be made by anyone at any level just so long as dependent colleges and universities of the first calibre. We differ from most well as the outside world. I remember students used of them, however, in that we do not have a large endowment to generate to complain, "When am I going to get my harmony he does the best he can at that level. This is not a significant sums of money. and ear-training?" or "What is this running around professional school. but if you presume to be In short, we are dependent upon annual giving in a way few, if any, and written down everything you want to play?" professional, you had better BE professional. In a other first rate colleges are. And now we must make our usual appeal for There were those students who thought they weren't sense, there are no standards at all. and on the other annual giving and ask for money for a building. Two checks are not cheaper getting anything. I know one that applied to Eastman hand, there are tremendous standards up here. It all to write than one, whatever the truth is about the economies of family life. School. She brought in a sheaf of her compositions, depends on how you interpret it. But I don't think But if Bennington is to remain something more than an ordinary liberal arts college, it must have more than ordinary support. and a teacher asked, "Have you had any coun- philosophy behind the Division has changed. O What else is there to say, except a heartfelt thank you to those who 28 Quadrille gave so generously during the past year. Gail Thain Parker, President Thomas D. Parker, Vice President FOR THE PERIOD JULY l, 1971 TO JUNE 30, 1972 BENNINGTON'S GROWTH AT A GLANCE

INCOME

Student Fees (including Room and Board) 87%

1949-1950 1959-1960 1965-1966 1969-1970 1970-1971 1971-1972

Students 344 351 417 554 561 600

Faculty (full-time equivalent) 46 48 57 62 63 64

Number of Alumni 1,581 2,835 3,586 4,134 4,276 4,406 EXPENDITURES Full Tuition (including room and board) $2,100 $2,650 $3,450 $4,325 $4,625 $4,950

Average Faculty Salary (without fringe benefits) $4,347 $6,513 $9,518 $11,295 $12,114 $12,091 Instructional 36% Room and Board 21%

Financial Aid $76,177 $104,446 $112,850 $211,700 $249,735 $265,089

Total Unrestricted Gifts to Annual Funds Maintenance (for the year ending 12% June 30) $89,780 $166,577 $289,357 $199,363 $240,185 $203,121

General Endowment $122,626 $447,797 $759,227 $1,633,865 $1,820,362 $1,892,082 Administration 10%

Total Operating Budget $778,226 $1,304,033 $1,934,463 $2,954,576 $3,112,362 $3,296,085 BENNINGTON'S ENDOWMENT LIST OF CONTRIBUTORS TO BENNINGTON COLLEGE Compared to other colleges FOR THE PERIOD JULY 1, 1971 THROUGH JUNE 30, 1972 $ per student ALUMNI BY CLASSES from the 1970·1971 figures of the American Alumni Council ALUMNI FUND CHAIRMEN: Sarah Knapp Auchincloss '41 Helen Coonley Colcord '59 80 Class Chairmen are shown in bold face type.

Mary Edwards Thorne-Thomsen Jean H. Lee 70 Class of 1936 Barbara Ramsay Livingston c;; Ruth Magnusson Wathen-Dunn c Jean Conner Blouin Helen Webster Wheelwright Joan McArthur MacKinnon z Eldora Van Buren Boeve June Parker Wilson Natalie Kimball McMillan c( Antoinette Dangler Newman I/) 60 Mary Hooker Cavanaugh ::i Mary Jones Riley 0 - ~ Jean Michie Crafts Class of 1938 :i:: Asha Ingersoll Craine Cecilia Drinker Saltonstall I- Gladys Ogden Dimock Barbara Sapinsley - Elsie Balmer Gretchen VanTassel Shaw z 50 Rosamond Taylor Edmondson ...... Dorothy Sands Beers Marian Warner Trotter Yvette Hardman Edmondson Marcia Ward Behr I- Fletcher Wardwell Gaylord Eunice Herrick Trowbridge z Mary Sheerin Bennett Patricia Farley White 1'.I Eleanor Alexander Griffin Jane Garrott Boardman c ~ ::i 40 Elsa Voorhees Hauschka I- Frances Pollak Bourdy I/) Virginia Westwood Kerns Dorothy Middleton Brewer Class of 1940 n:: Jane Woodhouse McLaughlin Joanne Bass Bross 1'.I a. ~ Ellen Knapp Morandiere Mary Steele Burgess Joan Greenebaum Adler 30 Edith Noyes Muma Ruth D. Carter Aline Wharton Appel zI- Dorothy Case O'Brian Joan Ellett Benjamin 1'.I Jane Buckley Chapman ::!': Margaret Suter Rood Lucy Greenbaum Freeman Lucy Glazebrook Bradley 3: Grace Sullivan Scanlan Reba Marcus Gillman Beatrice L. Breese 20 c0 Berenice Loeb Sloss Jean Morgenthau Goodkind Jean Pettibone Butz z Hannah Coffin Smith Sylvie Redmond Griffiths Margaret Myers Byrne 1'.I Margaret T. Spencer Isabel Emery Haigh Anne Thomas Conklin - Shirley Stanwood Pauline Lee Hannah Alice Borchard Couch 10 Helen Stewart Lydia Vaill Hewat Minnette Hunsiker Cummings Gertrude Doughty Swartz Constance Wi gglesworth Holden Mildred Hubbard Cummings Emalea Warner Trentman Isabel Anderson Holden Ann Agry Darling Marion .Lambert Vanderbilt Virginia Todahl Davis I f l Priscilla Janney Hollis I n Bessie Schonberg Varley Louise Coles Hunninen Caroline Wickett Dern c .,, c Louise Stockard Vick Carolyn Gerber Diffenbaugh !! "E :§ :. ;: ~ 0 u Elizabeth Zimmerman James ~ iO" 0 E"' .E "0 :I "c > ~ 4i "' ""» .c a:" iD Frances McElwain Wakeman Elizabeth Reed Keller Vera Hall Dodd E .c VJ " c !! ;;;" .c ~ >.."' 0 ·;: 3: t'. "> 0 :c 'C" Helen Watkins Nancy Elliott Kelly Jessie Nelson Engle ;::" ~ .. .,, c _,.. .. :c ~ Jean Moore Whitehead Isabella Perrotta Erickson 3: c Sl Ill Caryl Field Kittredge I/) :I " .c Alene Potter Widmayer Lavina Kelly Falconer 0 :! Emily Jamieson Knapp :ii .. Helen Gregory Yardley Leila Vaill Fetzer VJ Margaret Altschul Lang Elizabeth Lindeman Leonard Barbara Willis Heinrich Margaret Dennis Love Marne Lloyd-Smith Hornblower Class of 1937 La\_lra Patterson McAuslan Florence Uptegrove Horton Molly Howe Lynn Anne Gardiner Archibald Margaret Berger Miller Dorothy Ordway Mills Denise Underwood Martin THE MORAL EQUIVALENT OF ENDOWMENT Ellen Conried Balch Carola Manning McEachren Esther Williamson Ballou Sara Brownell Montanari Barbara Coffin Norris Margaret Allen Mclellan Lucy Lee Bennett Alice Schwab Mix Mary Johnson Blank Hetty Richardson Phillips GIFTS TO BENNINGTON (1961-1972) Anne Bretzfelder Post Kathleen Harriman Mortimer Elizabeth Brown Florence Lovell Nielsen Mary Swan Brown Tacie Sergeant Ranson Barbara Webb Rockwell Priscilla M. Porter Christina Boardman Buckley Constance Mather Price Nancy Reynolds Cooke Jean Hinton Rosner Suzanne Stockard Underwood Barbara Haas Rawson ANNUAL GIVING Anne Ross Dechert ·------· CAPITAL GIVING (INCLUDING BEQUESTS) Ximena deAngulo Roelli Margaret Smith Denison Jean Wood Runyon Rachel Randolph Doucette Class of 1939 Mary A. Seelye Emily Hornblower Earley Judith Hodson Street Rosemary Ostrander Ballinger Ruth Dewing Ewing Catherine Burch Symmes Zipporah Shill Fleisher Jane Rogers Beebe Barbara Simond Thompson Lydia Allyn Graves Eugenie Rowe Bradford Katrina Burlingham Valenstein Elizabeth Mills Brown Lillias Dulles Hinshaw Mary Eddison Welch 1050 Anne Runkle Hose Alice Rowley Cheney en Caroline Sizer Cochran Martha Erskine Williams a: Jane Hutchins Jane Holmes Wood cc Jean Carter Jones Elizabeth Schoepperle Colman .J 900 Patricia Clement Wreden .J Nancy Wertheimer Kleinbord Dorothea Smith Coryell 0 Mary Denison Lanfer Dorothy McWilliams Cousins Q 750 Margaret Lawsing Magnusson Charlotte Goodwin Craig Class of 1941 u.. Joan May Harriet Brigham Dickson 0 Elisabeth Paine Merriss Elizabeth Capehart Donenfeld Edith Barbour Andrews en 600 Ernestine Cohen Meyer Alice Pulsifer Doyle Sarah Knapp Auchincloss Q Elizabeth Evans Munger Anita Boulton Egan Jean Davidson Baldwin z Nancy Forgan Farnam Sara Carter Balogh cc 450 Prudence Holmes Near Mary Stimson Bareiss en Jean Porter Nickels Mary Harriman Fisk :::> Faith Richardson Barnett 0 Lila Franklin Nields Laura James Foster :c 300 Margaret Edge Nightingale Jamie Porter Gagarin Patricia Hickox Beall I- Margaret Goodwin O'Brien Honora Kammerer Gifford Katrina Voorhees Berman Ann Meyer Rothschild Marion Hepburn Grant Margaret Mcconn Bishop 150 Carolyn Crossett Rowland Caroline Welch Huntington Elizabeth Henry Boyce Mary Shaw Schlivek Constance Fox Ingles Pamela Richards Brooks Rhoda Scranton Sloan Laura Jennings Ingraham Barbara Heywood Brownell 67/68 68/69 69/70 70/71 71/72 Barbara Howes Smith Ruth L. Ives Helen Keeler Burke Barbara Saul Sprogell Janet Fraser Jones Adele Bookman Burnett Harriet Stern Strongin Janet Heywood Kinnicutt Elaine Pear Cohen Anne Clark Culbert Frances Berna Knight Ruth Lee Sherwood Class of 1948 Phyllis Jones Menefee Judith Erdmann Makrianes Ruth Annis Delascoutx Alicia Ruhl MacArthur Holly Appel Silverthorne Eloise Moore Agger Kiriki de Diego Metzo Martha Hornblower McCarthy Vida Ginsberg Deming Mary J. Meyer Barbara Gidden Smith Muriel Reid Allsopp Suzanne Lochhead Mink Joan Olmsted Oates Suzanne Blumenthal Domec Marilynn Baker Milbank Ann Rogers Stamps Sumiko Fujii Biderman Georgabell Henley Moffat Rona Davis Pollack Fay Mowery Donoghue Muriel Cummings Palmer Thelma Black Stowe Eleanor Carlson Castro Marjorie Wood Murray Corinne Staller Pollan Jane Hartington Faytle Yvonne Roy Porter Virginia Addis Vila Mary Wells Cypher Candace de Vries Olesen Louise Loening Prickett June Spreter Felix Barbara Bacon Rosenberg Penelope Perkins Wilson Marion Day Judith Vanorden Peacock Anne Cohen Rabinowitz Anne Forbes Carol Christopher Schmitz Polly Ridlon Wilson Cynthia Whitney Drayton Barbara Connally Pijoan Rhoda Turteltaub Rosenthal Margaret Stein Frankel Eleanor Metcalf Scott Mary Jo Cavender Wilson Joyce Fondren Elbrecht Kathryn Ballantyne Polansky Marilyn Bernstein Seide Diana Allyn Granbery Evelyn Glass Shakespeare Elizabeth St. John Fennel Susan VanClute Quinby Martia Reed Smith Suzanne Heller Harris Edith Stevens Sheldon Anne Mayer Fitzsimmons Nina Pattison Quinn Sydney Brucker Sowles Carol Haines McBride Pearl Friedman Staller Class of 1946 Sonya Rudikoff Gutman Betty Secunda Rich Mary Rhodes Stern Agnes Quisenberry Meyer Rebecca Stickney Edith MacVeagh Huey Deborah C. Ritter Carol Haffner Strauss Nancy Victor Millard Annette Kolin Tarr Charlotte Cullingham Acer Anne Pratt Ladd Margaret Kuhn Rockefeller Sue Rayner Warburg Helen Steffen Oliver Alice Leavitt Thompson Esther Kuh Askew Elinor Gottlieb Mannucci Silva Mardiste Roy Elisabeth Newman Ward Anne Eaton Parker Alice Brisbane Tooker Virginia Belding Jeanne Johnson McCarthy Sally Liberman Smith Sophie Ruderman Weber Marjorie Morrison Prince Barbara Cox Vallarino Mary Wiggin Bertaccini Annora Harris McGarry Kay Brown Smith Anne Topping Weed Phoebe Arnold Rankin Clara Lloyd-Smith Weber Barbara Burton Boyle Elizabeth Sherwin Nevin Marcia Eastman Snider Joan Maggin Weiner Laura Rice Margaret Goodhue Whitman Elizabeth Brierley Grace Russell Sharples Joan Luce Stauffer Betsy Marden Silverman Louise Perry Carpenter Jean Ganz Sloss Martha Jane Woodcock Sutton Susan Winter Stedman Constance McMillan Carpenter Elizabeth Brown Stammel Jane Walker Warren Class of 1953 Barbara Kirchmaier Sutherland Class of 1944 Mary Walsh Cass Elizabeth Blanchard Tankoos Joanne McCallum Wasley Margaret Dudley Thurber Louise Rockwood Cies Charlotte Manning Wilson Esther Abraham Abrams Helen Cummings Vanderbilt Elizabeth Sizer Allen Lucie Seronde Clark June Wineburgh Baker Martha Lockwood Van Emburgh Elizabeth Stockstrom Augustine Patricia Chaplin Condon Class of 1949 Elisabeth Brown Bell Janet Walker Josephine Swift Boyer Mary Hammond Coughran Class of 1951 Carol Crofut Bond Ann Browne Ward Beatrice Newman Brenner Joya Bovingdon Cox Florence Gallup Atkins Jennifer Mertens Brock Datha Seaverns Welbourn Polly Kirsten Breul ldolene Hegemann Darrow Mary Rickard Behre Jeanne Marcy Berwind Solveig Peterson Cox Ernestine Reutter White Joan Ascher Cardon Kelita Boas Dinsmore Jennette Winans Bertles Katherine White Boni Ruth Miller Curwen Katherine Kidner Wise Carolyn Robinson Cassady Janet Hart Golden Marion Marsh Birney Ann Irwin Bourgois Lucretia McPherson Durrett Mary Hill Christ Maxine Cooper Gomberg Kay Eppich Black Sarah Pickells Burrill Susan Edelmann Elizabeth Herriott Davis Mary Sutherland Gussow Marcia Ireland Brookbank Barbara Ushkow Deane Frances Dugan Hallinan Class of 1942 Rhoda Goodman Falk Nancy Kluge Hall Jane Lougee Bryant Mary Carpe Desantis Sonya Batlin Herwood Janet Frey Harte Frances Harris Edith Nightingale Burt Susan Shepheard Diener Yvonne Franz Herz Margaret Allen Beale Doria Higgins Dorothy Barbour Hayes Margaret Leake Craig Lorna Payson Dorsey Nancy Price Hiestand Lilian Deissler Bowler Mary Otis Hivnor Harriet Swift Holdsworth Carol Stettinius Gorman Joan Elliott Lorraine Nichols Higbie Eleonora Eaton Brooks Grace Ewing Huffman Karen Johnson Keland Rita Gillette Gottsegan Carol Diamond Feuer Elisabeth Delatour Jenkins Elizabeth Kane Brown Margaret Larson Mary Bacon Lyon Suzanne Parker Gutterson Olivia Pattison Garfield Carol Bondy Katz Ann Whiteley Childs Phyllis Preston Lee Judith Lindau McConnell Carole Grossman Honigsfeld Carol Davis Goodman Betsy Mautz Klode Charlotte Watson Cole Eleanor Trumbull Lowell Ruth Bowman Mccutcheon Carol Black Livaudais Sally Eastman Graburn Valerie Silverman Kovitz Nancy Fahnestock Denniston Dorethy Ayers Paaby Katharine Evarts Merck Sally Brown Lutyens Joan DuBrow Gross Elizabeth Larsen Lauer Enid Klauber Dillon Adelaide Rubin Perloff Virginia Tishman Meyerson Barbara Cart Macauley Olga Landeck Heming Sheila Stires Lloyd Lucille Kron Duncan Allyn Johnson Shepard Saranne King Neumann Barbara Smith Mahoney Barbara Turner Ives Barbara Pavell Loden Sylvia Thayer Ferry Mary Winner Stockwell Carol Kobin Newman Barbara Corey Mallonee Barbara Allen Kennedy Ann Guttmacher Loeb Rosamond Hamlin Groves Druanne Blackmore Sweetser Sarah Price Parker Audrey Kent Mink Joan Swafford Kent Zola Armour Mack Dorothy Coffin Harvi Janet Maccoll Taylor Nuala O'Donnell Pell Jean Moffat Miraglia Laurel Melnick Kaufman Pauline Thayer Maguire Helen Levine Koss Eleanor Wayland Thomson Patricia George Peterson Cynthia Moller Elizabeth Olsen Kyburg Nancy Miller Mahoney Mary Heed Leckie Rosamund Reed Veit Katharine Sawtell Plimpton Diane Kremm Nolan Jacqueline Brown Llewellyn Marcia Tobey Martin Elizabeth Wheeler LoMele Joy Schuyler Walker Martha Stokes Price Victoria Henderson Osborne Frances Wells Magee Virginia deRochemont McReel Harriet Grannis Moore Rebecca Grafton Ward Margaret Black Richardson Isabelle Cameron Patten Ann Webb McDowell Annette Cottrell Merle-Smith Barbara Ellis Mordvinoff Patricia Newman Woolner Ruth Thompson Shapiro Cecily Henderson Pennoyer Helen Cappel Miller Joan Stahl Milovadovitch Margaret Twichell Mowbray Ann Breese Sink Byrd Symington Platt Carol Spence Muntz Janet Gay Newman Ellen Hartt Norden Louise Wachman Spiegel Felicia Warburg Roosevelt Gail Gardner Newman Carolyn Lissner Ottley Lydia Schoepperle Paxson Class of 1945 Anne Laskin Strick Faith Hussey Staub Katharine Kingsford Newton Jean McKay Rockefeller Jeanne Michaels Radow Jean Noyes Takai Susan Pierce Stewart Cynthia Kelley O'Neill Sylvia J. Saltman Mary Hammond Rodman Joan Wilkinson Aalfs Margaret Shackelford Toms Christina Marquand Welch Renee B. O'Sullivan Nancey Horst Trowbridge Katharine Wyman Roll Rachel M. Barker Eileen MacVeagh Toumanoff Gina Raffetto White Ruth Rigler Olincy Greta Mayer Vardi Hilda Wheelwright Sewall Anne Benjamin Barry Jean Thompson Vogelbach Sally Whiteley Doris Robbins Ornstein Barbara Schwanda Weedon Nina Howell Starr Marion Miller Bent Eleanor White Wright Mary Heath Wright Nancy Tholen Prince Elaine Levin Weil Margaret Brush Vandermade Jane Burke Betts Ann MacFarlane Richter Drusalina Romano Weild Helen Masenhimer Verduin Otis Kidwell Burger Suzanne Sessions Rossin Helen Shapiro Willoughby Mary Wood Victor Margaret Butler Class of 1947 'l Class of 1950 Suzanne Mosher Saul Joan Strong Warmbrunn Joan Merriss Clark Renee Hubert Spencer Katrina Van Tassel Wuerth Nancy Griffin Davis Joan Brauer Alpert Helen Johnston Ammen Suzanne Lemberg Usdan Class of 1954 Marie Thaxter Dietrichson Edith Benoff Birnbaum I Penelope Hartshorne Batcheler Elizabeth C. Wagner Cynthia Jenkinson Yandell Brett Ginnings Bell Virginia Wilson Yerxa Marnie Rogers Donnelly Sonia Grodka Blumenthal Joan Hunt Bushnell Phyllis Meili Weissman Susan Lancaster Flanders Marilyn Miller Bowie Jennifer Brown Cecil Judith Beach Bergen Emilie Worthen Hall Janet Loper Coye Inge Chwang Greta Stuckens Brennan Class of 1943 Elizabeth Harvey Diana Gellman Cullen Joan Megnin Clifford Class of 1952 Nancy Smith Casner Audrey Stern Hess Carol Prange Drake Barbara Bowles Coolidge Neisa King Dewitt Jean Short Aldrich Flora Bond Hollinger Helen Hoffmann Ericson Louise Wynne Corbett Sally Rounds Bruch Judith Rosenberg Hoffberger Jane Allen Julia Barnwell Houskeeper Suzanne Eckfeldt Harding Wilhelmina Eaton Kay Carson Genevieve Wheeler Jewell Elizabeth Hubbard Banker Ethel Winter Hyman Muriel Seelye Heineman Susan Stern Ettleson Hester Haring Cason Joan Kearns Anne Wickes Brewer Dorothea Douglas John Anne Woodward Howard Janina Kaminski Finsthwait Edith Askin Ehrlich Ann Frey Kleinhans Nancy Hirose Brooks Judith Bailey Jones Mary Lou Chapman Ingwersen Mary Gibson Geer Seena Israel Fish Susan Powers Lagunoff Lisa Adams Butters Aurelia Mcintyre Klayf Sally Johnson Knox Carol Baumgarten Goldwyn Elizabeth Ivory Greene Ginoris Vizcarra Lopez-Lay Mary Achilles Coggeshall Edith Dinlocker Kuhn Hudas Schwartz Liff Jane Cochrane Hallowell Elizabeth Corey Guthe Stephanie Taubman Low Elizabeth Bope DeWindt Carol Skinner Lawson Joan Gill Lincoln-Speck Sondra Parkoff Henry Barbara Gail Harris Ann Bradley Martin Elizabeth Harrington Dickinson Barbara Deming Linton Joy Milam Marcia Black Holder Winifred Farrell Hawkes Sue Friedman McGowan Marjorie Handwerk Duncan Barbara Stark Marcus Doris Corn Muscatine Edmar Von Henke Hoppe Cynthia Morton Hollingsworth Sylvia Sanborn McKinney Anne Michie Fairbank Rosalie Holtsberg Mayer Marjorie Neyland Beatrice Vancleve Lee Jane Neal Keller Helene Fox Metzenberg Tina Safranski Fredericks Franziska Kempner Morris Marjorie Soule Orrick Lois Klopfer Levy Priscilla Norton Kennedy Joan Holt Oates Elinor Carr Glass Emily Knight Oppenheimer Phyllis Bausher Petrak Ellen St. Sure Lifschutz Caroline Crane Kiyabu Sarah Holt Parsly Janet Briggs Glover Olga Von Hartz Owens Constance Payson Pike Susan Worcester Light Renee Marron Klepesch Barbara Nelson Pavan Priscilla Sherman Goldsmith Laura Parker Price Sarah Winston Robinson Anne Kenworthey Lowe Joan Pauley Lamb Nancy Spraker Schraffenberger Ruth Davis Green Priscilla Baker Reveley Linda Strobel Smiler Cynthia Lee MacDonald Nola Spiero Langner Joel Wells Schreck Merrell Hopkins Hambleton Carol Greenfeld Rosenstiel Ella Russell Torrey Martha Klein MacDonald Virginia Wilson LaPlante Judith VanClute Schur Joan Hyatt Mary Crane Rossiter Roslyn Long Udow Ursula Keller May Dorothea Harding Lobsenz Charlene Solow Schwartz Ann Mills Hyde Rita Friedman Salzman Laroia Tryon Widmer Jane Stewart McDermott Jill Warburg Maass Jane Watt Shapard Nancy Hay Knapp Julia Randall Sawyer India Moffett Williams Linda Borden McKean Barbara Overlock Mahler Anne Johnson Sharpe Elizabeth Graham Monk Barbara Heath Forbes Marilyn Sibley Merle Zinn Gross Amy Sweedler Friedlander Wanda Peck Spreen Joan Trooboff Geeter Aviva Dubitzky Neuman Janet Gohres Elizabeth Bradford Single Carole Press Stavenhagen Priscilla Loening Hanford Joan Tower O'Brien Jessica Howard Susan Mauss Tunick Marcia Sang Isaacs Phyllis Saretsky Gitlin Ellen Firestone Stein James R. Goldstone Gretel Hoffman Pelto Diana Chace Hoyt Beverly Rantoul Turman Helen Schenker Stritzler Elaine Silverman Lewis Robyn Posin Ann Lane Mary Earthrowl Lewis Carol Grossman Gollob Anne Adams Umlauf Mary Lynn Hanley Harriet Zarling Schuman Anne Harvey Mendershausen Rasma Kletnieks Veselis Lois Landau Mazer Lucy Sloan Gail Rockwell Minton Class of 1968 Julia Russell Meyerson Edith Swan Harrison Carol Gewirtz Yudain Joan Cross Hawkins Lynn Goldberg Small Jane Weisbord Perin Margot Wurtzburger Milch Monica Wulff Steinert Susan Friedman Reed Sandra Adams Roberta Selwyn Miller Sandra Siegel Kaplan Cornelia Crocker Nancy Schoenbrun Lapidus Barbara Bartelmes Surovell Hannah Hewat Rose Class of 1955 Anne Schleisner Moses Karen Egeberg Warmer Susan Brandt Scott Anna Renfield Dubow Carol Yeckes Panter Jennifer Rains Lenz Lydia Allen Feely Dianne Meeker Leonardi Margot Adler Welch Pamela De Windt Steck Elizabeth Green Appleton Elaine Liberstein Pitt Sylvia Conway Williams Pamela Strauss Sullivan Barbara Fisher Carol Foley Liston Peggy Kohn Glass Sheila Gallagher Arnaboldi Louisa Perkins Porter Sandra Albinson Zapinski May Vaughan Totten Lois Ballon Rabinowitz Barbara Plapler Morris Martha Armstrong Gray Sibyl Totah Belmont Irene Weisberg Murphy Nancy Nelson Weiss Margaret E. Buckley Alyce Hastings Rogers Barbara Al rich Wichura Erica Fratkin Hiersteiner Judith Levine Rubin Alice Marie Nelson Maria Huffman Helen Burgin Buttrick Barbara Dain Nemiroff Class of 1962 Barbara Jacobson Zimmerman Ellen Huddleson De La Torre Michele Kashe Schaye Phoebe Pettingell Hyman Carol Bennet Schoenberg Jenny Polson Ono Leslie Sliker LaRocca Joan Geiger Doyle Joan Matz Partington Judith Seaman Barnet Josephine Brown Emery Dorothy Franks Sellers Saida Heyman Baxt Karen Manulis Janet Wells Sherwin Sarah Southern Pease Class of 1965 Adele Smith Joan Gale Ann Little Rubenstein Judith Beatie Elaine Grossman Gould Elinor Berman Side! Nancy Feinstein Becker Isabella Holden Bates Letitia Delacorte Spangler Anne Cremer Smith Sandra Uhle Sawin Melody Sternoff Beatrice Appel Halsted Daisy Sharples Sch~amm Rosalind Moger Bernheimer Tina Croll Bellas Ethelyn Blinder Honig W. Leonard Taffs Donato Capozzoli Renee Engel Bowen Gale Thompson Synnott Margery Beck Wiesenthal Ava Heyman Siegler Marie McKenney Tavernini Miriam Hermanos Knapp Tama Alcott Taub Helen Croll Chinitz Marjorie LaRowe Brockman Selina F. Little Ketti Finkle Wineberg Paula Epstein Eisner Elizabeth Gallatin Gerard Jean Witkin Joan Rosenthal Wit Abby Fink Zito Jane Elkington Wohl Joan Morris Manning Janet Marcus Zuckerman Joan Borkum Epstein Polly Drinkwater Gordon Elizabeth Lester Miyoshi Winston Case Wright Sandra Clough Garry Sophia Healy Lynn Sakowitz Wyatt L. Augustus Nowak Andrea Kanner Halbfinger Barbara von Eckardt Klein Class of 1969 Linda Schandler Perlich Class of 1960 Susan Weiss Katz Lucy Kostelanetz Helene Rattner Pesin Class of 1958 Polly Lauterbach Keyworth Caryn Levy Magid Kathleen Fisk Ames Jean Woodard Salladin Stanley Berke Victoria Nes Kirby Inez Ingle Oberteuffer Starr Siegele Behringer Stella Spanoudaki Sichel Suzanne Wolf Applefeld Barbara Sailer Berofsky Dorothy Goldman Mann Marjorie Perloff Susan Blanck Ruth Fidel Silverman Elizabeth Lewy Bland Jane Vance McCauley Ruth Jacobs Rubin Jane Ludwig Simon Jane Eisner Bram Carol Baisey Frieda Rowell Carnell Frances Finesilver Blumenthal Lucy Stone McNeece Janet Warner Sanders Alice Purnell Cannon Nancy Lee Smith Susan Sims Bodenstein Susan Plasky Miller Holly Long Shetler Judith Rydell Wagner Joy Carpenter Chadwick Deborah Choate Nancy Cooperstein Charney Dorothy Willett Oliver Julie Snow Elizabeth Niebling Dawson Susan Humbert Zuch Susan Ullman Chapro Harriet L. Clifford Mary Humes Crowe Judith Hidler Richardson Lynne Tishman Speyer Kathryn L. Girard Ellen Osborne Coolidge Joan Rylander Davis Sandra Kesselman Slotnik Susan St. John Christina Graham Frances Allen Cooper Manuel Duque Miriamne L. Spector Maria A. Taranto Sheela M. Harden Class of 1956 Elinor Stockheim Davidson Barbara Black Frank Susan Whitacre Ward Alice Ruby Travis Kathleen Norris Beverley Mountain Galban Thelma Bullock Welter Rima Gitlin Wolff Susan Gurian Ackiron Rachel Shor Donner Jane Platt Patricia Falk Joy Goldsmith Joanna Clark Swayze Paula Klonsky Berk Lynne Miller Guss Adelaide Phillips Bull Amy J. Ferrara Marsha Flum Taylor Marjorie Rubin Freeman Franka Culberg Jones Class of 1963 Class of 1966 Martha Weiss Lois Schulman Chazen Shirlienne Kazanoff Joan Simons Constantikes Ana Berliant Glick Susan Fogg Austin Susanne Thomsen Ferguson Ruth Berman Greer Amy Miller Levine Alma Sachs Daniel Jane Lipman Deborah Comay Banov Thea Comins Froling Class of 1970 Jean Segal Fain Rennie Halpern Hansen-Strum Kristin Mclaughlin Barber Katherine Garnett Judith Outerbridge Hughes Elizabeth Mamorsky Joan Rice Franklin Wilma Kantrowich Marcus Brenda Samara Bjorksten Lisa Lippold Hantman Vanessa Beer Sheila Solomon Hadley Joanne Goldstein Katz Martha Terrell McCall Joan Bromberg-Ross Jean McMahon Humez Patricia Prandini Buckler Ruth Ring Harvie Priscilla Alexander Kornfeld Ann Ewbank Cowan Margaret Kinder Marilyn Kropf Kurtz Patricia Flagg Morris Sarah Edwards Canzoneri Margradel Lesch Hicks June King Nichols Judith Selis Davidson Olivia Koppell Carrie Mcleod Howson Carole Glover Lawder Erika Schwenn Fox Elin Fleischer Leonard Jan Cook Christine Loizeaux Rochelle Sholder Papernik Victoria English Carol Friedman Kardon Phyllis Baron Plattner Jean Pavelle Garment Shelagh Gordon Levin Anna Carbone Lautore Anne Fulton Magai Jane Witty Gould Adrienne Franklin Parker Patricia Mallon Frank Ruth Watkins Leopold Judith Jacobson Magee Gloria Dibble Pond Elizabeth Raspolic Sandy Perlmutter Greer Dinah Ruth Schley Pamela Granbery Paula Levine Patricia Sullivan Meyers Linda Appleman Guidall-Shapiro Ellen Beskind Smart Joan Katz Gretchen Lindblad Ma mis Barbara Israel Nowak Cornelia Rogers Virginia Alcott Sadock Priscilla Rendell Haertl Heidi Jost VonBergen Penny J. Larrison Louise Valentine McCoy Margaret Beckwith Parsons Miriam Schwartz Salkind Arlene Heyman Sally Bowie Walker Harriet R. Miller Kay Crawford Murray Carol Robinson Sybillyn Hoyle Jennings Constance Wallace Judith Cohen Ross Emily Leshan Samton Rebecca M. Mitchell Anstiss Chassell Nadler Ruth Mordecai Slavet Sally Wolter Kirouac Susan Frary Williams Janet Altschuler Roseberry Donna Schacter Marianne Stafne Meyer Elizabeth Richter Zimmer Michele Molyneux Mary Peters Rosenthal Treva Silverman Virginia Weed Smith Ellen M. Pollak Elaine Staber Steward Sheilah Marlow Miller Elisa Starr Rudd Rosamond Tudor Van der Linde Catherine Fairbank Mitchell Emily Israel Rapheal Margery Baer Schwartz Jane Berry Vosburgh Harriet Fitts Szanto Patricia Seelinger Windsor Eugenia Nicholas Class of 196 7 Susan Toepfer Dale Lester Sokolow Kathryn Kading Wheeler Margaret Nichols O'Neill Hilary Apjohn Trigaux Theresa Connelly Whiting Judith Greenhill Speyer Mary F. Poole Leslie Gieseke Bose Cristina Guiu Wood Josephine Hamlin Stead Barbara Goldberg Rohdie Sally Levin Brotman Class of 1961 Barbara Kaufman Butler Zai Zatoon Alice Lyon Thompson Class of 1959 Carolee Gould Russack Renee Patenaude Turolla Anna Bartow Baker Diana Strauch Scott Martine Cherau Pamela Acheson Covington Alida Van der Hoeven Van Horn Marcia Margulies Abramson Brenda Goldberg Bemporad Mary Hasset Skarstrom Class of 1971 Judith Shaver Vaughen Kaye Donoho Benton Adrienne Jaffe Throne Diana Forbes Droste Harriet Turteltaub Abrams Clara Freeman Forbis Marilyn Arnold Arline Israel Weishar Valerie Reichman Aspinwall Marjorie McKinley Bhavnani Susan Appleman Unterberg Michele Rogers Zwirn Judith Schneider Bond Jane Austin Vaughn Carolyn Heimburger Gannon Cory Goldsmith Segner Jessica Falikman Attiyeh Deborah Clements Gessner Rona King Bank Edna Goodman Burak Susan Pickering Wong Lane DeMoll Susan Burack Carter Ellen Glick Barbara Goll Class of 1957 Elisabeth Posselt Barker Susan Bryant Hadley Roberta Forrest Bender Elizabeth Ravit Chase Joan B. Harris Nancy Markey Chase Class of 1964 Tracy K. Harris Myrna Janoff Baldinger Joan Waltrich Blake Adria Heyman Hillman Christine Lawton Helen Isaacs Barer Constance Richardson Boden Shannon Theobald Devoe Joanne Beskind Rivkin Patricia Groner Dubin Patricia Cronin Adams Carol Kinne Marya Bednerik Rebecca Stout Bradbury Sarah Scattergood Ashe Sheila Kiley Largay Jane Marcus Sobel Evelyn Stein Benjamin Merle Riskind Brukoff Dorothy Tulenko Feher Gail Cherne Gambino Diane Sullivan Bacro Margaret Rood Lenzner Martha Harvi Soehring Darcy Lay Doyle June Allen Carter Barbara Amberger Brackett Mary Tolbert Matheny Anne Shafmaster Spencer Edith Keen Farley Barrie Rabinowitz Cassileth Meryl Whitman Green Joan Brainard Sharon Johanson McCullough Ruth Paddock Stanley Lucy Grier Feller Helen Coonley Colcord Susan Loomis Herrmann Julie Cavanagh Kaneta Alexandra Broches Calabro Victoria Kirsch Melcher Sarah Tenney Marion A. Fisher Ellen Count Julia Faunce Carragan Beverly Mikuriya Barbara Kelly Glovich Diane Deckard Margaret Katz Kaufman Mary Welch Nicole Reinhold Kramer Nancy Farnam Charles Elizabeth Clark !Nigro Eleanor Kronish Goldstein Jane Vanderploeg Deckoff Alexandra Ramsay di Luglio Barbara Davenport Rosof Victoria Woolner Elizabeth Patrridge Durant Lael Markel Locke Marjorye Hirsch Goldstein Bronwyn Jones Dunne Bambi Bernhard Schieffelin Heidi Koring Zackarias Constance Golub Garfinkle Sally Foster Artelia Court MacWeeney Class of 1972 Tanya Farnamfarmaiam Foroughi Class of 1973 Mr. and Mrs. David M. Rohr Mr. and Mrs. N. Silverman Mr. and Mrs. Robert M. Walker Leslie Gillen Mr. and Mrs. Bernard Rosenberg Mr. and Mrs. A. N. Spanel Mr. and Mrs. Arthur Wallach Steven Ashe Carol Leskiewicz Myra Taksa Mrs. Henry Rosenberg Dr. and Mrs. Ralph B. Spence Dr. Ruth C. Warwick Elna Barnet Caren Pert Dr. and Mrs. Abner Rosenthal Mrs. Marion E. Stanwood Mr. and Mrs. Henry H. Wells Mary Barringer Kathleen Pottick Class of 1974 Mr. and Mrs. Morris Rotman Mr. and Mrs. J. Hershel Stone Mrs. Max Wiesendanger Christopher Bishop Mara C. Purl Mrs. Frank M. Sawtell Mrs. Forrest Strayer Mrs. F. Wigglesworth Ellen Burt Charlotte Albright Renner Stephanie Hollyman Mrs. Mary Weeks Sawyer Mr. and Mrs. Frede Swinnerton Mrs. Leo Wilensky Ann Welch Campbell Gail S. Rothman Mr. and Mrs. M. Schlossberg Mr. and Mrs. Chester Taft Mr. James H. Wilkinson Sharon Couch Caroline Sheridan Class of 1976 Mr. and Mrs. Theodore E. Schulte Mr. and Mrs. Thomas H. Terrell Mr. and Mrs. Roger B. Wilson Sandra Darnel Rauni Smith Dr. and Mrs. I. H. Schwartz Mr. and Mrs. George W. Tower Mr. and Mrs. Spencer B. Witty Jullie Ferris Amy Yasuna Susan Goody Mrs. Samuel Schwartz Mrs. Augusta Trooboff Mrs. Robert A. Wyman Mrs. L. H. Seelye Mrs. A. Buel Trowbridge Mrs. Minna H. Yaffe Mr. and Mrs. Samuel Sepinuck Mr. Carl E. Troy Mrs. Sadie Young Mrs. E. Sgutt Mr. and Mrs. Fred Turkington Mrs. Sara Dunning Zenge REGIONAL ALUMNI GROUPS WHICH CONDUCTED FUND-RAISING PROJECTS Mr. and Mrs. William B. Shore Mr. and Mrs. Joseph Ushkow Dr. and Mrs. Howard D. Zucker IN SUPPORT OF THE ANNUAL FUND DURING 1971-72 Mrs. George M. Sidenberg, Jr. Mr. and Mrs. Leo Vroman Mr. and Mrs. William Siegele Mr. and Mrs. John M. Waldman BENNINGTON, VERMONT NEW YORK, NEW YORK BOSTON, MASSACHUSETTS SAN FRANCISCO, CALIFORNIA FRIENDS OF BENNINGTON COLLEGE CHICAGO, ILLINOIS WASHINGTON, D. C. Senator George D. Aiken Mr. Malcolm Goldstein Mrs. Fred S. Radnitz Mr. and Mrs. Brooke Alexander Cynthia Gooding Mrs. Richard L. Rising Miss Stell Anderson Mr. Clement Greenberg Mrs. Sue Ellen Rittmaster FACULTY AND ADMINISTRATION, PAST AND PRESENT Anonymous Mrs. Harold Gumm Mr. and Mrs. Nathaniel Rosengarten Prof. C. L. Barber Mrs. E. R. Harriman Mrs. Elsa Rosenthal Mr. and Mrs. John Beary Mr. Michael Finckel Mr. and Mrs. Bernard Malamud Mr. and Mrs. Stanley J. Beskind Ms. Jo Hartley Mrs. Barbara Roth Mr. and Mrs. Samuel W. Bloom Mr. Clement Greenberg Mrs. Nora Montesinos Mr. Raymond B. Bowen Mr. Andrew Heiskell Mr. Stanley Roth, Jr. Mr. Ewdard J. Blaustein Mr. Richard Haas Mr. Lionel Nowak Mr. and Mrs. Robert Condon Mr. William B. Hixson Mr. Oscar M. Ruebhausen Mr. and Mrs. Thomas Brockway Mr. George Holt Mr. R. Arnold Ricks, Ill Mr. Theodore L. Diamond Mr. and Mrs. Carleton Howe Mr. and Mrs. Donald C. Samuel Mr. Donald R. Brown Miss Mary S. Hopkins Mr. Leonard Rowe Mr. Charles Do.flard Mr. Joseph S. Iseman Dr. and Mrs. Earl S. Scott Mr. Louis Calabro Miss Myra H. Jones Mr. Charles W. Smith Mr. Peter Donovan, Jr. Mrs. Jacob M. Kaplan Mr. and Mrs. William R. Scott Mr. Henry Chapin Mr. and Mrs. Benjamin Karp Miss Edith Stewart Mr. Victor L. Drexel Mr. I. Wallace Leibner Mr. Edward Sinanian Mr. and Mrs. Alan Cheuse Mr. and Mrs. T. L. Kazanoff Mrs. Robert Sugarman Mr. Ralph Ellison Mr. James L. Loeb Mrs. Bradford Smith Mr. and Mrs. E. H. Cumpston, Jr. Mrs. Joanna Kirkpatrick Mr. Rush Welter Mr. Allen D. Emil Mrs. Elmer Loemker Miss Mary C. Smith Mr. Ned Donahoe Mr. Kendall Landis Mr. and Mrs. Arthur D. Emil Mr. Joseph Lord Miss Gladys L. Steven Mr. and Mrs. Oliver Durand Mrs. Gladys Y. Leslie Mr. and Mrs. Carl Erpf Mr. and Mrs. Murray M. Mandel Mr. Charles Thompson Mrs. John Flagg Dr. Julius H. Manes Mr. Arthur Thornhill, .Jr. Ms. Martha Fountain Mr. Anthony Masso Mr. and Mrs. Charles G. Thalhimer Mr. George S. Franklin, Jr. Miss June Mintz Mr. and Mrs. Robert V. Tishman PARENTS OF ALUMNI AND STUDENTS Mr. and Mrs. Ray Frisch Dr. Robert S. Morison Mr. Leo J. Usdan Mr. and Mrs. Herbert L. Abrons Dr. Beeckman J. Delatour Mr. and Mrs. Russell M. Krob Mrs. James M. Fuld Mr. Frank E. Orenstein Mrs. Maurice Wertheim Mr. and Mrs. H. L. Achilles Mr. and Mrs. Robert L. Dick Mr. and Mrs. M. J. Kunstler Mr. William T. Golden Mr. Richard A. Plehn Mr. and Mrs. C. A. Wimpfeheimer Mr. Irving Adler Dr. and Mrs. Michael DiMaio Mr. and Mrs. Franklin LaRowe Mr. Frederick Goldstein Mrs. Don K. Price Mr. and Mrs. Thomas Adler Mr. and Mrs. Cleveland E. Dodge, Jr. Mr. and Mrs. Maurice Lazarus Mrs. Ellery Allyn Mr. and Mrs. Sydney Drooker Mr. and Mrs. Isaac Liberman Mr. and Mrs. James Andrews Mr. and Mrs. David V. Erdman Mrs. Clarence Loeb FOUNDATIONS AND CORPORATIONS Mrs. Morris Appleman Mrs. McClure Fahnestock Mr. and Mrs. Leon A. Ludwig Mr. and Mrs. Dexter F. Arnold Mr. and Mrs. Myron S. Falk, Jr. Dr. James R. Mack '' Participated through a matching gifts program. Mrs. Nathan A. Arvins Dr. Leonard Ferber Mr. Luke Magnaldi Mr. and Mrs. Sanford D. Atlas Mr. and Mrs. Jack A. Fink Mr. and Mrs. Jerry L. Marcus Abelard Foundation The Benjamin S. Gerson Family *Marine Midland Bank Mrs. Charles R. Austrian Mr. and Mrs. Joseph Fishman Mrs. Herbert E. Marks *Aetna Life and Casualty Company Foundation The Martin Foundation Mr. and Mrs. Eliot Bailen Mr. and Mrs. Henry E. Foley Dr. and Mrs. Irving H. Mauss *Alcoa Foundation '~The Gillette Company *McGraw-Hill, Inc. Mrs. Fannie Bakst Mrs. F. F. Foster Mr. John G. McCullough Lee Gottlieb Fund, Inc. ''Morgan Guaranty Trust ~'Allied Chemical Foundation Mr. and Mrs. Howard J. Barnet Mrs. Marion S. Fox Mr. Israel Medoff *W. T. Grant Company National Merit Scholarship Corp. Mr. and Mrs. Samuel Baron Mrs. Lillian S. Frank Mr. and Mrs. Chase Mellen, Jr. J. Aron & Company, Inc. Alfred Harcourt Foundation The Navarre Corporation Mr. and Mrs. C. M. Barringer Mr. Albert W. Frey Mr. Abraham S. Meltzer L. Batlin & Son, Inc. Mary W. Harriman Trust ~·New England Life Insurance Company Mr. and Mrs. P. E. Barringer Mrs. Virginia Fry Dr. Eugene Meyer Bross Foundation Harshe-Rotman & Druck, Inc. ''The New York Times Mr. and Mrs. Samuel Bartow Dr. and Mrs. H. W. Gardner Mr. and Mrs. Arthur I. Moger *Burlington Industries Foundation ~'Hartford National Bank & Trust Co. Foundation, Inc. Mr. and Mrs. Herman Batlin Mr. and Mrs. Benjamin Gerson Mr. and Mrs. Abraham Moskow The Louis Calder Foundation Henderson Foundation *Philip Morris, Inc. Mr. and Mrs. Howard L. Beer Mrs. Sam I. Gewirtz Mr. and Mrs. Carl A. Navarre Carpat Foundation, Inc. Audrey S. & Thomas B. Hess Presser Foundation Mr. and Mrs. Max Bender Dr. and Mrs. Harold Gifford Mrs. Natalia Nelson ':'Chemical Bank Foundation Inc". '~Reader's Digest Foundation Mr. and Mrs. E. A. Bergstrom Mrs. Charlotte V. Glaserfeld Mr. and Mrs. Jerome A. Newman *Cleveland-Cliffs Foundation The John W. Hill Foundation Henry and Ruth Blaustein Mr. Norborn Berkeley Dr. and Mrs. Louis R. Goldberg Mrs. Margaret S. Nichols Arthur J. & Nellie Z. Cohen '~International Business Machines Rosenberg Foundation Mr. and Mrs. Albert Bigelow Mr. and Mrs. Harold Goldstein Dr. and Mrs. Werner K. Noell Foundation, Inc. Corporation Helena Rubinstein Foundation, Inc. Mr. and Mrs. Abraham Bluestone Mr. and Mrs. Richard E. Golub Mr. and Mrs. Marvin M. Notkins College Linen Supply, Inc. Johnson Foundation (Trust) The Scherman Foundation, Inc. Dr. and Mrs. Seymour Bluestone Mr. Edward A. Goodman Mr. and Mrs. Lionel Nowak George & Margarita Delacorte The Kaplan Family Fund Spane! Foundation, Inc. Mr. and Mrs. Lawrence Borger Mr. and Mrs. Leo Gottlieb Mr. and Mrs. Sheldon Cringer Foundation Margaret H. and James E. Kelley ~·Sperry & Hutchinson Mr. and Mrs. Kenneth M. Boyle Mr. and Mrs. Maitland L. Griggs Mr. and Mrs. Carl Ostergren Frances R. Dewing Foundation Foundation, Inc. Foundation, Inc. Mrs. Ira L. Bretzfelder Mrs. Georgia Guback Mr. Howard M. Pack Diffenbaugh Foundation David L. Klein, Jr. Memorial ~·sterling Drug, Inc. Mr. and Mrs. Aron Broches Mr. and Mrs. T. Edward Hambleton Dr. and Mrs. Jacob S. Parnes E. I. du Pont de Nemours & Co., Inc. Foundation, Inc. ~'J. Walter Thompson Company Mr. and Mrs. Ralph E. Bryant Mr. and Mrs. John C. Harkness Mr. and Mrs. Richard Partridge *Eaton Corporation Faigel Leah Foundation, Inc. ''Time, Inc. Mrs. Robert J. Bulkley Mr. and Mrs. Edward Heifetz Mr. and Mrs. G. H. Pattison, Jr. William Ewing Foundation Levy Hermanos Foundation, Inc. *The Travelers Mr. and Mrs. Harry J. Burley Mrs. Norman Heilbrun Mr. and Mrs. Si Pavelle *The Fiduciary Trust Company Bertha and Isaac Liberman *United Aircraft Corp. Mrs. Dorothy Burlingham Mr. and Mrs. George A. Holt Mr. and Mrs. George J. Penick The Ford Foundation Foundation Vermont Foundation of Independent Mr. and Mrs. Gene John Burton Mr. and Mrs. Edwin A. Hough Dr. and Mrs. James H. Pert Elizabeth J. Franklin Foundation The Agnes Lindsay Trust Colleges Dr. and Mrs. Murray Burton Mr. and Mrs. Jerome H. Jacobs Mr. and Mrs. Saul Plasky Freeman Foundation The Lookout Fund, Inc. '~Wellington Management Co. Mrs. E. H. Buschman Mr. and Mrs. Charles Johnson Mr. and Mrs. Robert W. Polchow *General Mills Foundation Mad River Foundation ''Xerox Corporation Mrs. Margaret S. Buzzelli Mr. Herbert F. Johnson Dr. and Mrs. Moses L. Press Mr. and Mrs. Conrad Carlsrud Dr. and Mrs. Douglas Johnstone Mrs. Rachel M. Rabinowitz Mr. and Mrs. Roger Cartwright Mrs. Fredericks Jones Mr. and Mrs. Bernard Rappaport Mrs. Henry M. Channing Mr. and Mrs. Hiroshi Kaku Mr. and Mrs. Joseph Rattner Mrs. Arthur J. Cohen Mr. and Mrs. S. L. Kanner Dr. and Mrs. George J. Ravit Bennington received during this period gifts in memory of the following: Mrs. Bernard Cohen Mr. and Mrs. Irving Kapner Mrs. E. Frank Rayner Joan Sidney Drooker Mr. and Mrs. W. S. Cowles Mr. Alan F. Kay Mr. Henry Reinhold Anne Hambleton Sandra Mallin Plehn Mr. and Mrs. Julian Creighton Mr. and Mrs. John C. Kiley, Jr. Mrs. George G. Reynolds Rosalie Gittings Drexel Stanley Edgar Hyman Sara Jane Troy Schiffer Lindsey Fry Mr. and Mrs. F. K. Daniel Dr. and Mrs. Basil Kina! Mr. and Mrs. Murray Rib Charles Kesselman Sally Shaw Smith Mr. and Mrs. Michael Dann Mr. and Mrs. William Konecky Mr. and Mrs. Allan Robbins Katrina Boyden Hadley Carol Kreibel Mr. and Mrs. Albert P. Delacorte Dr. and Mrs. Joseph Korn Mrs. Alvin R. Rogers LIST OF CONTRIBUTORS TO THE BENNINGTON COLLEGE CAPITAL FUNDS PROGRAM FOR THE PERIOD JULY 1, 1971 THROUGH JUNE 30, 1972 ALUMNI Mrs. Charles C. Ames Mrs. Lewis B. Frumkes Mrs. Crocker Nevin Arch Lauterer: Anonymous Mrs. James Guthe Mrs. John W. Nlelds Mrs. Robert C. Ascher Mrs. Andrew Gagarin Mrs. J. D. Olincy Mrs. Fred Bacher Mrs. Douglas T. Hall Mrs. Andrew D. Orrick Mrs. Sidney M. Baker Mrs. Ole Hammarlund Mrs. Paul E. Parker, Jr. Mrs. Anthony J. Barker Mrs. Charles H. Hardie Mrs. Edward Pesin Mrs. James R. Barnet Mrs. Edward P. Harding Mrs. William M. Pike A Science of Radiances Mrs. Barbara Bauer Mrs. Edward H. Harte Mrs. Stuart M. Plattner Mrs. C. Arnold Behr Miss Elizabeth Harvey Mrs. William D. Radford Mrs. Jefferson R. Bender Mrs. Charles J. Harvi Mrs. Jonathan B. Ratner Mrs. Robert A. Bendheim Mrs. Guy S. Hayes Mrs. Lee McNash Richmond Mrs. Allen M. Bennett, Jr. Mrs. Thomas B. Hess Mrs. Eliot F. Robinson Mrs. w. S. Bernheimer, II Mrs. G. Douglas Hewat Mrs. Robert C. Rohdie by Ben Belitt Mrs. John F. Bertles Mrs. Edward S. Holden Mrs. F. D. Roosevelt, Jr. Mrs. Gordon A. Bertrand Mrs. Marshall Hornblower Mrs. George C. Rowland Mrs. Harry W. Blumenthal Mrs. Alexander Humez Mrs. Michael J. Salkind I think of my association with Arch Lauterer as a the andirons: Sean would keep me company, he Mrs. Trumbull Huntington Mrs. Bertram B .. Salwen Mrs. Rowan Boone long bounty. I owed him, in the first place, the roof said. Mrs. James S. Boynton Mrs. David Ingraham Mrs. Edwin M. Schur Mrs. Louis M. Bradford Mrs. Lionel R. Ingram, Jr. Mrs. Marvin J. Shapiro over my head at Bennington College - and a certain I date my acquaintance with Arch Lauterer with Mrs. Janet F. Jones Mrs. David Shaw Mrs. Clifford W. Burgess royal-blue wall that looked toward Mt. Anthony at the accident of his absorption in a poem - as it Mrs. Edward Bushnell II Mrs. Lewis C. Kleinhans Mrs. Albert M. Sheldon, Jr. Mrs. John L. Buttrick Mrs. Robert C. Knapp Mrs. Allen C. Siebens the southern extreme of the quadrangle and happens, a poem of my own which he had come Mrs. James E. Cavanagh, Jr. Mrs. Andrew G. Knox Mrs. Joseph J. Slotnik seemed, as he doubtless intended it to seem, to open upon in the pages of THE NATION. It is painful to Mrs. Richard A. Charlat Mrs. C. S. Kyle Mrs. Raymond L. Smart Mrs. Richard W. Colman, Jr. Mrs. George H. Largay II Miss Linda Smiler into the sky itself on fine August afternoons. The have to admit that Arch Lauterer is the only poet Mrs. George D. Constantikes Mrs. George D. Leonard Mrs. Wilson F. Smith year was 1938, the first year of an untried ap­ with whom I have ever felt wholly at ease - Miss Ellen Count Mrs. Richard W. Lewis Mrs. Caswell Speare Mrs. Wendell H. Cox Mrs. Julius Liff Miss Margaret T. Spencer prenticeship to a profession for which I had little because our media differed, perhaps, or because he Mrs. H. K. Cummings Mrs. Joseph E. Lifschutz Mrs. Harry P. St. Clair, Jr. reason to consider myself destined. I was assured gave me such an unexpected sense of privilege in Mrs. Maurice A. Deane Mrs. Isabella L. Livingston Mrs. Francis St. John Mrs. Marvin Deckoff Mrs. Elinor G. Mannucci Mrs. John L. Thayer there would be room for me at Franklin House in the the special circumstance that leads one man to turn Mrs. Anthony M. Devoe Mrs. James W. Marshall Mrs. Stuart Thayer apartment of a member of the drama faculty; or I motion and place into poetry, and another to fasten Mrs. William A. Dickson Mrs. Richard Mazer Mrs. Carl G. Torrey Mrs. E. K. Dillon Mrs. Lee B. Menefee II Mrs. Vladimir I. Toumanoff could settle for a boarding-house in North Ben­ obsessively on language. Our talks, which often Mrs. Marshall E. Dimock Mrs. Albert W. Merck Mrs. William Vanderbilt nington. I looked one way at the ashen clapboard lasted into the morning, were of poems and stages: Mrs. Roger Merrill Mrs. William L. Vick Mrs. Stan D. Donnelly, Jr. Americana of provincial Vermont; and the other way Mrs. J. P. Durfee Mrs. Tedson J. Meyers Miss Martha Von Blon of all the modes of symbolic and immediate activity Mrs. Jerome M. Edelstein Mrs. James E. Mitchell Miss Helen Watkins at a blue wall. with its ferro cotta complement of by which imagination is made drama, and drama, Mrs. Valerio R. Montanari Miss Frances M. Wells Mrs. D'Arcy Edmondson ceramics, textiles, and Mexican pottery, and decided Mrs. James H. Flanders Mrs. Stanley G. Mortimer Miss Sally Whiteley delight. In as much as his knowledge of the written Miss Helen Frankenthaler Mrs. Archibald R. Murray Mrs. J. K. Wilson for Mr. Lauterer. poem - which was not a knowledge merely, but like Mrs. Edward W. Franklin Mrs. Charles S. Muscatine Mrs. William R. Woolner Mrs. Monroe E. Freeman, Jr. Mrs. Horace D. Nalle Drama's Mr. Lauterer proved to be long-faced, all matters close to his interest, a frenzy - far leggy, and reclusive - an untimed explosion rarely exceeded my knowledge of the theater, we spoke of to be seen between his day-long sessions in poems more often than we did of stages or dances or ALL OTHERS backstage classrooms and toolshops, and his night­ theaters. In a sense, it was the mind of Arch • Indicates a gift which matched the gift of a donor. long meditations over a drawing-board: cordial and Lauterer, submerged and arcane as it sometimes The Abelard Foundation, Inc. Mary W. Harriman Trust Mr. Arthur Ross anonymous under a thatch of greying hair, holding was with the sense of all that waited in the wings or The Beinecke Foundation Audrey S. and Thomas B. Hess Mr. Bernard Stein his chin on the bracket of his thumb and forefinger, wrestled through the drama of its articulation, which Mrs. Joel Stockard •chemical Bank Foundation, Inc. constituted my first equivalence of theater. For no Robert Sterling Clark Mr. Arthur A. Houghton, Jr. Solon E. Summerfield Foundation squinting markedly under the horn of his eyeglasses, Foundation, Inc. International Business Machines Mr. Arthur H. Thornhill, Jr. as though a stage-light had been ill-placed or a one could come within range of that probing and Mrs. Arthur J. Cohen Corp. Mr. Alan Tishman reckless imagination, with its daring discharges of Mr. Charles Dollard Mr. Joseph S. Iseman Mr. and Mrs. Robert V. Tishman gelatin was too florid. In effect, he made over to me Mrs. Henry Doubilet Mr. and Mrs. David L. Klein Mr. and Mrs. William Troy everything but a studio bedroom-and-bath, and a color, its bright and its dark spaces, its command of Mrs. Richard S. Emmet Mr. and Mrs. Maurice Lazarus Mr. and Mrs. John Tuteur the equations by which distance and illusion in­ Mr. and Mrs. Myron S. Falk, Jr. •Marine Midland Bank Mr. and Mrs. Joseph Ushkow coffee-pot which he replenished around the clock at Mr. Franklin L. Ford The Andrew W. Mellon Foundation Mr. Ira H. Van Cleave need; and he apologized in advance for the for­ tersect in a visible mystery, and remain untouched Mr. Edward A. Goodman Mrs. Katherine M. Michel William C. Whitney Foundation tunate likelihood - he chuckled a recondite chuckle by the theatrical. For the stagestruck, like myself, - of his protracted inaccessibility. He introduced me the imagination of Arch Lauterer, deep in its private BOARD OF TRUSTEES to our third tenant, an Irish setter with a ferro cotta game of summoning up a vision, was like stepping suddenly into the changing lights of a proscenium, •went off the Board in 1972 burnish, assigned to the royal-blue rectangle near with a drama of concentrated passions and humors ••Honorary Trustee in full progress, and a darkness charged with at­ Mr. David Malamut •Mrs. Robert Ascher Miss Helen Frankenthaler BEN BEL/TT offers us a glimpse of an article he wrote tentive presences on all sides. Mrs. Ralph S. Brown, Jr. Mr. William T. Golden Mrs. Albert Merck Mr. Frederick H. Burkhardt Mr. Robert Gutman Mrs. Matthew A. Meyer for a special issue of IMPULSE, The Annual of Con­ Yet I ike a poet, too, Arch Lauterer was a master of Mr. Lisle C. Carter Mrs. T. Edward Hambleton Dr. Robert S. Morison temporary Dance. Their 1959 issue was devoted to the prosody of the contemporary stage. For precisely •Mrs. J. Negley Cooke, Jr. *Mr. Andrew Heiskell *Mrs. Stanley G. Mortimer Mr. Fairleigh S. Dickinson, Jr. Mr. Thomas P. F. Hoving Mrs. Archibald R. Murray Ach Lauterer - Poet in the Theatre. at the point when it sometimes seemed his vision Miss Judy DiMaio Mr. Joseph S. Iseman Mrs. John W. Nields ••Mr. Charles Dollard Mrs. Andrew J. Karp Mrs. Robert C. Rohdie Quadrille 29 Mr. Ralph Ellison Mrs. Willard H. Keland Mrs. Albert M. Sheldon, Jr. Mr. Allan D. Emil Miss Susan Kunstler Mr. Frederick P. Smith Mrs. Richard S. Emmet •Mr. Maurice Lazarus Mr. Arthur H. Thornhill, Jr. 0 Mr. Franklin Ford Mr. Franklin Lindsay Miss Sally Whiteley '°'Miss Karen Franck Mr. Joseph F. Lord summer citadel of on American art wholly strange to From my present perspective, I must admit that I me: the art of " the modern dance." Indeed, the absorbed the prejudices of my master, as well as his Summer School of the Dance at Bennington College predilections and a minimal literacy in a medium. - an independent venture which was regularly For the prejudices were there, as part of the brio of mounting masterpieces by Graham and Humphrey­ an ardently committed and creative intelligence in Weidman and Holm, and sponsoring the "dance­ the theater: in his occasionally pedantic concern for fellows" of a later generation - had virtually pre­ the total utility of a space-area, regardless of the empted, in public knowledge, the other three subjective urgency of the choreographer; in his seasons during which Bennington College pursued a implied insistence on the priority of the place over liberal arts program for undergraduates in all areas the dancer, as though theatrical space were a of academic learning. I had begun to listen for "plane" map, like the charts of the old geographers, musical cue-counts in dance workshops and address crossed by invisible lines of latitude and longitude, myself to a foreign nomenclature of soace, ex­ by tidal pulls, meteorological densities, weathers, tension, plie, turn, diaphragm, gaze in an at­ magnetic forces - a system of soundings through mosphere of plosive keyboards and tropic per­ which the dancer moved like a mariner on on I cussion. I was introduced, at Arch Lauterer's in­ inexhaustible voyage of discovery. For this reason, sistence - it was the most sumptuous of his gifts to the art of Honya Holm seemed to him, at the t~'me, a me - to Martha Hill, to whom all orders and degrees dancer's answer to the stage's meaning. It was · ucid, 1 of contemporary dance are massively in debt. I \ it was decorous, it was weather-wise, it was attended their Thursday workshops, later with the exhaustive. It made possible the objective "sho · ing· third of a historic triad, William Bales, in student forth" of a stage, along with the planned pass1 , of dance. I watched amazedly week ofter week, as the dancer's intention. The Honya Holm of TREf.JD students tactically "measured space" or displaced and DANCE OF WORK AND PLAY and the Doris cubic densities behind a slope of colored ribbon that Humphrey of PASSACAGLIA and NEW DANCE were - vanished into the flies. I looked for the " imagery" of voyagers who sailed by chart and compass, im­ TREND, presented In the Armory In 1937. ''. .. the art of H~nya Holm seemed to motion, the "pre-classic" origin of an organized peccably vigi Iant, and therefore, " stage-designers' him, at the time, a dancer's answer to the stage's meaning. tantrum. I concerned myself with choreographic dancers." over his eyes and his ears; the thumb and forefinger differentials between pantomimic and dramatic might disappear in a paroxysm of delphic images, At the same time, he fought - in the dionysian raise to receive the weight of his chin or force his action. I watched with mounting intimacy and ex­ circus of his own thinking - an adoring battle with his architect's light would narrow on his solitary gaze into his shoe-strings - and the theater of Arch citement a physicalized equivalence of the lyric the lions and holocausts, the passion-centered drawing-board, his pencil would trace out in auto­ Lauterer was in progress at its point of orphic and darkness the Braille of a dancer's floor-pion, his T­ occasion that at last brought me within sight of the da-fe of the art of Martha Graham. The time of my mesmeric "gazes" and the taped metatarsals that squore would divide and sub-divide the spaces, innocent origin. meeting with Lauterer coincides with Graham's In exchange for my gift of Crone, he would read denote the student working in "modern." AMERICAN DOCUMENT, which is certainly stentorian calibrate the relative depths and intensities of a aloud, with an inflection very far from histrionic - movement and turn all into a science of radiances. In all these matters, Arch Lauterer prodded, in­ as well as personal in its address. The lions are qs a confidence rather than a recital - from the We talked of Hart Crane first and most often, terpreted, emended, dilated. It was, I dare hazard, there, but they are clearly working in a ring; yet I collected poems of e. e. cummings. It was a the twilight of a spatial-expressionist phase of Arch portly because he sensed the pressure of Crone on was cued to devote my attention to the "correct" predilection which I considered at the time ill­ my own early work - as critics hastened to assure Lauterer's experiments with movement, shortly after choreography of Hanya Holm and the vagrancy of odvised and frivolous; yet in that I ighted theater of TREND hod fired audiences in this country with Miss Graham. It baffled lauterer in those days, as me later - and partly because the most extravagant his pleasure I discovered a world of poetic hazard Hanya Holm's mastery of controlled dancing areas, ANTONY AND CLEOPATRA baffled Dryden in and passionate scheme of his lifetime was toking until then closed to my tastes: the flying trapezes, another day, that the genius of Martha Graham shape in his thoughts: a dance-drama, bringing graphic and grandiose permutations of massed the slack-and-tightwire bicyclists, the heart­ nothing less than the whole text of Hart Crone's THE protagonists, with effects by turns choral, hortatory, would not accommodate itself to the "lows" and the quickening fanfares, the fright-wigs and bareback BRIDGE to the Bennington College stage in the abstract, and lyrical. It was not my good fortune to unities of stage-space; that she sought to force space flights of cummings' rhetoric. It was ttie delight of e. see the Holm-Lauterer TREND; but it is a matter of. following year. Yet it is probably misleading to soy to organize itself around her vision of its tension, as e. cummings that Arch Lauterer enacted for me in his that the poems were talked of, merely: they were public record that the triumph was divided between the jar of Wallace Stevens forced the landscape of person - precisely the factor of the theatrical that touched, or turned, or handled, or charged by the stage of Arch Lauterer and the virtuosity of Tennessee to redispose itself around the autonomy flashes on and off like an illuminated clown's nose, passing excitements. They were voiced and then Hanya Holm. For that reason, perhaps, Arch con­ of its contour. On one hand, he conceded that the behind the pratfalls of the poet. It was with his at­ tinued to live close to the Germanic sources of a internalized by a private giggle so nearly ap­ incandescence, the inventiveness, and the miracle of tentiveness that I listened for the silences of cum­ proaching a comic-strip tee-hee! as to render it dance idiom which, after all, owes as much to Mary an era were vested in this dervish from Santa mings, and learned how to wait in the spaces dear to hardly appropriate to the gravity of the subject Wigman as it does to Isadora Duncan. His mastering Barbara; on the other hand, he insisted on the cummings' typographers, which make his meanings matter. Or he would ask me to read aloud a passage excitement as a designer was Adolphe Appia, and primacy of a stage, of palpable space that must be from WHITE BUILDINGS or KEY WEST and lapse into resonate. high among his collateral enthusiasms were the blue entered as one enters the visible architecture of a Eventually, our talk shifted to matters unknown to horses of Franz Marc, the dramas of Bertold Brecht, his private pantomime of small epiphanies, little solid. me; with good reason. For along with a heritage of clucks, guffaws, frowns, head-shakings, visceral the music of Kurt Weill, the esthetic of the Bauhaus, All this would seem to indicate that Arch Lauterer determined young ladies, I had stumbled upon the recognitions. The uncut graying strands would fall and the theater of post-war Berlin. could use a stage, or on esthetic of stage-space, to Quadrille 31 30 Quadrille occlude, as wel I as reveal, the authority ot the confidence breaking out of the intimate lyricism of a dancer's imagination. It would be truer to say, recluse - the art of Arch Lauterer is consummate. Certainly the sweep of his imagination, that lived Theater however, that it illustrates his yearning to make The Idea of a place and stage -the place of the dancer's "er~and_" equally in an apocalypse of metropolitan Manhattan, - as mobile and volatile as the dance which 1t a bardic panorama of the trans-American folkway, the acidulous nostalgias of Mark Twain, and the 1935-47 sought to contain. He labored to create, in effect, a two-fold dance in which the potentiation of stage­ hermetic conflagrations of Emily Dickinson, is in space - its capacity to vibrate in a frame I ike a itself a measure of his creative command of the by Francis Fergusson painter's pigments o~ a poe~'s rhetoric - wou_ld American milieu. The fact that in each case, he penetrate the dancers invention and accompany its oound an aspect of the American scene to its When I had been teaching in the Literature poetry, fiction and drama which I continued to teach specifically theatrical place, that he invented the progressions. Division at Bennington, for about a year, the lady in the Literature Division. I still use it, whenever I That he achieved his vision in the end - if a talent containing image for a drama in which movement who had been running the Drama Division resigned, work on literature; I think the Moscow Art Theater's so foreshortened by death may be said to have and language, actor, dancer, poet, playwright, and and my wife, Marion Crowne Fergusson (who died in notion of "action" is essentially the same as ended - no student of the theater of Arch Lauterer audience could join in a common act of self-scrutiny, 1959) joined me in the Drama Division. We con­ Aristotle's, and that Aristotle's theory of drama and will deny. The student would, in all likelihood, als~ is a triumph which, I believe, concerns the future of tinued to work there until we left Bennington at the other arts as "the imitation of action" is much the discover that the enrichment of Arch Lauterer s the theater arts in this country. There is more to be end of 1947. best we have. vision coincides with his increasing deployment in gained from a study of the many-sided labors of this Marion and I had met at the American Laboratory We were very fortunate in getting the cooperation the American theme: in the total economy of his little-known artisan in the spatial and kinesthetic Theater, in New York, where she worked for five of the Bennington faculty for our theater work. Arch concept of Hart Crane's THE BRIDGE and Carl Sand­ properties of the theatrical image, than in a wing-ful years and I for four. It was run by Richard and Helen Lauterer had been teaching design - he burg's THE PEOPLE, YES, and in collaborative in­ of retrospective Robert Edmond Jones in the Whitney Boleslavsky and Maria Ouspenskaya, both of the stage design, she costume - before Marion and I spirations like the Bennington premiere of Martha Museum. His labor was a lonely one, to the end, in Moscow Art Theater. They handled it like a studio of entered the Drama Division. They continued 'ith us Graham's LETTER TO THE WORLD and Francis an art which, as Emily Dickinson advised the world in the Moscow Art Theater, Madame Ouspenskaya thereafter, and as I look back I realize how much we, another connection, ordinarily addresses its plaudit!. Fergusson's THE KING AND THE DUKE. In the latter· 0 teaching the technique of acting and Boleslavsky and the whole college, owed to them. The pnly cases, each scrupulously centered on enigmatic to an admiring bog. But whoever pursues the directing the plays. It was a small repertory theater theater we had was the gymnasium-like room at the American humors, yet utterly unlike in their content American image into the expanding theatrical with its own school of acting, which was the best in top of Commons, with its tiny inconvenient stage, ood form - one a comedy of terrors formalized with spaces that drama breathes in or the dancer ignites, the country at that time. The faculty included and its pit where the sets were built. Arch was able , Molieresque objectivity, the other a meditative will have to reckon with Arch Lauterer. 0 teachers of voice, diction, ballet, modern dance, with the magic of his settings and his lighting, to g ive Dalcroze, stage design, and " cultural background" it extraordinary style and distinction, whether the for the actors. Once a week everyone gathered in show was Sophocles' " Electra," or "Of Thee I Sing," the theater to see scenes directed and acted by the or " The Intellectual Ladies," or "The King and the students, and sometimes the actors, for Boleslav­ Duke." One year he bought a large tent which he sky's criticism. Marion was Madame's assistant in used for the Summer School of the Dance, and, in the the acting classes for several years, and I was spring, for our production of "Six Characters in Boleslavsky's assistant (his " regisseur") in the Search of an Author." Another year, when I was theater. It was an excellent setup for us, and for away on leave, he staged Hart Crane's "The Bridge" many others; but the Laboratory Theater was not in a most handsome and sensitive production. He able to survive the stock market crash of 1929; it had was always interested in the theater as a whole - to cease operations in June, 1930. not just design - and when he left Bennington he When Marion and I started work in the Drama continued this emphasis for the rest of his life. Division in 1935 we organized it on the model of the Our cooperation with the Dance and the Music Laboratory Theater. Marion taught the technique of Divisions was always close, and, for us, of the acting, and I directed the plays. We had a weekly greatest importance. Every student who took acting workshop, where the students staged scenes of their took voice training at least, and often other music as own choice for our criticism. The whole basis of our well. Everyone a lso took dance, both for its own sake work was the Moscow Art Theater technique, which and for body tra ining. Many of the faculty members we had learned at the Labora1ory Theater. Marion ~Jf those Divisions worked with us on our shows. taught it in her acting classes, and I used it not only M..:irtha Hill, for instance, staged the dance-choruses in directing the plays, but in the analysis of the of " Electra," the jazzy choreography of "Of Thee I Sing," the ballet interludes of Moliere's "The In­ The Armory today. "Never." Lauterer said, "Never create a set which conflicts FRANCIS FERGUSSON who is in retirement from tellectual Ladies." Bill Bales danced, himself, in our and competes with the text of the play. Make a space in which this text may Rutgers, is teaching currently in the English Loree's " Blood Wedding." The late Gregory Tucker become theater. Create a space in which these actions and qualities of human life Department at Washington University in Saint Louis, devised musical accompaniment for " Electra," with can come into being, can maintain a life of their own." - from "The Function of M issouri and visiting another former Bennington the aid of a bass drum and some pipes of various teacher, Howard Nemerov. Theater is to Show the Word," by Catharine Osgood Foster, IMPULSE, 1959. lengths which he found in the basement, and he Quadrille 32 Quadrille 33 'We grasp the stagelife of a play through plot , characters, and words which manifest it: .and if we are successful we can then act it, on stage or privately or silently.'

-from THE IDEA OF A THEATRE, by Francis Fergusson wrote the music for "The King and the Duke." Otto live at or near the College, receive thorough training Luening helped us with our music in many ways, and in acting, and appear in our shows. That, I think, he wrote music for "Blood Wedding" and arranged marks the beginning of male students at Bennington. for the Vermont State Symphony to play for Mozart's The first batch came immediately, and we had men "Der Schauspieldirektor" and the ballet interludes of for all our time thereafter except for the interruption Moliere's "The School for Wives." Carlos Buehler did of World War II, when they were drafted. We tried to the music for our "Don Perlimplin." We did a few keep them as long as possible, finding jobs for them, shows, of course, with little or no dance or music, but and eventually using some of them to assist in the we were always looking for those which used the teaching. Eddie Thommen and David Crowell both great theatrical resources of dance and music. eventually became valuable members of the faculty. One must of course have male actors in order to stage shows properly. At least two faculty members For six or seven years we had a small, fairly well­ acted with us. Julian DeGray played the lead in ~rained group, consisting of senior students, our Turgenev's "Where it is Thin, There it Breaks," when male actors, and from time to time other men who we were just getting started. Wallace Fowlie acted we had added to the faculty. Mac Dixon, whom we several times for us in Moliere, and in Arch had known at the Laboratory Theater, was one of Lauterer's "The Bridge." Marion and I had seen, 1them, and so was George Ebeling, who had worked however, that it would be impossible to count on •ot Williams. I have already mentioned Eddie busy faculty members to take the training and act Thommen and David Crowell, who had originally with us, and before we took the drama job we got •c:ome to Bennington as drama students. With this group we staged two full-length shows per year, one permission from President Leigh to recruit men to Francis Fergusson 34 Quadrille Quadrille 35 performed at the end of the fol I term, the other at summers, we joined the School of the Dance, which Commencement. I directed both of them, and chose had been bringing the best modern dancers to them by consultation with the faculty and by con­ Bennington for several years. We arranged with the sidering the students we had to cast and the male movie house in town, the General Stark, to provide Sometimes All the Magic Ends actors available. We tried to select plays from the them with a half-hour's vaudeville to play with their best periods of our tradition, as well as con­ movies, and in return they al lowed us to use. the temporary, sometimes "experimental" works. We theater for our own shows on the weekend. The first wanted to assist our own education, as well as that summer we produced "The School for Wives," with Converge ... of the actors and the community. We worked most of ballet interludes, and "Der Schauspleldirektor ;" the the term on each production, using a rehearsal second summer we produced "The King and the FRANKE~.THALER: I entered Bennington in the spring things that I hadn't yet explored. I mean, I didn't schedule planned in advance; we tried to do as Duke." Our last and most ambitious effort of this term of 46, right after the war. Paul Feeley had thorough a job as possible with each play. kind was just after World War II, in the 1946-47 NRT. retur~ed from ~he Marines that term, having been at kn~w that I might not want to do something in ar­ We found at once that there were certain We produced three plays in the auditorium of the Bennington briefly before. So that while he had chitecture, or any number of things related or problems in fitting this drama training into the School of Design, in Providence, R.I., with those of already taught here (and his wife had gone to school unrelated to art. I took dance my first term, and College community. Our students tended to get too our actors who had returned from the War. The plays here. - Helen was in one of the first classes at Bennington's whole message was that you could find out who and how and what and where you were. interested, and to neglect their other work. It was were Ibsen's "A Doll's House," "The Male Animal." Bennin~ton in the '30s - and by '46 they had two baby girls), he was practically as new to Benningtor not easy to find a schedule, and places to rehearse, and a bill consisting of "Penelope" (a dramatization QUADRILLE: Did Feeley help you decide to move into \in that small intense community. To solve some of by me of the end of the Odyssey) and Fieldings' as all .the enter~ng students. He was painting very art? the problems we allowed students to major in drama "Miss Lucy in Town." much in the cubist tradition, and influenced by Max Weber. only during their third and fourth years. As freshmen Marion and I left Bennington at Christmas, 1947. FRANKENTHALER: He was encouraging to me and he and sophomores they were allowed to take only one We felt, I think, that the kind of theater we were Personally he was full of vitality, very handsome was a serious, ambitious artist. I had also been lucky very g~inning, sort of rough, tough, open t~ drama course per year, and they could appear in interested in - one with a conscious, common en~ugh to go to a high school where an important everything, extremely intelligent, curious about, it workshop scenes, but not in the two major shows technique, and a repertory based on the classics, and painter was teaching, Tamayo. I don't know if I'll put which I directed. This gave the students two years in the best contemporary works - would be harder to seemed, everything - painting, esthetic ideas, t~is right, but the fact that I could study with him in hobbies, pets (the Feeleys owned two black stan­ which to decide whether they really wanted to major put over in 1947 than it was in 1936. The interest in high school. and he was an important, practicing, in­ dard poodles). a thirst for people, clothes, cars, in drama, and it gave us time to decide whether they the classics was diminishing, and the current fads for the-world artist, rather than the familiar alternative travel. He was an exceptional man, and very giving should be allowed to. In our counseling we alwayr "non-art" were beginning to appear. It is probably, of somebody sort of interested in painting who has and very alert, and very fair and very eager and a 0 tried to explain that literature, history, philosophy, anyway, that 12 years is more than long enough for Ph.D., and wasn't "engaged" in painting made all terrific teacher. ' art and music were necessary for the real un­ any regime in the theater of a small college. Marion the difference. Being read to by W. H. Auden is a derstanding of drama. We saw great drama as and I had worked very hard, we were tired, and her different experience from being read to by someone reflecting the customs and the culture of its time, health was not good. We had come to realize that a QUADRILLE: Had you known about him before you gett,ing his M.A. or doctorate in modern verse. And I came here? and we thought for that reason that drama was a permanent theater group was not possible at don t mean by that that there aren't great teachers natural focus of a liberal education. Perhaps, in the Bennington, in spite of the support we had received FRANKENTHALER: No, I don't know of him. I came (with or without degrees). and always should be, crowded four years of a college career, only the there, and that, if we were to continue, we should here .because I knew I wanted to paint, though 1 who are valuable assets to an educational com­ ablest students were able to combine their drama have to repeat the struggle every year for a trained wasn t sure that that was all I wanted to do· that muni~y: But ~xposure to people who are fully work with the rest of their education in this way. But group, only to see it disappear as the students Bennington was a center way up here in ve:mont pra~t1cing their art does give the learning ex­ such, at least, were our guide-lines in relating the graduated and the men left in search of paying jobs. tho~ was sympathetic to art and artists. And my view penence a certain aura and magic. work of the Drama Division to the College. Moreover, I was ready to write, and I knew from of 1t was very positive and hopeful. And the ~~ore I came to Bennington, I knew that I enjoyed From the very beginning of our work in the Drama experience that I couldn't find the time I needed for catalogue read like some magic Bible of the future pointing and that I was fairly good at it, and that I Division, we tended to think that we might even­ that while running the Drama Division, teaching, and But in the '40s, even in the most enlightened circles. wa~ pretty sure I wanted to keep painting. But my tually establish a permanent theater group, under directing the plays. a Bennington girl, capital B.G., was wow' arrival at the College meant going into another the patronage of the College, and recruited from our We both realized that we owed a great deal to the som~thing. And still is, in many ways. You know: ambience altogether. I went from a New York high male and female students. The need for a real Drama Division, as Bennington College had enabled thats whe~e th~y supposedly do "dangerous, crazy, school and Tamayo to Vermont and Paul Feeley. theater is bound to make itself felt in serious work in us to set it up. Marion had been able to continue her ~ay-out things, which is one of the very qualities Totally different orbits. drama, but I think Bennington is too small to support Laboratory Theater work in the technique of acting, Ive sought out. But I also didn't want a place that Paul gave a great deal and made it very exciting one. We made, nevertheless, three main efforts in and to develop it to a high point of perfection. I had co~centrated on art alone, that had merely an art­ and fun and intellectually lively. When you have an that direction. had the opportunity of directing plays of my own oriented mentality. I wanted a place where I could exc~~nge of energy and curiosity like that, it's very 0 The first was a tour in the Non-Resident Term, choice, and I had chosen a great variety, in order to have an advanced and full exposure to several exciting. And I don t think anyone can ever say "This when we took "Electra" and "The Contrast" to Up­ educate the students, the audience, and of course disci~line~. I was as interested in writing as I was in person made me decide to do that." I mean state New York, to Boston, and to a number of myself, I had lacked the time and the energy to do making pictures, and had interests in many other everyone does what he does on his own. But Paur college theaters. This tour was a modest success, much writing at Bennington, but when I left I could was a very positive influence and very supportive even financially, but it took a great deal of work on write THE IDEA OF A THEATER. That book was the and a marvelous teacher in that he sort of milked his HELEN FRANKENTHALER on alumna of the College, everyone's part, and we never summoned the outgrowth of my work at the Laboratory Theater, 0 students to investigate what he himself wanted to Trustee, and a pointer of renown, recalled for us her energy and the personnel to repeat it. Then, for two and, more directly, of the 12 years at Bennington. know more about, which I think great teachers do. 1 0 acquaintance with Poul Feeley, the College, and her years here. mean, when I was at Bennington, Kenneth Burke 36 Quadrille used to do that, or Erich Fromm, or any number of

Quadrille37 Smith - and many others - soon after I met them people. They were embarked on some subject, and through Clem. they knew a lot about it, and they were growing into I saw that 1950 show of Pollock's, and whether I it more, and they would throw it at the students, and had ever met him or not, it was that show of '50 and the students either got it or they didn't get it. And if then the one in '51 that really hit me. I had come sort they DID get it, they'd throw it back, and that's a very of prepared with the cubist background at a moment good exchange. in my life when I was developing and - half con­ sciously and half not consciously - heading for QUADRILLE: How did Feeley do that? some break or breakthrough. And sometimes all the magic ends converge. After being at Benningto-n and FRANKENTHALER: A number of ways. He had a working with Paul Feeley, and then working on my weekly seminar for all the painting students that own - seeing the Pollock show in 1950 in New York was really extraordinary, and in those days, there at Betty Parsons Gallery really did give me a push weren't the endless number of brilliant, gorgeous, and a jolt, and it was wonderful. "super," and I put that in quotes, reproductions and documents, and everything else. He would paste QUADRILLE: And that led directly to your reproductions of the Matisse Blue Windows, Cezanne "breakthrough?" Card Players, a classic Braque. . .any number of things ...on a rolling celatex screen board and we FRANKENTHALER: I don't think anything leads would all sit on easel chairs, or stools, or sit on the directly. I think, looking back, they always seem to, window sills in Commons studio and discuss those but one try leads to another try. and something reproductions. For example, the apple on the table happens, sometimes. I mean, you don't plan it. You in a Cezanne - why isn't there a black circle all the just keep going, half-blind, half-knowing; half having way around it? Why is there a special green dot next blind faith, and half having energy. But I'd say the to the red? How does the green dot relate to the whole combination, plus your own identity makes upper left drape? How does it move? What does it you do what you have to do. Sometimes the result echo? How does it create space? DOES it create doesn't look like anything you have seen before. space? Could it have been better? How does it relate to the Rembrandt? How does it relate to another QUADRILLE: Did you still keep in close contact with Cezanne? And these are all things that, if they really Paul Feeley? grab you, like anything else that's analyzed and repeated, it gets into your system, and it's bound to FRANKENTHALER: Oh, yes. We were very close, and have an effect on you. he came to New York more and more and became By the time I graduated from Bennington, the more and more interested in the New York school of Feeleys and I were close friends, and I was very painting, and got very involved himself in the milieu interested in Paul's work and life, and I think they and the metier. He got involved in the people and were in mine, and we wanted to maintain a con­ the methods and the materials of the first and nection. In foct I hated leaving so much that the night second generation of New York school of abstract I graduated, I sent my family back to New York, and I expressionists. stayed over at the Hymens, to play poker and sit up all night. I couldn't wrench myself away. QUADRILLE: What did Paul Feeley think of the work that you were doing in the early '50s? QUADRILLE: When did you meet Jackson Pollock? FRANKENTHALER: He was always interested in what surprised him, and he wanted to be exposed to more FRANKENTHALER: After I graduated, and I worked of it, either seeing more of what I was about or in New York, I met the New York above and un­ meeting the influences that went with it. He also derground art world and saw pictures and young wise-cracked about how my paintings looked like painters and was painting myself, sort of in a post­ paint rags. Gene Goossens remembers that. college, post-cubist tradition, but developing. I met Clement Greenberg, who knew about Bennington QUADRILLE: So he was excited by what you were already - as all enlightened people did - and I told doing? "He would paste reproductions of the Matisse Bl him about Paul and painting at Bennington and I Players, a classic Braque ... any number of thin ue Windows, Cezanne Card introduced them. There began a dialogue of worlds. I FRANKENTHALER: I think he was, yes. board and we would all sit on easel h . gs ... on a rolling celatex screen introduced Paul and Jackson Pollock and David Commons studio and discuss those or sit on the window sills in cr:p'~~do:c:ltoolsons. :. 38 Quadrille Quadrille 39 Thus We Approximate Natural Succession

by Lucien Hanks

In 1942, Jane and I moved to Bennington. Gasoline procedure for the second dinner. Lacunae in the rationing made walking to work essential, so we weekly schedule became converted into times for rented an old house near the College. From the back rehearsal and committee meetings, setting porch we could see the beckoning tower of Com­ precedent for the years to come. And certainly fluid mons just above the trees, and 15 minutes of definitions of sufficient or prodigious intellectual comfortable walking brought me to my office via Mr. output solidified during the first year. Scarey's pasture where he kept about five cows. The direction of succession rests with the Since that year I have crossed the pasture many canopying environment. As nature shepherded Mr. times and witnessed there the phenomenon of Scarey's pasture toward woodland, so the College natural succession. After the cows were sold, stands began in an environment of utopian expectations. of golden rod grew in among the unkempt matting of Education could cure all the ills of individual and blue grass; then came sumac and choke cherry, society: crime, insanity, maldistribution of wealth gradually increasing in density. Today maple, ash under capitalism, et al. Freud and Jung had com­ crid elm shoots are growing among them. The traces plicated the Platonic formula that knowing per se led of rabbits, chipmunks, wood chucks, even deer and to virtue. Our former colleague Erich Fromm joined in fox have crossed the path that my neighbor Ernie pointing to the people who rejected· freedom, yet a Flanders, the college janitor, and I trod in the winter lot of room seemed to remain for just plain snow. knowledge leading to virtue. Bennington shared this Such natural succession in this part of New expectation with other institutions but added that say there have been golden eras since, or that we're England returns sunny pastures to the dominant wrong methods of instruction accounted for many QUADRILLE: Was there ever a " Golden Era" in Art at in one now. It's hard to say. I DO know that the a~­ forest. This process is similar to certain kinds of failures. Bennington? titude, which I think IS something that doesn t change at Bennington which over the same 30 years The instructors assembled by Mr. Leigh during the change in essence, was remarkably fruitfu.I, and not has rendered it gradually less distinguishable from first years substantially agreed that a thirsty horse threatened by anything. In other words, things were other academic institutions. This we need neither FRANKENTHALER: That's a loaded question, because will find its own way to water, will drink, and be possible, things were judgeable, things were tryable, abhor nor welcome; that overblown and gaudy it depends on who you ask when. I don't know if refreshed by the experience. The instructor's job was good, bad, real , fake, and that I think was real edifice known as King's College in Cambridge, there was a golden era, but there was a very good to make students thirsty. At Bennington the feedom and growth. erected by Henry VIII (whatever doubts and active, open moment in which people really knowledgeable would exercise their authority shadows it may have cast at the day of cornerstone­ regarded Bennington as a New York annex of the gently to create a community of learners, rather than QUADRILLE : You've given seminars at other laying), has become part of the landscape. These avant-garde, where a community of the College pontificate impatiently. I would say that this utopian · colleges. Has Bennington had an effect on teaching changes occur both in the observor and in the subject could be open and susceptible to all kinds of at­ enthusiasm diminished by the early 1950's, but the art elsewhere? observed, are reversible as well as irreversible. titudes, strains, potentials, anxieties, experiments, authority of the knowledgeable continued until the Like the weeds on freshly turned soil, succession production in many departments, and that was VERY late 1960's. We can thus approximate natural FRANKENTHALER: I think the emotional and began as Bennington's first class arrived. At dinner healthy and very lively, and exciting. Many people succession: a utopian period followed by a classical geographic hinterlands have changed a g reat deal. that very night, anxious improvisation, as in an­ from all over were eager to come to Bennington and one which yielded to what now appears to be a What was once considered way-out or phony or for nouncing dinner or seating those present, became to spend a term here or give a seminar. And the period of freedom . . "other people" to do, is now more easily accepted: A whole nationwide educational system was different To me, a new instructor from a large middle­ lot of places have taken their cues from places like at that time. There were few places that were as LUCIEN HANKS , currently busy with anthropological western university, Bennington in 1942 offered an Bennington. I don't want this to sound like public convinced about a kind of education that was REAL in works on Southeast As/a, took the time to write us ideal setting for teaching. It promised that one could relations, but it happens to be true. In fact you can the way that Bennington was. So it was a different this anthropologist's overview of the Bennington know each student, and even though some classes say just that. scene. I'm sure there are many people who would 0 tribe. were in fact not small enough for me to know all first Quadrille 41 40 Quadrille names by the middle of the term, I was confident To be sure, the way to utopia was never uniformly that the counselors of the unnameable ones were bright. When gasoline and autos became available engendering fhe thirst, if I failed. Besides I could after the war, we were often startled to recognize discuss her case with that counselor down the hall that the natty girl in immaculate traveling clothes on or by meeting him for tea in the Faculty Lounge. Then the point of signing out for the weekend was actually at meetings of the Junior and Senior Division my counselee with a well-earned reputation for Committees, Mary Garrett skillfully suggested filthy jeans and unkempt hair. So we came to un­ additional remedies for unmoved students, and derstand that our system for propagating delicate should special difficulties arise, Joe Chassell offered thirsts was operating with somewhat less than the psychiatric insights to both teacher and student. whole persons. Falling in love proved to be a much We said we were considering the whole person. worse nuisance than a common cold, for it might Concern for students continued into evening render a whole year unproductive. Learning, like lectures, always followed by passionate open merit-making among Theravada Buddhists, discussions. Afternoons, free for an hour, we joined benefited only the soul of the individual and could in field hockey or touch football, where once a bony not be transferred to one's best beloved. little student laid me up for a week jabbing at my For some time vestiges of a community of learners ribs with her elbow. Thus I missed orchestra practice continued even after the more intense fraternal on the following evening but had recovered suf­ conviviality slackened. On a Dance Weekend, Eddy ficiently the next night to attend rehearsal of the Thommen rounded up the shy girls without dates, Faculty Follies. On weekends, Jane and I invited clad them in bejeweled gauze, and set them as counselees, and anyone else, for breakfast or beauteous concubines in the Carriage Barn which he dinner, sometimes followed by cookie-making or had metamorphosed into a Turkish harem. They too play-readings. We then accepted a welcome return could attend the "formal." One Sunday a self­ invitation from one or more students to cocktails appointed committee of students quietly moved before dining at Commons. Inclusive faculty parties offices and classrooms around in the Barn with such precision that Stanley Hyman and everyone else ' ... a thirsty horse will find found his office in another room four doors down the hall, all re-established perfectly down to the tray its own way to water, of paper clips. This compares with the "Faculty Art will drink, and be refreshed Exhibit," unannounced but open on a Monday which happened to be April 1. There among other lam­ by the experience. The pooned works of art was a misshapen beer mug with bubbly glaze signed by Herta Moselsio. The com­ instructor's iob was to munity was not quite the same as when all joined to plant potatoes for the War effort or surged together make students thirsty.' in a vast line up over the crest of Bald Mountain in search of Paula Weldon, yet all shared something of were infrequent except for the end-of-the-term a common concern from time to time, even when we blowout with everyone drunk and silly. were divided over the dismissal of a senior, only a In my second or third year I first encountered the few weeks before commencement, for flagrantly folktale entitled, "I Just Missed Paradise." Having misparking her car in defiance of student govern­ felt blessed by being admitted to Bennington, the ment. narrator began, she regretfully realized that she had Though these events delayed, they could not missed the Golden Age. A year or two before her ,prevent the community of learners from dissolving freshman year, she continued, the college had into a mosaic of individuals. The community catalysts achieved a peak and was presently declining. either left the College or exhausted their enthusiasm Generation after generation of students buttressed at the Election Night Rally of '52. Newcomers to the this tale with reference to sterling faculty members faculty, with more customary job attitudes that who had recently departed; Bill Troy, Francis divided time between students and private interests, Fergusson, Peter Drucker, Max Salvadore and others tended to dampen fresh efforts for the community. were invoked, depend:.-.g on the year. Some added We trimmed utopia a little here or there to meet that the quality of students was deteriorating, as one these exigencies. could readily see by comparing the gifted senior At this point the classic era began, one stressing class with the bird-brains admitted this year. standards of performance and serious commitment "After the cows were sold, stands of golden rod grew In 42 Quadrille matting ot blue gross ... " Quadrille 4 3 to a discipline. Though individuals remained the Student " rights" were proclaimed; faculty members locus of education, the aims became limited, skills in once secure masters of their specialties, were at­ NOTES FROM COMMONS crid knowledge of literature or psychology replacing tacked for "irrelevance" by a new generation that utopian enthusiasm and intuition. Students were to valued experience for its own sake above the Because the Summer, 19 72 be trained rather than motivated. Sound courses, "immoralities" of knowled~!' for its own sake. barricaded the entrance to the issue of QUADRILLE served as crid forbearance on both sides. course sequences, adequate coverage, and the Teachers were challenged in uncomfortable en­ East Wing of the Barn with an Admissions v/ewbook as well Then the Faculty Personnel curriculum became terms of virtue. Criteria of counters; counselling was down-graded; sacred tables and choirs. as a regular number of the Committee, which is charged success changed from "sustained and independent" meetings of classes were by-passed by protestors en Don Brown was in magazine, there was no room to with the task of reviewing, performance to "competent" or "outstanding" work. route to Washington. A strike forced the suspension Washington, D.C. on College report the events of the spring reappo inting or not reap­ The coll for adequate facilities introduced a building of classes, and the community seethed with un­ ~usi .n~s~. when the one-day term adequately. The single pointing faculty members, program which was to limit improvisation and scheduled events, not only political rallies and wait-in started. On Tuesday, most dramatic event was a sit-in issued a statement which read "make-do." mimeographed protests but basebal I on the Com­ after the barricades went up at the Barn led by students who in part that it would again offer Workshops, concerts, exhibits, and other formally mons lawn, reminiscent of an earlier day except that Richard Blake, Dean of Studies objected to the non­ Mr. Lyon on opportunity for a scheduled events advanced in polish and the faculty had been replaced by male students. spent the day trying to per~ reappointment of the Biologist hearing in which reasons for his sophistication. Underclassmen tiptoed past the doors So overriding climate changed the institution suede students to take them Irving Lyon. Reprinting all the non-reappointment would be of awesome seniors working in their rooms on again, all but outmoding the newly built Science down. The students refused Galleys produced during that given, and if after that, Mr. Lyon abstruse themes in literary criticism. In the dining Building, constructed for an era of sober study. demanding some "action" 0~ 10-day period is Impossible, so ~equests in writing that rooms students usually preferred to sit alone at their Utopian thinking has returned, and moral sciences the part of the administration. the editors of QUADRILLE have reasons be given in writing, the accustomed places, rather than risk being snubbed like ecology and concern about pollution have Mr. Brown returned to Ben­ prepared the following brief Committee will provide them ... " by three upperclassmen sitting at the adjoining report. nington and called a faculty table. "Dean" and "Doctor" appeared as forms of meeting for Wednesday to The President's Office, Ad­ addressing the faculty, and the incumbent Division 'To be sure discuss the situation. The barr icaders wrote a missions Office and the Dean of Secretaries were known to many students as galley stating that they felt the Studies Office were closed down Except for th.at Wednesday, "Department Heads." More rooms were vacant over the way to utopia FPC had "responded to our for 10 days last May when when the faculty were in a the weekend as sophomore complained to coun­ demands in the best way students barricaded the East meeting all day, academic selors that except for work, nothing was happening was never uniformly bright.' possible, given the limitations of Wing of the Barn in a dispute functions at the College were on campus. All, however, was not study, for at existing structure. We hope that with the administration over the not interrupted. Many of the midweek evening parties held in various houses, emerged to accept the challenge. To the College that future proceedings on the Lyon non-reappointment of Irving students behind the barricades students hod fun trying to get faculty members refused to build an interfaith chapel come religious case will be carried on without Lyon and the question of student crawled out through the win­ drunk. practitioners ranging from astrologers to swamis. prejudice, in good faith, and involvement in the "power dows to attend classes as usual. During this period I was elected faculty advisor to Student life, no longer centered in the Student with a sense of urgency." They structure" of the College. The President's Office and the the Student Judicial Committee, where I discovered Lounge, has diffused to North Bennington and reaffirmed their opposition to Five days before the actual Dean of Studies Office virtually to my amazement that the weekend exodus actually beyond, as the new type of thirster pops in for a year the '.'existing structures of take-over, students explained ceased to function, however, afforded certain advantages to students who chose or two and then disappears on some distant decision-making at the College," "We will wait in the Barn . . . until and the Admissions Office had to remain on campus. One hod enlivened her dull pilgrimage, perhaps returning, perhaps not. claiming that all vital decisions Dr. Lyon receives a contract to borrow offices in other parts weekends by inviting one or more boyfriends to Now we can tell those who dreamed of a better at the College " lacked real which holds the issue of tenure of the Barn in order to carry on spend the night, and to the discomfort of her house day at Bennington that they missed no age more student participation." in abeyance or written reasons some of its work. chairman was said to be openly bragging of her golden, for each year groaned with its own short­ (facts) for his firing are for­ Don Brown issued a statement exploits. I had to handle the matter. In an agonizing comings which helped give birth to a new era. During this 10-day period, thcoming." after the barricaded rooms were quarter of an hour, I indicated that her gross conduct Conceivably the present generation of students with galleys flowed. Students behind That "wait-in" brought some cleared (and cleaned up by was disturbing the house and then, displaying my its awareness of oriental outlooks is prepared to the barricades issued 80 students into the Barn on students), explaining that "the liberal attitude toward sexual relations, suggested build change into its version of utopia and ovoid the statements. Faculty members Monday, May 15, to sit on the degree of forbearance I have that she rent a motel room if she were intending to F.austian cry "Let this moment linger!" Since, ac­ and administrators issued floor of various administrative tried to demonstrate was meant continue. A few years later this liberality did not cording to the Indian philosophers, change is statements. Mr. Brown con­ offices. The idea was to make to reflect my belief that people prevent my becoming "plussed" to learn that many inevitable, the pains of birth and death ineradicate ducted many marathon faculty. their presence felt without of good will, both faculty and men were spending nights in dormitories, that one concomitants of existence. I would only add, if I read meetings. A delegation of actually interrupting work. At st udents, could misunderstand had spent a month in one of the houses, and that correctly the Bennington scene, that whatever were faculty members was chosen to one point, a string quartet came the Lyon case or could feel that many students were defending the practice. These its painful inadequacies, joy also attended the go behind the barricades to over from Jennings Hall to unfairness might have existed. I courageous innovators with the help of the pill were succession of birth and death. Moreover, the place rehearse in the Barn Gallery exchange views w ith the heralding the era of freedom that was to divide the was somehow born with a genial ability to be students. am deeply concerned," he went area. But students decided that on, "that there be faith and trust faculty, embarrass administrators, and upset the sensitive to climatic change and adapt to it. May it Some tempers were frayed the " wait-in" had been inef­ in our procedures, and if curriculum with unpredictable committee meetings. not lose this capacity! 0 during this time, but on the fective, and on Tuesday, May 16, repeating old provisions or whole there was much patience 44 Quadrille extending new ones will ac-

Quadrille ·1~ complish that purpose, we will being violated and that he was students about any faculty have been well served." being discriminated against member under consideration. these either .... Experience of the members of The Lyon case came down to a because of his work in opposing These opinions are always held If you want the truth, /'II tell you for graduation by the Dean of the Educational Counseling question of tenure. He claims he the nuclear power plant in in confidence, so that they may the truth : Studies Office. Where a Committee has shown that the has it. The College claims he Vernon, Vt. Mr. Brown called be completely unbiased. Listen to the secret sound, the program cannot routinely be current requirements for does not. Reasons have been that rumor "ridiculous" and The newly established faculty real sound, which Is inside approved it would be submitted graduation allow many students given to faculty members who stated unequivocally that no Personnel Review Committee fOU, to a panel of the ECC, but not to choose a program so lacking have not been reappointed in one, private or public, had ever studied the FPC's findings and The one no one talks of speaks with the presumption that the in breadth that the work ac­ the context of the hearing with brought any pressures to bear Mr. Lyon was informed that this the secret who has made It waiving of a requirement is the complished is more appropriate the FPC - whether the faculty on the College and in fact Mr. review of his case had not JI/. issue, rather, the suitability of for specialized institutions than member is tenured or not - but Lyon's activity in the larger revealed any procedural errors Kabir, 15th century the plan for that student would for a liberal arts college. Such those reasons were not written community was one of the or .violation of rights in the be under consideration, taking The question arises, what is students, too, particularly after nor were they routinely made stronger points elicited in his conduct of the case. into account the student's that secret sound? All great transfer from another in­ public. This procedural question favor. As it stands now, Mr. Lyon is overall experience, the kinds of spritual Masters have talked stitution, tend not to identify gave rise to the "secrecy" issue Mr. Lyon's non-reappointment in Copenhagen at the August courses that she has taken, the about this sound, or Holy Name, with the college as a whole; that surrounded the case. was based on the findings of the Krogh Institute and has quality of her work, and so on. which they were experiencing. while narrowly viewing the be­ It was rumored that Irving FPC which routinely gathers exhausted the faculty's normal At the meeting of such a panel We have read the scriptures and al/ and end-al/ of their education Lyon's academic freedom was opinions from colleagues and procedures. see that Ram, Krishna, Jesus, as comprised in a single field the counselor as well as the Buddha, Moses, ~ao Tzu, and and sometimes in a single student (should she so desire) Guru Nanak all s ioke about discipline. should be in attendance. this Holy Name and we can A second problem is Members of the Educational learn all ABOUT that sound, but Galleys presented by courses whose Counseling Committee, now these book's cannot SHOW you structure allows no estimate of once more in charge of the that most gentle vibration in­ the benefit a student may have student's total program rather So far, the Galleys published College. QUADRILLE could have scores of students attended an side. Guru Maharaj Ji is here received from taking them. than dealing only with the term seem some abortion rally in Albany, a now to this strangely devoid presented long overdue reveal directly that One possible solution to the quality of work as in past years, of opinion. There have been a feminist statements, but, of women's studies class formed primordial vibration to all first problem might be to change should, as formerly, be ap­ few anti-dog galleys and one course, did not. Any woman who and continuing academic seekers of truth and perfect the general distribution pointed by the President or beauty. protest-plea to drive at a has considered her position In programs were planned, a requirements in such a way as Dean of Faculty rather than women's sensible speed on Silk Road, but our society and her educational political collective Come to discussions about to prevent the choice of un­ elected by each individual formed, and a feminist letter to division, since factors other than for the most part, Galleys read plans with any care at al/ will Guru Maharaj Ji and the suitable programs. This carries some prospective was competency or interest in liberal like community notices an­ have sympathy (be it a students Knowledge He reveals. with it some of the difficulties arts education often make for nouncing events. Below Is a passing interest or a major censored. With so much activity, Tuesdays and Thursdays; 7:30 inherent with al/ requirements, QUADRILLE could have found at P. M. Swan Living Room. election. sample of stirrings and one committment in her life) with the occasional proscription of letter (of opinion) from a the goals of the Women's least one woman to present a David DiGiacamo programs which might be ap­ Expectations (Guidelines for Dean of Studies Office) student. Movement. And I would hope viewpoint behind those actions. Lynn Chapman propriate in individual instances 1. A student is expected to that Bennington, in its search for The ommlsslon Is Inexcusable. Cindy Hicks although ruled out by the engage in eight terms of college To The Editor: well-qualified students, would It is time for Bennington Alec Wilkinson distribution requirements. work. I found it quite exasperating recognize that feminists are College to acknowledge that Laura Chapman Another solution-which we 2. Courses in which the work that QUADRILLE's "Viewbook" worth attracting. feminists do indeed exist. In --a- recommend-is the deter­ I to that fact, many feminists exist; they of an individual student cannot did not include a single find it hard believe an October 19, 1972 mination of expectations rather be evaluated may not serve to statement by or about feminists essay on Vermont's muddy are not a small minority on this The following proposal was than requirements and the fulfill distribution requirements at Bennington College. Certainly springs or the dining room's campus. A "Viewpoint", huh? submitted to F.E.P.C. by the ·reviewing of all student for graduation. And no more the ideas published were food takes precedence over an Well, it certainly didn't express E.C.C. We feel that the student programs by the ECC or the limited to the more "com­ examination of feminists' my viewpoint. Better luck next body should be aware of its than two such courses may Dean of Studies Office. Since contribute towards general fortable" ones. concerns at Bennington. Surely time. existence. obviously the ECC could not The total absence of feminist there was much to report - in Mary Christianson Roger Kimball graduation requirements. (They review each student program it may be continued either as views Is especially distressing in the last term alone, a letter was --a- Michael Schwarzchild for of would delineate the Dean extras, or by making special light of the fact that this signed by 24 women demanding September 28, 1972 TO: The Faculty Educational Studies Office the kinds of "Viewbook" was sent to alumna a woman president and 300 Student, do the simple Policy Committee arrangements to allow ob­ distribution this office might servation of a student's per­ and prospective students. None signatures petitioned in support purification .... FROM: The Educational approve without submission to of the literature published by of it, an aborted attempt was Fire, air, earth, water, and space Counseling Committee formance to make an individual the committee. Indeed the report possible.) Bennington reflects my en­ made to form a Bennington -if you don't want the RE : Requirements for the expectations listed in the 3. Breadth of Program. counters with sexism at the Women's Liberation Group, secret one, you cannot have Degree (See Faculty Handbook catalogue might also be the 5.31) A. One term of passing 46 Quadrille guidelines for approval of a plan work in four of the divisions at Quadrille 4 7 Faclllty Exchange Program. the College community to the the College during the first two concert. His performance was at Cafe La Mama in New York. Great Meadow a New York Inmates at Great Meadow. He and also spoke about ceramics years. Is part of his first international wlll be teaching a photography --0- and glass respectively. B. Two terms of closely State maximum security prison tour. course two days each week on a 0n Novem ber 4, 5 and 11 related work beyond the In­ fifty mlles north on New York literature permanent basis for 40-50 men. dance Leroy Logan 's drama class troductory level, In two of the Route 22. About 500 men from Octooer 5th, Bernard Biii Dixon wl// be conducting a Judith Dunn and Bill Dixon presented a play for children, fol/owing areas of study: Attica were transferred to Great Malamud read short stories regular music workshop. Company presented a program Rapunzel and the Witch. Humanities (e.g. courses In Meadow after the rebel/Ion In from o forthcoming new book of Several other people have also of music and improvised dance literature and soc/al sciences); September, 1971 ; est/mates by art !:hort stories. shown Interest In making a on Saturday October 21 and Sciences (exact and natural staff members of the per­ October 5, Usdan Gallery, --0- commitment to this program. Sunday, October 22 in Com­ sciences, mathematics, soclal centage of Black and Brown student art exhibition for the 0n September 2, Nicholas .. Faculty and students and mons. science courses associated with prisoners run as high as 80 per --0- benefit of the Trustees and Delbanco gave a reading from anyone else Interested In the behavioral sciences); Arts. cent. The staff and guards are Jack Moore choreographed community. his forthcoming new book, participating In the program C. No student may take all white; and there are few the Repertory class performance "TIME'S FOOL." should discuss It with Nell On October 17 Steven Ehrlich all her work In one division for young men working In the --0- Rappaport. Various forms of of "Three Odes," given Tuesday, presented a slide lecture of more than one term. prison. The Literature Division involvement teaching, November 7 and Wednesday, African architecture. --o- Nell Rappaport Is organizing a presented a reading by Lucien performing, showing, fund· November 8 in Commons --0- .. BENNINGTON COLLEGE program to bring some of the Theatre. Stryk on Tuesday evening, raising - are possible. David Weinrib, sculptor, Great Meadow Correctional skills and talent of members of --0- October 17 in Usdan Gallery ceramist, photographer who has "Elements of Composition and entitled, "Zen Poetry." just recently returned from India Contemporary Improvisation for discussed his current sculptural misc. the Musician," was given September 1 5th, Sophie and and architectural projects with Thursday, November 9 in the Paul Quinn-Judge, workers at all interested art majors. Usdan dance workshop. This lecture­ the Quaker Center in Paris, Events Gallery, Wednesday, October demonstration concerned itself discussed their work with the 18. with the performance aspect of Vietnamese Peace delegates, --0- Turash, soprano; Jacob Glick, Bill Dixon's advanced class in refugees and American term's selections. Mr. Holtzman Saturday October 28th at the A cursory glance at this term's viola; Michael Finckel. Gael Black Music and utilized the 30 deserters and draft resistors. is a Bennington graduate. His North Bennington Fire House --o- offering of events gleaned from Alcock, and Lori Barnet, cello. members of the ensemble. film " War" recently won first --0- there was an art auction and Every Tuesday and Thursday the pages of COLLEGE WEEK and The Premier of the Young prize in the Brooklyn Artists Friday, November 10 in cocktail party for the benefit of discussions of Guru Majaraj Ji community notices. Pianist's Concertino, was played Cultural Association Film Commons Theatre Ellen Ferber George McGovern and the and his devotees. by Peter Calabro, the com­ --0- film Festival. danced a solo with music by Democratic Party. Artists from poser's son. Jacob Glick, and Dorothy Slater Borwn a Julian Gerst in, Dominic the area, including several Special Events has sponsored Vivian Fine played the Sonata primatologist and social Messinger, Fej Voorhees. A faculty members donated their twice weekly films such as: music for Viola and Piano, Opus 11, psychologist from Cornell group piece featuring Heidi work. "Mickey One;" "Performance;" Baird Hersey presented a No. 4 by Paul Hindemith. --0- University spoke Thursday, Ehle, Jane Elin, Robert Fleish­ "Winter Soldier;" "Short Trips;" collaborative piece for dancers Arabella, 1972 was played by Tuesday, November 7 October 12 about her ex­ chman, Doug Ludwig, Ted "Film on Film;" "MacBeth ;" and musicians on October 4. Emerson Lefft, Vivian Fine, Louis exhibition of wax sculptures b; periences stalking the wily Maloney, Ellen Rogers, Jo I I "Other Worlds;" "Rebel Without Calabro, and Edwar.d Zuhlke. Richard Miller. Soimiri (squir rel monkey) of the -o- Rothstein and Sam Scheer by a Cause;" "African Queen;" --o- --0- Amazon. A faculty concert October 18 Jano Cohen was also per­ "West Coast Filmmakers Part Bennington faculty chamber November 7 began " Clay --0- featured Jacob Glick, Louis formed. --o- II;" "Mao's China;" music, November 8 presented: Week," demonstrations of clay A slide lecture on Afganistan, Calabro, Barbara Mallow, Lionel Pieces by Valerie Pullman and --o- Encephalog~ams 2 for Voice and processes, visiting speakers, India and Tibet by Christopher Nowark playing, Partita in A for the Magic Circle of Soloman by Eight Instruments by Henry Mochawan pottery shown on Wriggins, was presented The Science Division Viola D'Amore, .by Christian Laurie Rivkin was performed Brant; New Work for Unac­ slides, and techniques and Wednesday, October 18. presented four filmed lectures Petzold; by Louis Calabro; November 13 and 14 in Com­ companied Voice by Vivian Fine; demonstr ations of con- Sponsored by the Natural by Richard Feynman, Nobel Barbara Mallow, Lionel Nowak mons Tl,eatre. History Society of Bennington Prize winning physicist dealing playing Brahms Sonata in F Woodwind Trios by Bach; temporary potter's work theatre College. with tropics from his series Major, Op. 99 for Cello and Woodwind Trios by Mabel highlighted the week. Fred On October 9 in the Carriage --0- called, "The Character of Piano; Jacob GI ick, Lionel Daniels; and Improvised Duets Bauer of Mills College, Oakland, Barn, the Theater Vicinal, a California gave an explanation 0n November 1O , all women Physical Law." Nowak playing Lionel Nowak's for saxophones, clarinets and Belgian company now touring of how he composes music from members of the College com­ --0- Duo for Viola and Piano. percussion. the United States, performed its munity were invited to an Open --o- --o- glaze formulas, Wayne Higby of Margaret Mead's film, "The own playlet, " Tramp." The Forum to discuss how well or A second faculty concert On November 9 Jamal-Luddin the Rhode Island School of Four Families," and Allen troupe which includes Ben­ Design and Biz Littell of the how badly the College is serving October 25 featured: Three Bharatuja, a student of Ravi Holtzman's two films, "War" and nington alumna Anne West Society of Arts & Crafts, Detroit, the needs of the women Valedictory Songs: Stephanie Shanker presented a sitar "Elegy-War," complete this came to us from an engagemen; Michigan gave a Raku workshop associated with it. 48 Quadrille Quadrille 49 Literature Seminar at the The book will be published in woman show of her paintings at University of Houston last the fall of 1973. During the the David Gallery in Rochester People Spring, will appear in a volume summer Mr. Delbanco was a during November. of essays published by the consultant to the Experiment in --o- Assistant to the Director of Office of International Affairs International Living on a The Dance Theater Workshop Thomas Foster and his Russell Colvin, the new Admissions in July and replaces (Houston U. Press) this Fall. An program of literature . and an· which was in residence at brother, Richard, formed a director of Food Services, Stephen Gessner who entered essay, "The Enigmatic thropology based in Colombia. American University, partnership this summer to b~y replaces Joe Parry who retired the University of Chicogo for Predicament~ Some Parables by --a- Washington, D.C., performed a the Cooperative Store from its after 20 years with the College graduate work in educational Kafka and Borges," will appear During the summer, VIVIAN dance called "Rocks," managers Marjorie Harm~n, last spring. Before coming ~o in the B9rges Issue of TRI· FINE completed a Missa Brevis choreographed by JACK Elva Bodine and Adelaide administration. Bennington Mr. Colvin was m Miss Pryor concentrated on QUARTERLY (Northwestern for four cellos and taped voice. MOORE, and originally per· Talbot. Since the store is no charge of food services at the painting and architecture while University) this Fall. Other Her work is the subject of a formed, at Bennington in 1967. longer a co-op, the Foster~ . are University of Massachusetts at Bennington and spent last poems will appear in master's thesis by a graduate --o- calling it simply The Campus Center for 15 years. He year living in London. She w~ll SALMAGUNDI and THE NEW student at Eastern Michigan R. ARNOLD RICKS was a Bookstore." says that he is open to do office interviewing and will YORKER. A bi-lingual llvre de University. Her biography will Visiting Examiner in modern According to the College's suggestions and comme~ts, spend a good deal of time on luxe of his translations from appear in the forthcoming European History in the honors business manager, Robert F. ~he both adverse and otherwise, road talking to prospective Rafael Alberti's A la plntura, edition of Groove's Dictionary of program at Swarthmore College Kolkebech, members of the and plans to tailor his menus, as designed, with aquatints, by Music and Musicians. last May. Cooperative will be refunded students. much as budget will allow, to Robert Motherwell, is being --a- --a- their $1 o and "a little more --o- the tastes of those who eat exhibited at New York's EDWARD FLACCUS recently Next spring, SIDNEY TILLIM Jane Marcus Sobel was ap­ Metropolitan Museum of Art, completed a 540-page study for will be teaching painting and them. the Cooperative's debts have Timothy Dorman assumed pointed Assistant to the Dea~ of under the title: "Robert the National Park Service en­ drawing at Colgate University as been paid." the position of Assistant to the Studies replacing Bruce Mikel Motherwell's 'A la plntura': The titled "Vegetation in Natural the Charles H. Dana, Jr. Tom Foster is a g·raduate of Director in the Office of Student who decided to return to Genesis of A Book." Essays Areas of the the Hemlock-White Professor of Fine Arts, and will Williams College and taught Services this fall. He is primarily teaching. dealing with the poetry of Ben Pine-Northern Hardwood Region commute to Bennington one day elementary School in Ben­ responsible for running both the Mrs. Sobel. graduated from Belitt will appear in THE of the Eastern Decidusous a week to continue the Art nington and Wilmington for the Offices of Postgraduate Pla~­ Bennington with a math major SEWANEE REVIEW and Forest." This occupied the latter History Workshop here. A post three years. He was elected ning and financial aid, and is and has done research in SALMAGUNDI. part of the summer and he is painting of his will be included to the Vermont State House of located in Barn 10. biochemistry in various research --a- currently building a log cabin in in a large show of realist Representatives this November. A 0 graduate of Williams centers such as Harvard, M.l.T. NICHOLAS DELBANCO has Tamworth, N.H. painting opening a year-long 197 Richard Foster just graduated College, he was Director of t.he and Rockefeller Institute. completed work on his for­ --a- tour in December at the New from Gettysberg College in Upper School and Social Stud.1es Mrs. Sobel is doing all the thcoming novel, TIME'S FOOL. SOPHIA HEALY had a one- York Cultural Center. Pennsylvania. , I teacher for two years at Pine normal work connected with Cobble School in Williamstown. --o- being Assistant to the Dean of Studies, except draft counseling, He, his wife, Laura, and their Janis Pryor, a 1971 graduate which Mr. Mikel continues. daughter, Rory, live in of Bennington, was appointed Guest Speakers Williamstown. life. Begin by beginning." She On October 4 a panel the meeting were made by described her own career and faculty Notes discussion was held in Leigh Susan Edelmann '53, Evelyn job hunting as a long, in­ House for students interested in Stein Benjamin '57, and Barbara te rwi n in g process and a group of three of Mr. Belitt_'s PAT ADAMS attended the --o- careers in television and per· Reinhold Rauch '63, members of growing experience. recent poems was featured m Mac Dowell Colony' Peter­ BEN BELITT's translation of forming arts. The panelists were an Alumni Association Com­ Harvey Lichtenstein the Autumn issue of THE borough, N.H., from July .15 to two works by. Pablo Neruda Theodora Klein Sklover '60, mittee working on ways in suggested that students not only VIRGINIA QUARTERLY REVIEW. August 15. She is conducting an were published this fall: The Executive Director of Open which alumni can help students consider performing but also the Translations from the prose art seminar for graduate first, a play entitled SPLENDOR Channel and a pioneer in the with career planning and in essential peripheral roles in the Autobiographies of Pablo students at Queens College this AND DEATH OF JOAQUIN development of public access to finding NRT jobs in New York. arts such as fund raising, ad­ Neruda appeared in fall. Her painting, "More So MURIETA was published in Cable TV, and Harvey Ms. Sklover spoke en­ ministration, etc. A new York SALMAGUNDI last Spring and When," was selected for October, the second volume of Lichtenstein, s.s., Director of the thusiastically to students about City arts administrator must another group of translations exhibition in the American NEW POEMS: 1957-1970, was Brooklyn Academy of Music and careers in television, and in deal in the areas of politics, from the Peruvian poet' Enrique Academy of Arts and Letters published in November. A American Director of the Spole· response to concerns expressed government, urban renewal, Huaco appeared in MUNDUS and a selection of gouaches was selection of 13 poems from the to Festival of Two Worlds. that the field may be somewhat etc. There is real advantage in ARTIUM. Two essays on Pablo on exhibition at the art gallery latter appeared in the Spring Annette Shapiro, Director of the closed to women said, "Do what having been a performer and Neruda, read at the Con­ of Lawrence Hall at Williams Issue of THE VIRGINIA Non-Resident Term Office, acted you want to do. There are many knowing what it means to be temporary Latin American College during the month of QUARTERLY REVIEW, and a as moderator. Arrangements for things that are difficult to do in onstage and backstage, as one November. Quadrille 51 50 Quadrille be presented on campus, and Hassett Skorstrom '63, Soro organizations such as the The annual theatre benefit is MacDonald '50, and Koy Corson then has understanding ot the many alumni active in su~h American Association of Dance to be held on November 14. The Lockley Tait '54, Louise Stockard '52. The second was a quick ride creative process and an fields as publishing and social abili~y Companies, the National Opera show, "Sutley" , starring Alan Vick '36, and Deborah Thomas to Ft. Worth to view the recently to work with creative people in service have offered to meet in \I Association, or the American Bates, also has Bennington Westburg '70. completed Kimball Museum, a a flexible way. Mr. Lichtenstein their offices with students who Symphony Orchestra League. He alumna Holland Taylor '64 in the TEXAS magnificent structure designed pointed out that while ther.e are arrange appointments in ad­ himself has found real cast. Lenore Janis '55 is benefit JUNE WINEBURGH BAKER '53 by Louis Kohn. Texas alumni and greater opportunities now in the vance. The names of those fulfillment in the administrative Chairman. A pre-theatre supper The Texas Region hos been students were truly fortunate to performing arts than there have alumni are available through has been arranged by Allison busy, busy the month of Oc­ I role, though for years he was meet Jeon, and observing her in been even in the recent past, Timothy Dorman, Director of Simmons '68 at Act I Restaurant. tober. Janet Frey Harte '44 primarily interested in per­ the schools was most helpful for dance performers still struggle Post-Graduate Planning in the On November 20 alumni, orron~ed for Bennington alumni those of us who represent II to earn a living. He urged forming. Student Services Office. Other career counseling will parents, and friends ore invited to take port in oil the grand Bennington at College Nights. I students to look into service to a reception at Automation festivities inaugurating the WASHINGTON, D.C. House to meet and talk with opening of the Art Museum of ANN AGRY DARLING '40 11 Gail and Thomas Parker. Co­ South Texas, designed by Philip GRETCHEN VAN TASSEL SHAW Alumni Association News Chairmen of this event are Johnson, in Corpus Christi on '39 Barbara Lazear Ascher '68 and October 4. The gala at the Bennington alumni purchased Coffin Harvi '42, and Joan Roth- Joan Rice Franklin '56. museum, which was attended by fourteen tickets to the ~sd:;!-ir.­ Alumni Services, Bennington BARBARA GOLDBERG ROHDIE ba r t Redmond '54 organized. ROCHESTER over 500 art enthusiasts from oil Do I ph in football benefit I College. Advance payment is '63, President four days of school visiti~g in MARGOT GRAHAM FASS '62 over the world, was preceded by sponsored by the Associated SEENA ISRAEL FISH '52, Vice- required. September for Janis Pryor 70 of Bennington was one of 20 dinner parties in private homes. Alumnae Clubs of Washington, colleges represented on Oc­ D.C. on August 31. The profit of President ---o- the Admissions Office staff. Bennington alumni (Kay Corson tober 11 and 12 at College $56 was turned over to the 1972 WILHELMINA EATON '50, ln formo l notepaper with a On November 3 a reception '52 and June Boker '53 from cover design by Paul Feeley in Information Day at Midtown Dallas, Margaret Booth Piper '37 Alumni Fund. Secretary and buffet supper were held red and yellow is still available Plaza. Questions from high from Port Aransas, Libby Reed On September 26 alumni took ELIZABETH LARSON LAUER '53, Upstairs at the Casablanca in at $3 per box of ten silk school students and parents Keller '38 and Juliet Armer part in the Foll 1972 Tour of the Treasurer Cambridge, at which Gail and screened notes. Checks should were answered by local alumni Miller '51 from Houston, and David Lloyd Kreeger home and Ski Weekend will be held at Thomas Parker' new President be made payable to Bennington ood by Thelma Bullock Welter Jeon Short Aldrich '43, Director art collection. The house, which the College February 16-19 • and Vice-President of Ben­ College. Orders can be filled at '62 of the Admissions Office of Admissions) were included in was designed by architects 1973. The price of $45 per adult nington, met alumni, parents, the Office of Alumni Services, staff, and Cappy Cumpston, the dinner hosted by the Hortes Philip C. Johnson and Richard ood $30 per child (12 years and and friends. The Reception under) includes housing for Bennington College, Ben­ Committee, chaired by Jane Director of Alumni Services. ... Three days later Jeon Aldrich Foster of New York, was nington, Vermont 05201. A box Fifty-eight dollars was realized flew to Dallas for two days of completed in 1967; and the art three nights, three breakfasts, Neal Keller '52. included Bobbe through the sale of plants collection hos been personally two dinners, a cocktail party of notepaper is ideal for a Forrest Bender '59, Olivia school visiting, but we managed Christmas gift' and individual donated by James Reveley. assembled by Mr. and Mrs. with members of the Bennington Pattison Garfield '51, Miriam two pleasant i nterruptions sheets make unusual Christmas Informal notepaper, children's Kreeger over the past 12 years. College faculty, and an evening Hermanos Knapp '55, Dody during her hectic schedule. The cook books, etc. were also sold of movies. Reservation forms cards. Coffin Harvi '42, Jane first was a luncheon at June The Bennington group, which for the benefit of the Bennington was limited to 50, was most will be mailed immediately Counseling and placement Wellington Merrill '40, Ann Baker's home attended by Pam College Alumni Fund. enthusiastic about the tour. following the New Year. For are available to Bennington Streiby Philips '43, and Edward Battey Mitchell '59, Martha Klein A show of work by eight additional information, contact College alumni who wish to Thommen '40. BARBARA BLACK FRANK '60, 77 work in New York. Contact the members of the Bennington Sussex Road, Tenafly, N.J. Alumnae Advisory Center, Inc., LONG ISLAND College Art Faculty was on One Grand Issue of SILO! JANE THORNTON !SELIN '56 07670 or write the Office of 541 Madison Ave. New York, display at the David Gallery Nancy Silbawitz Garfield '55 This year there will be one grand issue of Silo. The cost is $2.00 plus Alumni Services, Bennington N.Y. l 0022 (212-758-2153). The Downtown from October 14 organized a Cfuidance Coun­ $. 14 postpoge per issue. To subscribe please fill out and moil the College. service applies to all fields through 31. Local high school selor dinner on October 19 at following form to: SILO, Bennington College, Bennington, Vt. 05201 ~- except teaching. A descriptive guidance counselors were in­ the home of Catherine Orloff Thank you Swan House will be available flyer and list of job hunting vited by Bennington alumni to a Morrison '55. Alumni hostesses I would like copies of the 1972-73 issue of SILO at $2.00 from December 26 to February publications are available upon pre-preview on October 13, and included Carol Diamond Feuer plus $.14 postage per issue. Enclosed is a check for$---- 26 (Ski Weekend excluded) for request through the Alumnae also to a dinner at which Rush · 1 Jane Thornton lselin '56, Nome------­ alumni. families, and friends. Advistory Center. 5 Welter of the Bennington faculty There is space for thirty people. Hudas Schwartz Liff '47 • Judith spoke about the college. Address------~ ---o- City ______No linen or meals will be Felson Matchton '56, and Ruth Arrangements for the various Fro m the Regional Groups State Zip _____ provided. Kitchen facilities are Winkelman Wender '45. projects were mode by Margot available. The charge is $3 per BOSTON Graham Foss '62, Collie Moody Note: SILO is in great need of financial support. If you would like to JANE WELLINGTON MERRILL METRO POLIT AN NEW YORK person per night. Reservations NANCY REYNOLDS COOKE '37 Low '47, Priscilla Boker Reveley become a patron, please enclose on additional check with your will be taken on a first come, '40 '45, Betty Oviatt Ryon '43, Bobbi subscription. Thank you. Ann Streiby Philips '43, Dody SEENA ISRAEL FISH '52 first served basis at the Office of Quadrille 53 5 2 Quadrille M.ore than $400 has been turned Memorial Fund Tom Brockway Wants Your Diaries SONYA RUDIKOFF GUTMAN's article "O over to the 1972 Alumni Fund. Pioneers!" or "The Whole Earth People" A memorial fund for Mory Lynn Hort Poole '53 h d' d was published in the July, 1972 issue of Novembe 6 1972 · b . w o 1e on I would be grateful for the loon of diaries or letters you wrote while at r. ' . 'is emg established by her family and friends. ADDITIONAL ALUMNI AC­ the college. Without some of the handwritten evidence the history of COMMENTARY, which dealt with co~munes and new life styles. Another­ . Those wishing to contribute should make out their checks to Ben­ TIVITIES Bennington College will hove everyone but you in it. ~rticle appeared in the October, 1972 nington College mentioning that they ore for the Mory Lynn Hort p I issue. Westchester County alumni Fund. The use of the fund will be determined by Mory Lynn's fa ·1 oot e met Jonis Pryor '70, m~mber of '5 0CYNTHIA LEE MACDONALD who is later date. m1 Ya a the Admissions Office staff, at staff member, Kathy Halbreich livi·n·g in Houston for a year, is giving a '53, Gail Gordner Newmon '51, writing course open to Sarah Lawrence annual Scituate (Mass.) Art Festival in on evening meeting organized '71, spent a very successful and Marjorie Handwerk Duncan alumnae and others who are interested. July, 1972. Chicago. She is an Assistant by Jeannette Winans Bertles '49. week of school visiting in early '43. Her teaching contract with Sarah BARBAR~ NELSON PAVAN received a Professor of Field Work, Social Service Lawrence has been renewed for another Ph.D. in Educational Administration Ad.ministration at the University of Hostess was Berte Schindelheim October, thanks to the help of Chicago. She is also a consultant ta Admissions Director Jeon thrH years and she will teach at the from the Harvard University Graduate H.irschfield '60. The purpose of the fol lowing alumni: in Chicago Sarah Lawrence Summer School in School of Education in June, 1972. Her "helping hand", a service for brain the gathering was to bring - Edmor von Henke Hoppe '50, Aldrich hos expressed ap­ London next summer. Her book AM­ thesis was entitled "Moving Elementary related disorders, set up by the Women's P~TATIONS will be published this month Schools Toward Nongradedness: Board of the Brain Research Foundation alumni up to date on what is Pat Groner Dubin '61, Judith preciation to Jeon Lee '39 in at the University of Chicago bY George Braziller; two of her poems Commitment, Assessment, and Tactics". 1 happening at the College and to Kantrowitz Horris '58, Victoria Omaha; to Maribel Asher Leiter will be Included In Doubleday's an­ She has assumed the prlncipalship of the 5 8JANE BERRY VOSBURGH at;ended the give them the facts necessary to Kirsch Melcher '671 and Ellen '49, and Dorothy Middleton thology of women's poetry NO MORE Franklin School In Lexington, Massachu­ Republican Convention In Miami with MASKS to be published In the spring setts. Team teaching at the elementary be able to talk knowledgeably Baskind Smart '66j in Cincinnati Brewer '38 in Kansas City; and her husband, who was an elected 1973; and the HARVARD ADVOCATE level was Introduced at this school in delegate. He is Vice-PrHident of Alcoa's about Bennington with friends, - Marilyn Lord Dux '48, Aurelia to Alice Edge Wittenberg '53 in issue on women's writing will include 's ·· 1957, Construction Systems, Inc. Jane served alumni of other colleges, Mcintyre Klayf '45; in Columbus, Minneapolis for their great help one of her long poems. SELLEN WEBER ROSEN is a fulltime Social as a critic on Pittsburgh TV Station KDKA SOLANGE BATSELL DE LA BRUYERE and parents, and prospective Ohio- Jessie Nelson Engle '40; in making arrangements for her Worker at Booth Memorial Medical in a conversation with the author of EVANGELINE HAYES were co-directors Center in Flushing, N.Y. She is also "Jonathon Livingston Seagull ", and is an students. in Cleveland - Ann Fulton school visiting trips during the last summer of a salon gallery in working towards her Master's degree in off- and on-camera volunteer for Another Admissions Office Mogoi '58, Faith Hanno Plogenz foll. Skidmore College's Hathorn Gallery in Social Work at Adelphi University WQED's auction. She has been re­ r 5 1~ratoga Springs, New York. Garden City, N.Y. ' elected Chairman of the Unitarian ANNE WASSON HARNEY is studying Art MARLEEN FORSBERG MONTGOMERY is Church's Women's A lliance in Pitts­ History in Radcliffe College's Seminar one of a group giving concerts of ancient burgh. 1 program as well as painting on her own. and medieval, 18th Century, Renais­ 5 9 CAROL FOLEY LISTON , a member of the Her husband, Greg, is Executive sance, and folk music which have been Alumni Class Notes Boston Globe State House Bureau and a Producer of the TV show "The Ad­ taped and reproduced in a recently 1971 Nieman Fe llow at Harvard The Homeys, who live in released limited record edition. v~cates". , University, has been appointed assistant '64 L1~coln, Massachusetts, have four 56HELEN GOODWIN CUNEO received a (Gleaned from mail received at the peared in the October 15, 1972, to Globe editor, Thomas Winship. LUCY JAMES GILBERT to Michael Graves, children. Master of Arts in Teaching from Harvard Office of Alumni Services and from the Springfield, Massachusetts Sunday 1 SONIA BERLIN MICHELSON had her first in Princeton, New Jersey, on June 3. CHARLES CZARNY, ballet master of the University in June, 1972. newspaper clipping service. Editor's plea REPUBLICAN . 5 2 one-woman photo show at the Newton '67 Ne.therlands Dance Theatre, is in the ANNA CARBONE LAUTORE has joined to alumni : send us your news - we're '39CATHERINE DAVIS STONINGTON is (Mass.) Free Library in September and ELIZABETH BURR LASSITER to William United States for the first time in seven the New York Office of Blunt Ellis and interested, and so are your Bennington running for the Colorado State Board of October, 1972. Her most successful Henry Joyce Yerkes, in New York, on Simmons Inc. as a registered stock­ friends.) Education. She reports another family years. He is directing the North Carolina pictunn record the living, loving, and June Dance Theatre in his ballet "Bach: broker. 24. marriage: Gordon Stonington to Tamra laughing of children, and all reflect '69 Brandenburg Three" and will choreo­ LISA STARR RUDD is the director of the Births: Tharratt of Lafayette, California, on interest in her fellow man. VERNA RAKOFSKY to Brian Blair, in graph a new work to Brahm's Piano Anchorage School District's equal '63 March 11 , 1972. MARIANNE DACH NIEDERMAN Cambridge, Massachusetts, on April 22. Variations on a Theme of Paganini to be employment program. Some 2500 to LINDA CHASE BRODA, a second child, 1 SARA CARTER BALOGH is a psychologist represented Bennington College at the 4 1 performed by the same group. employees are involved. She is also a son, Andrew Luke, on May 20, 1972. '71 at Vassar College and teaches in the inauguration of Donald Charles Klecner MARIA KINAL to George Wright Helmer, ELl.ZABETH C.OREY GUTHE was ap­ working towards a Master's degree in '65 graduate program in Education at as President of Chapman College in in New Canaan, Connecticut, on July 8. Public Administration at the University to SUZANNE STANTON FREEDMAN, a Western Connecticut State College on a pointed Associate Di rector of the Center Orange, California, on April 7, 1972. '72 for Continuing Education at Bentley of Alaska. son, Nicholas Stanton, in June, 1972. part-time basis. 1 AVA LEE HEYMAN SIEGLER received her CHARLOTTE ALBRIGHT to Richard Kemp 1 College, Waltham, Massachusetts, on 7 MARJORYE HIRSCH GOLDSTEIN has '66 45 GERALDINE BABCOCK BOONE received 5 Post-Doctoral degree in Psychoanalysis Renner in Hollidaysburg, Pennsylvania, July 1, 1972. been teaching a creative dance class for to GRACE HARRIMAN DAVIS, a son, the 1972 award for outstanding com­ Child Psychiatry, and Child Guidanc~ four and five-year-olds at Trinity Theo, in July, 1972. on September 2. munity service from the Princeton Area ~ENEE MARRON KLEPESCH Is teaching a from the Postgraduate Center for Mental sixth grade class in the La Jolla Country Methodist Church in Ewing, N.J. '67 Council of Community Services at a Health (N.Y .) in June, 1972. She is now a Death: MARION FISHER has been Director of to DEBORAH CLEMENT GESSNER, a meeting in May, 1972. Through a deep Day School. In June, 1972, she com­ member of the staff and teaches Child pleted the first semester of law courses Social Service in the Mental Develop­ daughter, Jennifer Suzanne, September '41 personal commitment to the "neglected Development and Play Therapy to Post­ MARIE CHRISTOPHER GRAINGER, in the ment Clinic, Joseph P. Kennedy Jr. 21, 1972. and unloved," she hos helped in­ offered on a part-time basis by Western Doctoral Fellows. She is also a spring, 1972. State University College of Law in San Research Foundation at the University of '70 numerable troubled adolescents. psychological consultant to the New 1 Diego, California. to JOANNA CLARK SWAYZE, a son, FLORA BOND HOLLINGER received a 53 Andrew Clark, November 1, 1972. Master's degree in Education from BARBARA A. FRITZ, who graduated from ALUMNI DIRECTORY is Ready '71 '37 Harvard University in June, 1972. Tufts Medical School in 1965, and took 1 her residency in obstetrics - gynecology to ERIKA JOHNSTONE BEAUVAIS, a BARBARA HOWES SMITH wi II have a fifth 46 PATRICIA POWERS JONES represented The. 1972 BENNINGTON COLLEGE ALUMNI DIRECTORY will be at Pr~vidence (R.1.) Lying In Hospital, is daughter, Sylvie, in February, 1972. book of poems, THE BLUE GARDEN, Bennington College at the inauguration by the end of November. There will be no charge. Alumni of James Archie Hargraves as President now in private practice in obijyn in a..:a~l.oble published this fall by Wesleyan Providence. w1s mg a copy should return this form to: Marriages: University Press ; and THE EYE OF THE of Shaw University in Raleigh, N.C., on DOROTHY WHITTIER GRILLO teaches '53 HEART: SHORT STORIES FROM LATIN April 8, 1972. Office of Alumni Services pottery as a volunteer at Milton MARCIA JANETTE MACNEIL to David AMERICA in the spring of 1973 by Bobbs­ JEAN THOMPSON VOGELBACH is Academy, Milton, Massachusetts. Bennington College, Bennington, Vermont 05201 Alden Chapman in New York, in June. Merrill. Chairman of the Art Department in the '61 S Pine Bush (N.Y.) Central School System. JOSEPH SCHAAF is Chairman of the 1972 Bennington College Alumni Director 1 Music Department at Putney School, LAEL MARKEL LAWRENCE to Edward F. '38 4 BARBARA EDWARDS is Director of Visual 15 Putney, Vermont. to: Locke in Stockbridge, Massachusetts, on LUCY GREENBAUM FREEMAN's article Design for Filene's Department Store in Nome:------JOSEPH ABLOW, professor of art at June 9. "Depression: its Cause and Cure" op- Boston. 4 Address: Closs---¥ear:---- Boston University, was a judge at the 54 Quadrille Quadrille 55 HOUSING and JOBS f York City Day Care Centers and in 147 boxes. The boxes had six seats Musical Director of the Pennsylvania private practice in Greenwich Village. apiece and sold between $300 and Opera Company. 0 · $1,000 per box. 1 6 0 ELIZABETH MAMORSKY had a show of '6 5 '7 0 HILARY AP JOHN TRIGAUX is Associate paintings at the William Sawyer Gallery KATRINA EDWARDS HART is a case Director of the Meri t Music School in r in San Francisco from August 22, ta worker at the Washington County New Canaan, Conn. The school, which is September 2, 1972. Mental Health Clinic in Montpelier, Vt., a six years old, offers private lessons, JUNE KING NICHOLS had 0 show of oil community mental health center. ~he ensemble, and courses in composition paintings at the New Canaan (Conn.) works with former state hosp.ital and theory. Hilary describes her position N Savings Bank in September, 1972. The patients living in alternate care settings as liaison between parents and faculty. show included portraits, seascapes, with socialization groups. The program PAMELA GRANBERY has an exhibit of landscapes, animals, and still life. involves a great number of volunteers. acrylic paintings in the main gallery of R CORA GORDON SILBERMAN and her BARBARA ECKARDT KLEIN has been the Art Association of Newport, R.I. Her husband, Murray, founded the New appointed to the faculty of the .Dep~rt- works range from the expressionistic T Chamber Orchestra on Long Island in ment of Philosophy at Boston Un1vers1ty, representational to pure abstraction. 1970. Home for the Orchestra is the effective September, 1972. ANNE WEST has acted in_.9!Lllll01l·I~ Robert Williams School. As per- JACOB LIBERLES is Assisto.nt Professor of play -by---Arttrur--spifflaert which the formances increase it has become Music at Brklgewater -{Mass.) State Theatre Laboratoire Vicinal of Brussels necessary to raise money from patrons College, and working on his doctoral presented in repertory at the Cafe La and adverti;ing, as well as to sell dissertation in Music at the Bos~on Mama in New York during September. tickets. Half of the 24 New Chamber University School of Fine and Applied musicians are women, and all of the Arts. '7 1 VICKI WOOLNER had a one-woman show musicians· are enthusiastic about their SUSAN FRARY WILLIAMS received her in August at the Field Gallery on work. Ph.D. in Biochemistry at the University of Martha's Vineyard. Her work included Vermont in 1972, and is currently on the etchings on zinc plates and silk screens, 1 I can offer room 6 3 NANCY JUNO DAWSON played the lead research staff of Columbia University in and was a great critical success. board in Charles Gordone's Pulitzer Prize play the Department of Biological ELEANA WATSON IKEDA lives in Tokyo ------"No Place to be Somebody" in the Oceanography. where she describes herself as a for the following (give dates) National Company's 1971 production. In '6 · housewife. She studies ballet twice a ------1972 she starred in a film satirizing 7 NANCY SELDIN received her M.S. in week, and plans to teach English con- filmmaking called " Verile" . She is Education in 1968 from Bank Street versation to Japanese U n1vers1· 't y In exchange for money ------work currently co-starring in a film called "The College. For the past two years she has t d 1 th' Relationship" which is being shot in Los taught severely disturbed children (6 to s u en s is year. JOB SUGGESTIONS Angeles, London, Paris, and Rome. 10 years) in East Palo Alto, and has just '7 2 MADELINE BLUM taught viola at the ARLENE HEYMAN spent March, 1972, in received a grant to do graduate work in Ferrwood Music Program, Hazleton, Pa., .Jerusalem on a Public Health Service Community Mental Health at Berkeley, this past summer. She has been studying apply to American Association of Medical California. She is working with other with Lillian Fuchs at the Manhattan address Colleges N.l.M.H. grant. She will receive local women in Menlo Park to set up low School of Music. Bennington students take her M.D. degree from the University of cost community controlled infant and JEANNIE CROSS is 0 reporter on the much of the responsibility Pennsylvania in May, 1973, and plans to day care services, and is active in the Danbury, Conn. NEWS-TIMES, and lives for their Non-Resident Term probably salary begin a residency in psychiatry at Albert women's movement. in New Milford. Her apartment is above plans, but many find that skills needed Einstein - Bronx Municipal - Jacobi '68 a two-car garage, and has its own the most interesting and re­ Hospital. JAY BRADY was the instructor for 0 backyard and a fine view across the signed: name BARBARA GOLDBERG ROHDIE summer series of art classes for valley and town of New Milford. ward ing situations for 1973 ------represented Bennington College at the teenagers and adults sponsored by the PEGGY HOWRIGAN is an auto mechanic are volunteer jobs, without inauguration of Dr. Merle F. Allshouse Bennington, Vermont, Recreation for a West Hartford, Conn. auto dealer. remuneration. Many also find address ------as President of Bloomfield College in Department. She is the only woman mechanic for that they are in strange Bloomfield, N.J., on May 5, 1972. SHARON CAMERON received her Ph .D. Toyota, which has 900 dealers cities where they do not have DIANA STRAUCH SCOTT is in the news- in Literature from Brandeis University throughout the country. She is also personal contacts. Alumni city ------state room and writing for the Marlboro this summer. She has joined the faculty taking a course in auto mechanics at A .I. throughout the count ry can (Mass.) Daily Enterprise. She teaches ci the Literature Department at Boston Prince Technical School. be ~f tremendous help by telephone number art, is a free lance artist and a free lance University. DAVID LEOPOLD is proprietor of a offering the hospitality of writer. She was coordinator for SPEC- , Lenox, Mass. audio equipment facility, ------TRUM '72 Festival of the Arts, sponsored 69 LAUREN LEV.EV will have a Composers' Audio Design, Inc. their homes for the extent by the city of Marborough early in Forum in New York this fall. In the spring SHARON OTT worked last summer with of the Non-Resident Term September. she will join the music composition and the drama department of Oberlin (January 2-March 2) or for , theory faculty at Dartmouth College. College 01 Roger WillitJms College in ~ short period while students BUSINESS REPLY MAIL 64 NANCY P. ANNIS received a Master's ERICA ROBIN is studying piano with Rhode Island and is now doing graduate find permanent hous i ng. Permit No. 7 degree in Education from Harvard Aube Tzerko in Los Angeles and com- work at Oberlin. No Postage Necessary if Mailed in Students expect to pay for Bennington, Vt. University in June, 1972. pleting work for a Master's degree in CAREN CAMPBELL PERT had 0 one- the United States PATSY NORVELL is one of a group of Systematic Musicology at UCLA. During ~oom and board, or to work woman show at the Whale's Spout rn exchange for it. women artists, members of A.l.R., who the past two summers she has been at Gallery on Nantucket, (ran for two have started a gallery at 97 Wooster the Aspen, Colorado, Music School. weeks) and was elected to the Nan­ Alumni who are able to Street, New York, to show the work of HARRY SHEPPARD has joined the faculty tucket Artist's Association. help should complete the innovative women artists. at Antioch College as a dance instructor iorm at right and return it MARJORIE GOLDSTONE GREENBERG is a in the Physical Education Department. Special Students o. Mrs. Annette Shapiro, Psychiatric Social Worker in the BARBARA SILVERSTEIN made her Metropolitan Hospital Center, New York conducting debut last summer in three ~rrecto r ~f the Non-Resident GEORGE GILMAN received a Master's .errn Offrce. Cut along solid Gty. performances of "Lucia di Lammermoor" degree in the School of Education, 1 Non-Resident Term Office PAMELA DEWINDT STECK helped to with the Philadelphia Lyric Opera Stanford University, Palo Alto, rnes, fold the pre-paid post make the Cleveland Classic World Company. She has received an ap- California, in June, 1972. He was the ca rd at dotted line, and Bennington College Championship Tennis Tournament a paintment as assistant conductor with only Vermont graduate in a class of itaple (or tape) together. resounding success by personally selling the Company, and is also Associate 4,311 students. ci'ea se note that the form in­ Bennington, Vermont 05201 Quadrille oflldes space .tor descriptions 56 al Possible Jobs. There is Ways need for new leads.