2009 Winter Issue 4 (February 6, 2009)
Two weeks ago, a group of Carleton students concerned with the silence on campus regarding the recent Gaza-Israel conflict decided to speak up. Now, after gathering signatures for a national petition and hosting a successful panel discussion, Let’s Talk is quickly making its presence known. The organization was formed in response to the lack of knowledge at Carleton of Middle Eastern conflict and political situations.
As evidenced by several articles in last week’s Carletonian, there are a number of student concerns about recent changes in Dining Services. In an effort to respond to these concerns and to ensure that the Carleton community has the most accurate information possible about these changes, I offer the following comments.
“Teamwork” is a word that usually refers to sports, but the people involved in the upcoming Carleton play, The House of Seven Gables, give that word new meaning. A crew of over thirty students have been working on the play, and only five of them will be onstage opening night. The rest are involved in costume design, prop design, sound design, and more. Director Ruth Weiner, Professor of Theater and the Liberal Arts at Carleton, has the difficult job of “coordinating all the many, many different people.”
Carleton College ranks 20th in the number of Peace Corps volunteers for 2008, as the College produced 15 alumni volunteers last year to push its cumulative alumni Peace Corps volunteer number past the 500 mark.
Carleton’s residential office, better known as Res Life, released the lottery numbers for the 2009-2010 academic year earlier last week along with the statement that only a hundred rising seniors would get the chance of getting Northfield Option.
Long disparaged as lowbrow and unworthy of critical attention, melodrama receives a fresh look from curators Carol Donelan, professor of cinema and media studies, and Laurel Bradley, director of exhibitions, with input from students enrolled in a course taught fall term at Carleton, “The Melodramatic Imagination.” Rooted in cheap stage shows, circus spectacles and sentimental literature, melodrama matured as a cinematic genre in the early twentieth century.