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The University’s directive for the overwhelming majority of students to depart campus has left classrooms, libraries, and public spaces deserted — over 90 percent of the undergraduate population has packed up and returned home for the rest of the semester.
When the University announced that all undergraduates “who are able” would have to return home, thousands of Princeton seniors saw their academic careers cut short. In one day, the traditions that encapsulate a senior year at Princeton — theses, “post-thesis life,” graduation, the walk through FitzRandolph Gate — were all thrown into question.
By Wednesday morning my microeconomics midterm exam had been postponed just before it was scheduled to start, and all I wanted to do was go somewhere to let out all my frustration with this week. I wanted to go to the middle of Poe Field and yell until my vocal cords could produce only silence. I wanted to teleport to my dog at home and just nap while holding onto her. I wanted to take my microeconomics midterm exam as scheduled and just absolutely crush it more than I had ever wanted to take any other exam in my life. I wanted my biggest worries this week to be intertemporal budget constraints and whether the salvation of bears is a normal good just like they had been about a week ago.
Currently showing at the Princeton Garden Theatre, Céline Sciamma’s latest film “Portrait de la jeune fille en feu” (translated as “Portrait of a Lady on Fire”) explores the dialectics of artist/subject, love/beloved, and viewer/viewed, presenting them as fluid and reciprocal. In the act of viewing, the film posits, oneself is viewed.
Highways, hills, and houses fly past, drowned by sunlight into indiscernible shapes, colorful blurs in my vision, which struggles to work at optimum capacity before 9 a.m. The only reason why I would ever get up this early, aside from anxiously skimming my poor forgotten readings, is if I were given the opportunity to travel. So when I saw the email from the Carl A. Fields Center for Equality and Cultural Understanding about a day trip that would allow me to step foot in Washington, D.C., for the first time, I begrudgingly set my alarm for 6 a.m. on Sunday morning.
Two weeks ago, I got a frantic text from my beloved friend — her belly dancing group was in need of a photographer who could take some impromptu shots of their dress rehearsal the evening before opening night.
Mention afternoon tea and visions of “the 1 percent,” lounging in posh British castles and gardens, come to mind. And, at the beginning of this academic year, this concept returned to the castle-like environs of Firestone Library. Rather than experiencing the joys of late meal or venturing to one of Princeton’s coffee shops, University students and faculty can now enjoy afternoon tea in Firestone Library’s Tiger Tea Room on Tuesday and Thursday afternoons.
I was laying in the courtyard — the galleons of the sky were dancing impressionists imitating varying animals and beings — when President Eisgruber walked over to me and began to say in a monotone voice: “The library is now closed. The library is now closed.”
“I am exhausted,” I said to every person who asked how I was doing during the first week and a half of the semester. Naturally, the question-askers wanted to know why I was exhausted, and my answer was simple: the Princeton Triangle Club’s 2020 tour of “Once Uponzi Time.”
I was 14 when I watched “The Social Network” for the first time, but even at this very moment four years later, I still remember everything about it. I especially remember the now-iconic opening scene between Jesse Eisenberg and Rooney Mara — the first time I saw it, I thought that the mile-a-minute dialogue sounded like music. It was the first time I had ever paid considerable attention to film dialogue. Today, I have aspirations of being a screenwriter — and Aaron Sorkin’s “The Social Network” is precisely the reason why.
January is a mix of emotions for Princeton students. It's an odd combination of excitement for the start of the new year, frustration from the odd schedule ending holiday celebrations prematurely, and anxiety about the tsunami of class material to be covered before finals. I expected all of these feelings before leaving for break, and although new to this, I was mentally bracing myself for this whirlwind. I wasn’t immune to any of these post-break effects, but no one mentioned the overwhelming homesickness I would feel. I am not usually one to feel “homesick”: I decided I wanted to go to college out-of-state by my freshman year of high school, and coming from New York, I was aware that I was lucky enough to be one bus ride away from home. So why was I pulling a full Dorothy from “The Wizard of Oz”?
Prospect staff writer José Pablo Fernández García ’23 sat down with Zach Zimmerman ’10 after his second performance of Clean Comedy at McCarter Theater Center. A stand-up comedian who has recently performed at the 2019 Edinburgh Festival Fringe and is about to embark on his 2020 Gay But Not Too Fabulous national tour, Zimmerman discussed his journey as a performing artist and the Princeton experience.
Watching the cast of “Parasite” cluster center-stage at the 92nd Academy Awards, I saw faces like mine crowd the screen and shared with them a collective sense of achievement. Through the language of my grandmother, I traced the lineage of suffering from the first Korean immigrants to America, to the economic struggle of my grandparents, to the linguistic barrier my mother faced when she arrived to America as a child, to my own internal anguish as a Korean American — all culminating in the great exhilaration of this moment of celebration. A moment which seems to directly counter the residual notions of Orientalism and racism towards East Asians that remain in America but, in retrospect, exists in an isolated, carefully groomed setting of perfection and global harmony, a moment which appears to celebrate Korean culture but in actuality reinforces the global influence and dominance of Western culture.
How are you supposed to get your hair braided in Princeton when most local shops haven’t seen the hair type chart or even heard of the word “porosity”? Looking for Beyoncé-inspired “Lemonade” braids? Good luck getting them done here.
I am sitting at my desk in my dorm, attempting to work on yet another lab assignment, when it begins again — a war, which ensues almost daily, between my posterior and my desk chair.
Four filmmakers, Lynne Sachs, Emily Hubley, Su Friedrich, and Edith Goldenhar, showcased short films at a special “Women in Film” session of the Black Maria Film Festival on Friday, Feb. 7.
The section currently known as The Prospect has seen many changes over the last few years. Initially envisioned as “The Street,” the section was featured as a weekly addition to the Friday print issue, detailing different arts-and-culture-related events happening over the weekend and the following week.
The Lewis Center for the Arts’ Program in Theater will present the first full English-language production of “Sister Mok-rahn,” a critically acclaimed contemporary Korean play written by Eunsung Kim and translated by Dayoung Jeong. The production is the senior thesis project of Jenny Kim ’20, who provided dramaturgy, lighting design, and set design, while Carol Lee ’20 plays the title character, Jo Mok-rahn.