Word: confronting
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FINALLY, Vogelgesang does little to resolve the dilemma that all intellectuals must face. That of morality versus political reality, conviction versus officous power. She does not confront the debate on the proper course for an intellectual faced with the choice of accepting a position of power but knowing that in its exercise he must vitiate many of his beliefs in favor of political expediency. This dilemma is a particularly painful one for contemporary American intellectuals who were so badly burned by their forays into policy-making with the Kennedy administration. Vogelgesang postulates three interconnected preoccupations of American intellectuals: the exercise...
After painstaking and sometimes ludicrous deliberation, the Judiciary Committee finally voted an article of impeachment against President Nixon. In doing so, it had to confront one of the most galling difficulties of investigating corruption: in dealing with a pattern of behavior or a type of "atmosphere," there are likely to be few if any specific acts which can be definitely proved illegal...
...held a "very long, rambling conversation" with the President on or about July 4, 1972. Testified Ehrlichman: "We talked about the Watergate defendants, and I raised the point with the President that presidential pardons or something of that kind inevitably would be a question that he would have to confront." Ehrlichman added in his testimony that Nixon expressed the "firm view [that] he would never be in a position to grant a pardon or any form of clemency in this case." Despite Ehrlichman's report that Nixon rejected clemency, the conversation raises a sticky question for the White House...
There are two scenes in The Hostages that are especially good and that point up the movie's strong points. One comes when the criminals first leave the courthouse with their hostage and confront the press. The newsmen, seemingly oblivious to the high-strung tension of the moment, point their lights and microphones at the kidnappers, only adding to the tension of the escape and the danger of the whole incident...
Ultimately, of course, any production succeeds or fails on the strength of its Romeo and its Juliet. Every director must confront a wellnigh insuperable difficulty: Shakespeare presents not just a tale of young love, but of adolescent love. The two lovers are teenagers, and they speak and act as teenagers; the dramatist left no doubt about this. Originally there was no special problem, since Juliet was played by a young boy, and great care was taken in the training of young performers generally...