Word: extents
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Dates: during 1960-1969
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Lowry is never completely in control of either his characters or his language. But the intensity and compelling honesty of his prose more than make up for his lapses. He creates only one character, the Consul--the other characters are interesting or relevant only to the extent that they reflect certain aspects of the Consul's personality. Still, that one character, obviously autobiographical, is drawn with such power that the others are rendered almost superfluous. Lowry's portrayal of the Consul's increasing inebriation throughout the day is in itself masterful--his distorted perceptions change subtly with each type...
...anti-Administration movement suffered in 1968 because it had few leaders who were either recognized by the press or who had much political experience. Both of these deficiencies have been met to a limited extent. Names like Allard Lowenstein, Julian Bond, John Gilligan, and Don Peterson are now both well-known and respected in the Washington press corps...
...experiments was designed to determine the extent to which aggression can be transmitted to children through exposure to aggressive adult models. One group of children observed an aggressive model who exhibited relatively novel forms of physical and verbal aggression toward a large inflated plastic doll; a second group viewed the same model behave in a very subdued and inhibited manner, while children in a control group had no exposure to any models. Half the children in each of the experimental conditions observed models of the same sex as themselves and the remaining children in each group witnessed opposite-sex models...
...group then discussed the volatile issue of whether students should, if their request is again denied, try to enter the Faculty meeting anyway. The members present decided to postpone any decision on this issue until Dec. 11 when they would be in a better position to judge the extent of their student support...
...film completed. We need not reject the traditions of American narrative film-making, only those of Hollywood since Wall Street took over; Brownlow's emphases on the almost mystical forces that drew these early film-makers to their calling with such a vengeance serves as example, justifying to an extent our own feelings that proper values can be restored, that we must take chances to put conviction in our own films and, as Karen Morley said of her director, King Vidor (in Our Daily Bread), that we must learn to think with our eyes...