Word: faults
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What is that culture? It is a culture that breeds hypocrisy. It is a culture that reduces politics to squabbles between ethnic and gendered interests and forces an equation between true commitment and naivete. Is the feminist really at fault--as I have implied--for patronizing an organization that denies equal status to women? Should not political commitment involve sacrifice in one's daily life? But where is the appropriate sacrifice too large? Perhaps at Harvard, where I have already lamented there are few neutral public spaces where students can go? Our political life is defined by the comically inconsistent...
Harvard is rethinking its most recent proposal for the Knafel Center for Government and International Study after a Cambridge city board found fault with much of the University's plan...
...situation is an intriguing one rendered all the more so by Brown's skillful and sympathetic handling of her two central characters. Miriam is well meaning almost to a fault; her idealism sometimes shades into a simulacrum of selfishness, an unwillingness to credit other people with feelings as pure as her own. And Ronnee, who imagines herself a cool, calculating gold digger, is actually a vulnerable young woman burdened by society with conflicting identities. "Yeah, I know," she says at one point. "Nothing is black and white. Except me. I'm black and white...
...between Maximus and a fellow gladiator (played by Amistad's Djimon Hounsou) has no emotional resonance, nor does his bland romance (if you want to call it that) with the emperor's sister (Connie Nielsen). And as wonderful as Crowe is, the detached nature of his character (mostly the fault of the script) hinders his ability to turn Maximus into a truly mythic hero. The great Hollywood epics all had a sense of sweeping emotional grandeur (when the rebels all yell "Spartacus!" it's a cheesy yet uplifting scene) which is noticeably absent from Scott's film, which is more...
...Clearly, an exhibition of Flux works should create a space for audience interaction and response, which _Experiments in the Everyday_ fails to do. This is more the fault of the gallery institution in the abstract than of the List Center in particular. Unfortunately, the audience is just as trapped by the gallery institution as the work is behind the glass; the visitors gaze as reverently at, say, a baseball "signed" by Du*rer, as they would at a nativity scene. These works are humorous, shocking, psychologically subversive-and somehow that message has been lost in the translation...