Word: formful
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Dates: during 1960-1969
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...Hitch realized that political threats were the real danger in the Regents' plan. And Reagan's reply to Hitch's practical appeal showed the political threats in their most venomous form. Hitch might have hoped that Reagan would argue on the same administrative-efficiency terms. Not a chance. Reagan bluntly admitted that the plan was a political tool. The Regents thought that the chancellors had appointed too many liberals, he said. It was time for the Regents to "intervene and put a little balance back into the picture...
...majority of the population. The Cubans or the Vietnamese are not going to save us, and there can be no talk of violent revolution from within while the government continues to control the instruments of violence. The second fact is that the radical solution, in whatever precise form it eventually comes to be presented, has common sense on its side. It is possible to demonstrate the enormous social costs of modern capitalism. The need for change can be clearly shown to people. This does not mean that these things will be done. I am merely suggesting that we should begin...
Admissions policy is necessarily a form of social engineering and many Faculty members will argue that Harvard still has an obligation to produce leaders for American society. As long as most positions of leadership are being given to males, most of Harvard's products ought to be males, the traditionalists will claim. That line of argument has an ugly elitist ring to the large number of people around Harvard who think the University should be reforming rather than playing ball with the establishment. Perhaps the issue can be glossed over with a compromise, but probably not. Thus the merger involves...
...researchers originally identified 1,000 compensatory education programs form all parts of the country, collected details of 400, and visited 98 from which the final selections were made...
...personal development through emotional (above all, love) experience, requires its characters' sentiments to seem real and strong so that their actions will feel sufficiently motivated. Edelstein establishes the objectivity, indeed the rule, of his characters' emotional experience. Their actions are completely determined by their emotions, and since these emotions form the world of his film, the entire drama proceeds with a chilling inevitability. The actors' motions and positions of objects--everything in the film moves to a single end, one which we feel absolutely necessary...