Word: impression
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Getting both the professor and the class to see you as you'd like them to is hard. You want to impress the professor with the clarity of your perception, which means you agree with him. But you need to distinguish yourself to the class, which means you don't. Professors in my experience get very nervous when you steal their students. But students get really snotty when they realize you're a lapdog...
...pull the same kind of maneuver. It's very popular, for instance, for professors (especially in survey courses) to deal with an issue by taking two lectures and presenting all sides of the debate, all the strengths and weaknesses, and the names associated with each position. In order to impress students with the solemnity of the whole thing, he speaks of the interchanges with the kind of reverential awe that makes you feel the discussion has taken place at a very stately pace since the Middle Ages...
...National Audubon Society President Russell Peterson charged that Watt's "actions and statements identify him as an aggressive, shortsighted exploiter rather than a far-sighted protector of the nation's air, land and water." But the Senators found the criticism easy to disregard. Moreover, Watt seemed to impress them with his conciliatory tone and forthright expressions of love for the land that he will manage. Said he: "I was born, raised and educated on the plains of Wyoming at the foot of the Rocky Mountains. I know the grandeur and beauty of open space and mountains...
Most Americans have neither the bods nor the boodle to dress in the presidential fashion. Nor does White House style necessarily impress the populace. No one stormed the stores for Jimmy Carter's cardigans or Lyndon Johnson's baggy pants. On the other hand, Jack Kennedy's two-button suits (whose looser lines he adopted to disguise the back brace he often had to wear) set a fashion for two decades. Jackie's Halston-designed pillbox hats were as common as canapes at cocktail parties of the '60s. If the Reagan look does not incite...
Jarvi led a boring opening of the Shostakovich-- intended as a majestic dialogue for the orchestra. Joseph Silverstein, the concertmaster, bit his bow into the violin strings for no apparent reason, other than perhaps to impress the orchestra-seat audience with his bow technique. The horns, in contrast, played their statement of the main theme with little passion. Shostakovich's conceptions and Jarvi's interpretation began to shine, however, with the entrance of the harp's sustained chords. The composer glutted the music with fat harmonies and lines, which Jarvi wrings from the orchestra, at a cost; a wobbly beat...