Word: majority
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Dates: during 1960-1969
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Wiesner disposes of the first argument in short order. The figures Brennan cites are highly suspect on technological grounds, and he admits they are applicable only "assuming that the Soviets do not make a major increase in their offensive forces in response to our improved defense." The ABM would be the most incredibly complex electronic-mechanical system ever built, with all the fallability such complexity implies. The ABM's reliability could never be tested under conditions approximating those of a nuclear attack, simply because there is no way of simulating all the conditions of a nuclear attack. For example...
...first has to do with the mentality of a military establishment. It is a truism that soldiers exist to fight--and win--wars. Major "conventional" conflicts are unlikely, if only because they would quickly become nuclear once any party thought it was losing, the U.S. is inept at combating guerrilla units, and major nuclear was is, at the moment, strategically unacceptable. There just don't seem to be any kinds of wars the U.S. can win anymore. The obvious question becomes: What do we need soldiers for? or, at least, what do we need so many soldiers and weapons...
Mikhail Lermontov, the central character, is ten years younger than Pushkin and a great admirer of his. Like much but not all that is in the play, these facts correspond to historical reality. Both men are major figures in Russian literature and lived in the first part of the nineteenth century. The first part of the play shows Pushkin's involvement with the Decembrist uprising of 1825, an attempted revolution in which the intellectuals tried to gain more control by placing their own candidate for Czar on the throne rather than Nicholas I, and Lermontov's "radicalization" or at least...
...timing of the premier of his first play, A Hero of Our Time, except to hope that people will not be too busy with politics to come to watch his representation of the politics of another era. When he graduated last year as an English major, he had written prose and poetry, but never before a play. Now, as a playwright and as a person involved in the Harvard community, he is concerned with the relevance of art to politics, and with a synthesis between them, which he hopes his play accomplishes...
...production of the play has some interesting points, too. Film is used, but not to show actions that are important psychologically, Shea points out. Rather, the film sequences show major events in the lives of the characters that they then have to deal with. Pushkin watches the bloody raid on the Decembrist Revolutionists by forces of the Czar on film, and Lermontov watches the death of Pushkin on film. Later, the Czar sees part of Lermontov's novel, which he terms "self-indulgent," on the screen...