Word: mistakenness
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...BEST WAY TO adapt a play so rooted in its niche of history would be to pare down its length. Full of intrigues, setbacks, and mistaken identities, the tragedy seems almost comical, and certainly cannot sustain either the weight of seriousness or the burden of a three-hour-long performance. As written, the plot goes out of its way to lead all the characters into vengeance's grasp: secondary scenes--like the one which shows the death of the wife of Antonio, a nondescript lord--are tortuous and hinder the rest of the play...
Certainly this latter role is crucial--especially as RUS is in the best position to undertake such a task--but the mistaken perception has grown up that the two aims are mutually exclusive. By centering so predominantly upon feminist issues. RUS and Radcliffe programs in general have attained a reputation for being too radical--an image reinforced by the fact that students strongly concerned with women's issues tend to need and use Radcliffe more often than do women pursuing other interests. Coupled with the general Harvard-induced apprehension of exclusively female activities, this image often serves as an excuse...
Written by nine students, North by North Middle parodies Alfred Hitchcock's North by Northwest with Roger Thornbook (Jerry Lavin) as an innocent pre-law student and the outraged victim of a mistaken identity who is pursued by police and KGB agents. Lavin pulls off an excellent, recognizable impersonation of Cary Grant, complete with a little "ih" sound before every phrase...
...those critics, Massachusetts Democrat Gerry Studds, earlier this month persuaded 93 Congressmen to co-sponsor a resolution that would cut off all U.S. military aid to El Salvador on the grounds that the Reagan Administration was mistaken in claiming that there had been significant human rights progress in the country. Studds, who speaks from personal conviction, finds echoes of Viet Nam in the Salvadoran situation. Says he: "The U.S. is backing itself into a corner. There's overwhelming public opposition to the Administration's policy...
Stieglitz's works are deceptively simple, accomplishments theoretically available to any shutterbug with a decent camera. Yet his artistry lies precisely in this mistaken impression. His chief contribution to photography was the absolute clarity of his vision. He never fell back on gimmickry, never allowed ingenuity or cleverness to distort his focus. He looked steadily at people, places and things and allowed them to speak to the eyes of others. If his images seem familiar now, that is because Stieglitz taught this century to see them. -By Paul Gray