Word: deafness
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Dates: during 2000-2009
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...were hurt. They were angry. They wanted payback. It wasn't so much the reporters' fault. I think it was the editors who determined that their audience wanted to hear a certain kind of story. So I think they were somewhat tone-deaf to the truth early...
...ongoing cry for Ad Board reform fell on deaf ears until last April, when then-Dean of the College Benedict H. Gross ’71 called for the development of a Faculty Review Committee. The committee was appointed by Gross’ successor, Pilbeam, and is composed of Professors Elaine Scarry, Stephen A. Mitchell and Donald H. Pfister, who serves as chairman. But because Scarry has been on leave since the committee was created, it has been on a “little hiatus,” according to Pfister...
...call appears to be falling on deaf ears. Turkey is awash in fervent nationalism - newspapers are emblazoned with military heroics and jingoistic slogans. The government of Prime Minister Recep Tayyip Erdogan is loath to upset a cozy alliance with the far-right Nationalist Action Party, which helped it push through a recent law allowing headscarves in universities. Although thousands of Kurds in the southeast have taken to the streets in recent days to protest the invasion, there has otherwise been virtually no public opposition (with the exception of Ersoy's comment) to the invasion. A political solution to the Kurdish...
...power in ancient Rome by allowing the audience to connect the themes of this 400-year-old play to issues facing our community and country today. Most significantly, Nauzyciel elevates Brutus’ servant Lucius from a small role to the focus of the production, transforming him into a deaf-mute boy who sees the play’s characters, already dead, reenacting their lives in his dreams. Lucius remains onstage for the entirety of the performance, sometimes watching passively and occasionally reacting vigorously to the acts committed before him. In his director’s notes, Nauzyciel states that...
...hard-drinking, philosophy-spouting professor. (And yes, he has an accent, so we know to take him extra seriously.) This is the first of Romero’s zombie films in which the protagonists are upstaged by their flesh-eating co-stars. Only one character, a dynamite-hurling, deaf Amish man, truly pops off the screen. His scene, although too brief, is one of the most memorable in the film. The structure of the movie also strangely lacks the sense of danger and immediacy that a zombie apocalypse usually warrants. It is essentially a road movie, and yet the destination?...