Word: different
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Dates: during 1980-1980
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...Although various tallies differ, as of last week, Carter had apparently won 835 delegates to Kennedy's 411. Needed for nomination...
...this stage in the campaign it is fair to expect bolder and more explicit statements from the candidates on where they differ from the incumbent and how they would reshape U.S. foreign policy. After all, almost exactly four years before Reagan gave his Chicago speech, Candidate Jimmy Carter addressed the same audience and put the country on notice that if elected he would not let his Administration be guided by "balance of power politics," by excessive reliance on "military supremacy," or by "policies that strengthen dictators." He was committing himself to a dramatic departure from traditional Realpolitik. He stuck...
Although we differ about the suitability of Arnold Harberger as Director of the Harvard Institute for International Development (HIID), we do not question the sincerity of his opposition to the unconstitutional and repressive practices of the Pinochet regime, as expressed in a letter in the Wall Street Journal on December 10, 1976. This letter, responding to opposition to the award of a Nobel Prize to his colleague, Milton Friedman, stated...
Some of us differ with Harberger in our assessment of the appropriate means of demonstrating our opposition to the Pinochet regime, but there is no difference of principle between the position stated in Harberger's letter and our own. Professors Stephen K. Bailey, School of Education Brian Berry, School of Design Harvey Brooks, Kennedy School James Duesenberry, Economics Samuel Huntington, Government Nathan Keyfitz, Sociology Stephen Marglin, Economics John Montgomery, Kennedy School Richard Musgrave, Economics Dwight Perkings, Economics Thomas Schelling, Kennedy School Peter Timmer, School of Public Health Raymond Vernon, Business School David Maybury-Lewis, Anthropology HIID Institute Fellows Clive Gray...
This is harder to do in a piano trio than in, say, a string quartet, because the piano and strings are a mixed marriage. The piano always threatens to be louder; its attack, sustained tones and tempered pitch all differ from those of bowed instruments. So subtly do the Beaux Arts members adjust for these vagaries that they match the interplay of the score itself, passing phrases seamlessly from one to another, ebbing and flowing naturally with the dynamic pulse. Goethe described architecture as frozen music. A Beaux Arts performance is liquid architecture...