In this version, callowness has curdled into cynicism, and it isn't naïveté being mocked.
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If her early work sometimes had an understandable callowness to it, she was also capable of extraordinary insight.
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A young man who can't wholly help his callowness, he keeps around a girlfriend, with whom he's clearly discontented, and sulkily cruises for men at night.
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That points, if not to corruption, to his unusual callowness in government, which Republican national-security hawks such as Lindsey Graham are said to be troubled by.
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While liberals and media critics mock Trump for the supposed callowness of his tweets, his tactics often show more political acuity than they give him credit for.
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Yet the impression, which will endure among the donors even if New Hampshire voters overlook it, is of a politician whose attractiveness and flair come with a worrisome callowness and fragility.
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It has an aura of the best kind of earnest conversation that kept you up all night in your early adulthood — but it transcends that potential callowness with its Keatsian sense of impending mortality.
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If American democracy is to be rescued from the corrupt authoritarianism Trump represents, it will take a new generation of citizen-leaders to do it—men and women with genuine integrity and partisan-free patriotism, untainted by the hypocrisy and callowness of our present sterile political duopoly.
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By yoking her '60s imagery to the cascading disasters of the Iraq War — which Bush, who avoided service in Vietnam (along with Dick Cheney and Donald Trump), launched without a moment's hesitation — Bernstein presents us with a split screen juxtaposing the death-spiral of Vietnam with the brutality, ineptitude and callowness of the Bush-Cheney regime.
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He worked on the mannerisms and body language of the characters to differentiate them from each other. In a negative review of the film, Nandini Ramnath of Scroll.in wrote that Aaryan "nails the diffidence and callowness of his characters" but bemoaned that he lacked "brooding quality and simmering intensity" in certain scenes. It emerged as a box office bomb.
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Father Farley, as written, is rather too self-satisfied and facile for the priesthood, qualities better emphasized in Milo O'Shea's stage performance than in Mr. Lemmon's on film, since the character's glibness comes too close to the actor's usual screen persona. And Mr. Ivanek, beginning on a note of intelligence and severity, later has moments of surprisingly callowness, even petulance. But the stars work together very effectively, making the story's progress believable as each of their characters evolves into a better man. Mass Appeal doesn't have to tug too hard at the audience's heartstrings to arrive at its simple and satisfying resolution.
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When Angelica, looking beautiful, and Don Calogero, looking acceptable, arrive shortly after, Angelica makes a huge social success, thanks to detailed training in etiquette given to her by Tancredi. The Prince, after being satisfied that Angelica has been accepted, wanders through the rooms of the Palazzo Ponteleone where the ball is being held, becoming increasingly gloomy at the callowness of the young men, the boredom in the older men, and the silliness of the girls. The Prince notices Tancredi and Angelica dancing happily together, oblivious to the other's desperation, ambition and greed. As he watches, the Prince comes to realize and accept, if only for a moment, that whatever happiness the lovers feel is to be celebrated, no matter what.
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The book begins with a brief history of the river as reported by Europeans and Americans, beginning with the Spanish explorer Hernando de Soto in 1542.and Facsimile copy of the First edition, page 26"[...] De Soto, the first white man who ever saw the Mississippi River, saw it in 1542 [...]" It continues with anecdotes of Twain's training as a steamboat pilot, as the 'cub' (apprentice) of an experienced pilot, Horace E. Bixby. He describes, with great affection, the science of navigating the ever-changing Mississippi River in a section that was first published in 1876, entitled "Old Times on the Mississippi". Although Twain was actually 21 when he began his training, he uses artistic license to make himself seem somewhat younger, referring to himself as a "fledgling" and a "boy" who "ran away from home" to seek his fortune on the river, and playing up his own callowness and naïveté.
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