But that just shows the basic faultiness of the metaphor.
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We already knew Melisandre's magic was real, but how does that explain the faultiness of her prophecy?
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Such faultiness calls for modesty in thinking about how we go about rebuilding once hurricane season has passed.
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But they certainly reflect the faultiness of our assumptions, the deceptiveness of appearances and the complexities of the soul.
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Apple acknowledged the faultiness of the keyboards when it revamped the design for more durability in the 2019 line, and added an extended warranty program for older models.
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As in monumental sculpture itself, perspective is everything: the faultiness of what we call art history, with its false dream of meritocracy, reflects the limitations of the people who create it; it is, after all, not carved in stone but a living chronicle to be reinterpreted, blasphemized, blown up and rewritten.
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I can match you in faultiness and in changefulness and in hope.
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This hypothesis shifted future research regarding pleiotropy towards how a single gene can produce various phenotypes. In the mid-1950s Richard Goldschmidt and Ernst Hadorn, through separate individual research, reinforced the faultiness of "genuine" pleiotropy. A few years later, Hadorn partitioned pleiotropy into a "mosaic" model (which states that one locus directly affects two phenotypic traits) and a "relational" model (which is analogous to "spurious" pleiotropy). These terms are no longer in use but have contributed to the current understanding of pleiotropy.
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The novel explores many themes, most notably memory, language, and loneliness. The faultiness of memory plays a large part throughout the novel as the narrator constantly gets facts wrong, sometimes on correcting herself, other times contradicting herself. These include a variety of topics, ranging from art history to the narrator's past, from facts about her house to even what day it is. Her awareness of her faulty memory creates an uncertainty which gives her anxiety, best demonstrated in the painting of the house section early in the novel.
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The review describes the location work as one of the films "great strengths", comparing the film to Witchfinder General and The Blood on Satan's Claw, "a landscape alive with the sense of supernatural forces gathering beneath the frost and the empty fields". Purefoy is also acclaimed, with "a sense of huge faultiness coiling within him [which] makes for a genuinely intriguing hero". The only fault is the final confrontation, where the "clashingly mainstream touch" of a CGI demon "[punctures] the movie's careful atmosphere of pre-Enlightenment dread". Variety gave the film a negative review, stating that the film "just isn't much fun".
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The First Meditation, subtitled "What can be called into doubt", opens with the Meditator reflecting on the number of falsehoods he has believed during his life and on the subsequent faultiness of the body of knowledge he has built up from these falsehoods. He has resolved to sweep away all he thinks he knows and to start again from the foundations, building up his knowledge once more on more certain grounds. He has seated himself alone, by the fire, free of all worries so that he can demolish his former opinions with care. The Meditator reasons that he need only find some reason to doubt his present opinions in order to prompt him to seek sturdier foundations for knowledge.
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During the Popish Plot, when Queen Catherine was accused of treason, (it was alleged that she had conspired to murder her husband), the King confided to Burnet his feelings of guilt about his ill-treatment of the Queen, "who is incapable of doing a wicked thing", his resolve not to abandon her ("it would be a horrible thing, considering my faultiness to her"), and his wish to live a more moral life in future.Kenyon, J.P. The Popish Plot Phoenix Press reissue 2000 pp.127–8 Burnet, for his part, told the King frankly that he was wrong to believe that the Earl of Shaftesbury had any part in the charges of treason made against the Queen: Shaftesbury, who was well aware of the Queen's great popularity with the English ruling class, was simply too shrewd a statesman to make such a serious political misjudgment.Kenyon 2000 p.
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Bala's interpretation of Sandeep Vanga's material strips the larger-than-life aura around the self-indulgent, inconsiderate, alcoholic and self-destructive protagonist." However, he concluded that the film "is a unique, honest and bold interpretation of a character that we all love despite the breathtaking level of faultiness." Srivatsan S. of The Hindu wrote that "But the Bala Cut, as it would come to be known, is surprisingly cold and lifeless — even by the standards set by Adithya Varma — and edits out the dramatic bits of the Telugu original, only limiting to its plot points" and stated that the film was a "reinterpretation to his own Sethu". Sudhir Srinivasan of Cinema Express gave the film a rating of one-and-a-half out of five stars and noted that "What would the Bala of today change about/add to this story that’s been told so many times now that you can predict its every beat? Well, it turns out that he hasn’t.
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