Word: distinctions
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...project, which grew out of a paper the pair wrote on childhood amnesia in 1979 while Pillemer was a graduate student of White's at the School of Education. Examining Freud's claim that memories of childhood cannot go further back than about age seven, the article discussed two distinct kinds of memory. "Flashbulb memories"--a term coined by White's colleague Roger W. Brown, Lindsley Professor of Psychology--consist of pictures of whatever a person is looking at when he gets intensely excited. Script memories, by contrast, string these pictures into narrative stories...
...Liebowitz writes badly and thinks sloppily. His work is filled with meaningless sentences such as "Along comes a somewhat attractive and friendly soul and whammo, our brains are hit with megadoses of 'attachment juice." His logic is no better. "Biologically," he writes, "it appears that we have evolved two distinct chemical systems for romance; one basically serves to bring people together and the other to keep them together." The only evidence that he offers for all this elaborate chemical apparatus is that we fall in love and stay with our lovers...
...primary though unspoken reason for the Soviet insistence on maintaining a balance of Soviet INF against British French INF is to pose a distinct nuclear threat to West Germany outside the Soviet-American balance of both INF weapons and strategic nuclear forces. In his press conference of early April, 1983 Soviet foreign minister Gromyko justified such a separate Soviet INF-British French INF balance in purely nuclear terms...
...perceive the present, through the eyes of their mortal identity. But occasionally humans transcend this limitation. Thus when we see the future in dreams, we are looking through the eyes of an observer in some future time. Similarly, within the play, one of the characters is treated to two distinct temporal visions of her life. Act II, which takes place nearly 20 years after Acts I and III, offers protaganist Kay Conway (Margaret Whitton) a glimpse into the future of herself and her family...
Priestley's play succeeds because it presents much more than a quirky theory of time. The dialogue is always vibrant, regardless of the date, and the characters are vividly drawn people with distinct, realistic personalities. All one could have asked for from the script is a longer third act: Priestley is a bit utilitarian, presenting episodes that neatly explain how the Conways' individual fortunes began their downward spiral, but are thin on the rich incidental action he writes so well...