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From: "Cheri" <[email-masked]>
Date: Thu, 25 Oct 2007 02:36:53 +0900

By contrast, so-called generative adults — those who score highly on tests measuring civic-mindedness, and who are likely to be energetic and involved — tend to see many of the events in their life in the reverse order, as linked by themes of redemption.

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But the point is that the narrative themes are, as much as any other trait, driving factors in people’s behavior, the researchers say. They sought treatment for things like depression, anxiety, marital problems and fear of flying, and spent months to years in therapy. To them, therapy was part of a continuing adaptation, not a decisive battle. The investigators found that the third-person scenes were significantly less upsetting, compared with bad memories recalled in the first person. “What our experiment showed is that this shift in perspective, having this distance from yourself, allows you to relive the experience and focus on why you’re feeling upset,” instead of being immersed in it, said Ethan Kross, the study’s lead author.

Taken together, these findings suggest a kind of give and take between life stories and individual memories, between the larger screenplay and the individual scenes. The way people replay and recast memories, day by day, deepens and reshapes their larger life story. That DreamWorks ogre’s skin is the color of money after all. fondduck nocalsch-archive888lists.ietf.orgmo Unless the Shrek team wants to follow its hero into the dangerous swamps of mid-life, thus shifting his literary pedigree away from William Steig and in the direction of John Updike or Philip Roth, it may want to leave him in a condition of more-or-less happily ever after.

Success may not have spoiled Mr. Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing. Shot on Super 16-millimeter film, with many scenes steeped in a blue that would have made Yves Klein envious, “Zoo” is, to a large extent, about the rhetorical uses of beauty and metaphor and of certain filmmaking techniques like slow-motion photography. The prowling camera and dusky colors give much of “Zoo,” which opens with the portentous image of what appear to be miners emerging from a tunnel, a sumptuous, almost velvety look and vibe, an effect enhanced by the repeated use of slow-motion photography. Characters don’t just walk in this film; they float across the frame, pouring like liquid toward their inexorable destinies.

He said he worries they will end up as poor, illiterate traders like him. (This may be why I liked it better than the others.