In the 1950s, most television entertainment programs ignored current events and political issues.

. During times of national crises, television news broadcasts have galvanized the country by providing real-time coverage of major events.

Business magazine editor Chris Anderson explains, “We’re leaving the watercooler era, when most of us listened, watched and read from the same relatively small pool of mostly hit content. And we’re entering the microculture era, when we are all into different things.”

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The first question we ask is if the compound is ionic or covalent? If it is covalent, which is typically between 2 or more nonmetals, we need to ask, is it a simple molecule, or is it an acid. If it is a simple molecule we use Greek prefixes to identify the number of atoms of each type of element in the molecule. If it is an acid, we base it's name on the ionic compound it would form if hydrogen could be a cation. Note, hydrogen can not lose its only electron as then it would be a subatomic particle and the charge density would be too high, so it forms a covalent bond. If it is ionic, we use the principle of charge neutrality to name the compound.

The birth of the Internet can be traced back to when government scientists were tasked with creating a means of sharing information over a network that could not be interrupted, accidentally or intentionally

How do you access your television shows and movies? What is your preferred way? How do you think your age group/generation feels about monthly cable/satellite subscriptions?

In addition, to meet the requirement by the FCC that stations serve the public interest and offer more informational programs, the networks offered newsmagazines as a more dramatized source of news. These programs, including Nightline, Dateline, 60 Minutes, and 20/20, are still important features of the network lineup that draw in large audiences.

Radio also partnered with car manufacturers and soon became a standard feature in new automobiles, something that was very uncommon before the 1950s.

1923. More than 600 commercial and noncommercial radio stations are in operation and about 550,000 radio receivers have been sold to US consumers.

two other amino acids occasionally appear in proteins

Exercise 12.20.1 Which of these titles looks the most interesting to you? What makes it an interesting or effective title?

Frequently, you will find that an assignment asks you to ‘compare and contrast’ poems. There’s a very good reason for this, for, often, it is only by considering different treatments of similar subjects that we become aware of a range of possibilities, and begin to understand why particular choices have been made

While researching, you will likely encounter many, many, many different sources. Because there are so many sources, it is easy to lose track of them unless you organize your search process.

The Compare and Contrast Essay is a literary analysis essay, but, instead of examining one work, it examines two or more works.

know

one week to take the survey.

ah, woe the day!

The sign of optical rotation, although different for the two enantiomers of a chiral molecule,at the same temperature, cannot be used to establish the absolute configuration of an enantiomer; this is because the sign of optical rotation for a particular enantiomer may change when the temperature changes.

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Some boundaries in both static and dynamic situations also possess surface charge or carry surface currents that further affect the adjacent fields.

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2. Hay varias rutas. Necesitamos decidir _________ vamos a tomar.

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1. ¿_________ quieres hacer? No quiero hacer nada.

This concept is heterosexual privilege, which refers to the many advantages that heterosexuals (or people perceived as heterosexuals) enjoy simply because their sexual orientation is not LGBT. There are many such advantages, and we have space to list only a few:

Arguments against same-sex marriage.

Chiral organic compounds isolated from living organisms are usually optically active, indicating that one of the enantiomers predominates (often it is the only isomer present). This is a result of the action of chiral catalysts we call enzymes, and reflects the inherently chiral nature of life itself.

When chiral compounds are created from achiral compounds, the products are racemic unless a single enantiomer of a chiral co-reactant or catalyst is involved in the reaction.

racemates

In the absence of a sample, the light intensity at the detector is at a maximum when the second (movable) polarizer is set parallel to the first polarizer (α = 0º). If the analyzer is turned 90º to the plane of initial polarization, all the light will be blocked from reaching the detector.

Internal conflict takes place within an individual, such as when a character is torn between duty to his family and duty to the state. External conflict occurs when two individuals or groups of individuals clash. A struggle between a character and his best friend is an example of an external conflict.

How do writers of prose fiction make us respond to the imaginary people they create?

Why do you think this is?

How do writers of prose fiction make us respond to the imaginary people they create

The author’s style has to do with the author’s vocabulary, use of imagery, tone, or feeling of the story. It has to do with his attitude towards the subject. In some novels the tone can be ironic, humorous, cold, or dramatic.

The theme is the main idea, lesson, or message in the novel.

Conflict or tension is usually the heart of the novel and is related to the main character

Is the narrator the main character?

The plot is the main sequence of events that make up the story.

How does the time period affect the language, atmosphere, or social circumstances of th

Geography, weather, time of day, social conditions?

who, what, when, where, how?

you need to have a grasp of the basic elements of what you're reading. When

When we read critically or analytically, we might disregard character, plot, setting, and theme as surface elements of a text.

What does she mean by saying that “few people ask from books what books can give us”?

What is her advice about what to read?

the Stephen sisters were exposed to sexual advances by both Stella’s husband and their half-brother,

That response is shaped by our reaction to the interplay of various narrative elements,

they both will have to contribute for the reading experience to be a success

Literature became her refug

experience, interpretation, and evaluation

The ultimate reading experience comes as a result of the collaboration between the writer and the reader;

Novels are exciting machines (verbal machines)

raised the question of whether “bad” literature can still be readable

his will give the author a framework that will be historically correct while his character(s) are purely fictional;

So an author of fiction has to respect what these scholars have established as historical facts.

In today’s fiction it is seen as sign of an author’s versatility to be able to write both for children and for a grown-up audience.

have become classics of fantasy literature for children.

Science fiction literature revolves around science and technology that does not yet exist and may never exist

because being funny and serious at the same time is not easy.

Ridiculing certain characters or institutions is a skillful way of manipulating readers

it will take some reflection to understand its satirical nature.

It can be a striking tool to pinpoint and raise criticism against political practices or other official activities.

Number two – there must be a criminal, and number three – there must be someone who goes after him.

and describe it in an objective and unbiased manner.

A well-written satire will cunningly strip down a certain practice and make it come out as the folly it really is.

Unlike the short story, it is NOT short

the plot usually stretches over a relatively short time span, and will involve fewer characters than a novel.

Did your own answers to the question of why we read touch on any of the reasons DiYanni gives?

What do we hope to gain from reading stories about imagined events that happen to imaginar

fiction is not true

How we read is dictated largely by the experiences and contexts we each of us bring to a particular text,

you need to always keep in mind the question of why you think writers use particular narrative strategies

Fiction writers are not constrained by reality in the same way that creative nonfiction authors might be. They are only bound by the limits of their imaginations.

Fiction writers are not constrained by the truth in this way

Stereoisomers are isomers that differ in spatial arrangement of atoms, rather than order of atomic connectivity

enantiomers

If we want to promote their health and well-being into old age, we need to begin now, when they are infants and children

57 percent are female, reflecting males’ shorter life spans

The internal changes that often accompany aging are more consequential, among them being that (a) fat replaces lean body mass, and many people gain weight; (b) bone and muscle loss occur; (c) lungs lose their ability to take in air, and our respiratory efficiency declines; (d) the functions of the cardiovascular and renal (kidney) systems decline; (e) the number of brain cells declines, as does brain mass overall; and (f) vision and hearing decline.

Life expectancy has been increasing in the United States along with the rest of the world

Older people experience age-based prejudice and discrimination. Inequalities among the aged exist along the lines of gender, race/ethnicity, and social class. This theory falls into the more general conflict theory of society.

Social aging refers to changes in a person’s roles and relationships, both within their networks of relatives and friends and in formal organizations such as the workplace and houses of worship.

e) Hijos biológicos

d) Padre soltero

c) Padres del mismo género

b) Padres divorciados

a) Hijo único

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Finally, you must examine theme in your basic analysis of literature

So, how do we apply this to reading?

but it can also present a slightly biased story.

the narrator and author are different.

The narrator, or the person telling the story, is one of the most important aspects of a text.

Did you feel that setting was clearly very important here?

Mood is the feeling we get from a story; tone is a way of getting that feeling across.)

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The temperature makes a big difference! At higher temperatures, increased thermal motions overcome the effects of intermolecular attractions which normally dominate at lower pressures. So all gases behave more ideally at higher temperatures. For any gas, there is a special temperature (the Boyle temperature) at which attractive and repulsive forces exactly balance each other at zero pressure. As you can see in this plot for methane, this some of this balance does remain as the pressure is increased.

A study group for this class

Groups develop a shared identity based on their task or purpose, previous accomplishments, future goals, and an identity that sets their members apart from other groups.

Participating in groups can also increase our exposure to diversity and broaden our perspectives. Although groups vary in the diversity of their members, we can strategically choose groups that expand our diversity, or we can unintentionally end up in a diverse group. When we participate in small groups, we expand our social networks, which increase the possibility to interact with people who have different cultural identities than ourselves.

In such groups, like a committee or study group, interactions and decisions are primarily evaluated based on the quality of the final product or output. The three main types of tasks are production, discussion, and problem-solving tasks (Ellis & Fisher, 1994).

Size and structure also affect communication within a group (Ellis & Fisher, 1994). In terms of size, the more people in a group, the more issues with scheduling and coordination of communication.

The main source of ring strain in cyclopropane is angle strain. All of the carbon atoms in cyclopropane are tetrahedral and would prefer to have a bond angle of 109.5o The angles in an equilateral triangle are actually 60o, about half as large as the optimum angle. The large deviation from the optimal bond angle means that the C-C sigma bonds forming the cyclopropane ring are bent. Maximum bonding occurs when the overlapping orbitals are pointing directly toward each other. The severely strained bond angles in cyclopropane means that the orbitals forming the C-C bonds overlap at a slight angle making them weaker. This strain is partially overcome by using so-called “banana bonds”, where the overlap between orbitals is no longer directly in a line between the two nuclei, as shown here in three representations of the bonding in cyclopropane:

Larger rings like cyclohexane, deal with torsional strain by forming conformers in which the rings are not planar. A conformer is a stereoisomer in which molecules of the same connectivity and formula exist as different isomers, in this case, to reduce ring strain. The ring strain is reduced in conformers due to the rotations around the sigma bonds, which decreases the angle and torsional strain in the ring. The non-planar structures of cyclohexane are very stable compared to cyclopropane and cyclobutane, and will be discussed in more detail in the next section.

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Hydrogen bonds have about a tenth of the strength of an average covalent bond, and are constantly broken and reformed in liquid water. If you liken the covalent bond between the oxygen and hydrogen to a stable marriage, the hydrogen bond has "just good friends" status.

better understand how one instance of poor time management can trigger a cascading situation with disastrous results, imagine that a student has an assignment due in a business class. She knows that she should be working on it, but she isn’t quite in the mood. Instead she convinces herself that she should think a little more about what she needs to complete the assignment and decides to do so while looking at social media or maybe playing a couple more rounds of a game on her phone. In a little while, she suddenly realizes that she has become distracted and the evening has slipped away. She has little time left to work on her assignment. She stays up later than usual trying to complete the assignment but cannot finish it. Exhausted, she decides that she will work on it in the morning during the hour she had planned to study for her math quiz. She knows there will not be enough time in the morning to do a good job on the assignment, so she decides that she will put together what she has and hope she will at least receive a passing grade.

A very unfortunate but all-too-common situation in higher education is the danger students face from poor time management. Many college administrators that work directly with students are aware that a single mishap or a case of poor time management can set into motion a series of events that can seriously jeopardize a student’s success. In some of the more extreme instances, the student may even fail to graduate because of it.

But what does it mean to be a compelling character? Some distinguish between round and flat characters. A round character is a complex, often conflicted character with a deep internal life who usually undergoes some kind of change over the course of the story. A flat character lacks that complexity, does not change at all over the course of the story, and is usually there only to help the more round characters on their journeys.

Act three, which is usually about the same length as act one, is all about our protagonist rallying to overcome that last obstacle leading to a climactic showdown and a resolution to their story. Usually that means they reach the goal defined in act one. But sometimes the journey clarifies a new goal, or they realize they always had what they were searching for and just needed to see it in themselves (insert eye roll here). But you get the idea, act three brings some kind of resolution.

And sure, cinema, just like novels or short stories or even poetry, come in all shapes and sizes, otherwise known as genres, from thrillers to westerns, comedies to romance.

1 protagonist. 1 goal. A whole bunch of obstacles.

The most important thing to remember is that cinema is a collaborative medium. There’s always a give and take between the script and the finished film, just like there is between the director and the screenwriter, cinematographer, production designer, sound designer, actors, editor, etc., etc. And as much as a screenplay can and should be a great read, it is, ultimately, a technical document, a plan for something exponentially more complex.

Every element of the script page is there for a reason and helps everyone on the creative team stay on the same page. Literally. (Sorry, couldn’t resist.) The scene heading, for example, lets everyone know at a quick glance if that particular scene is set inside or outside, INT or EXT, where, exactly, they are supposed to be, and what time of day it is. That information, of course, will affect every member of the crew, from the producers and assistant director responsible for scheduling, to the camera crew responsible for lighting the scene, to the production designer responsible for the look of the location, to the transportation crew responsible for getting everyone there safely.

No matter how innovative the visual delights, how creative the soundscape, or how many millions are spent on the production design and celebrity talent, if it isn’t all in service of a compelling narrative we’ll walk away unmoved and unsatisfied. And good storytelling, of course, has been around at least as long as humans have been able to put together complete sentences. Let’s face it, probably longer.

Lethe

But it can also mark the signature style of a particular genre or type of cinema. Take film noir

omposition refers to the arrangement of people, objects and setting within the frame of an image. And because we are talking about moving pictures, there are really two important components of composition: framing, which even still photographers must master, and movement. In the case of cinematic composition, movement refers to movement within the frame as well as movement of the frame as the cinematographer moves the camera through the scene. All of which are critical aspects of how we experience mise-en-scène.

As should be obvious, you can’t have cinema without light. Light exposes the image and, of course, allows us to see it. But it’s the creative use of light, or lighting, is what makes it an element design. A cinematographer can illuminate a given scene with practical light, that is, light from lamps and other fixtures that are part of the set design, set lights, light fixtures that are off camera and specifically designed to light a film set, or even available light, light from the sun or whatever permanent fixtures are at a given location. But in each case, the cinematographer is not simply throwing a light switch, they are shaping that light, making it work for the scene and the story as a whole. They do this by emphasizing different aspects of lighting direction and intensity. A key light, for example, is the main light that illuminates a subject. A fill light fills out the shadows a strong key light might create. And a back light helps separate the subject from the background. And it’s the consistent use of a particular lighting design that makes it a powerful part of mise-en-scène.

Putting on the wardrobe, seeing themselves in another era, a different hair style, looking older or younger, helps the actor literally and metaphorical step into the life of someone else, and do so believably enough that we no longer see the actor, only the character in the story

Those objects could be in the background providing context – framed photos, a trophy, an antique clock – or they could be picked up and handled by characters in a scene – a glass of whisky, a pack of cigarettes, a loaded gun. We even have a name for those objects, props, short for “property” and also borrowed from theater, and a name for the person in charge of keeping track of them all, a prop master.

In that case, the setting must be augmented with computer generated imagery (CGI). The most common way this is implemented is through the use of green screen technology.

soundstage. A soundstage provides the control over the environment production designers need to give the director exactly the look and feel she wants from a particular scene. On a big enough soundstage, a production designer can fabricate interiors and exteriors, sections of buildings, even small villages. And since it is all shielded from the outside, the production has complete control over lighting and sound. It can be dawn or twilight for 12 hours a day. And a shot will never be interrupted by an airplane flying loudly overhead

production designer. The production designer is the point person for the overall aesthetic design of a film or series. Working closely with the director, they help translate the aesthetic vision for the project – its mise-en-scène – to the various design departments, including set design, art department, costume, hair and make-up. But arguably their most important job is to make sure the setting matches that aesthetic vision, specifically through set design and set decoration.

Nothing we see on the screen in cinema is there by accident. Everything is carefully planned, arranged and even fabricated – sometimes using computer generated imagery (CGI) – to serve the story and create a unified aesthetic. That goes double for the setting. If mise-en-scène is the overall aesthetic context for a film or series, setting is the literal context, the space actors and objects inhabit for every scene. And this is much more than simply the location. It’s how that location, whether it’s an existing space occupied for filming or one purpose-built on a soundstage, is designed to serve the vision of the director.

But if there’s any hope of that final product having a unified aesthetic, and a coherent, underlying theme that ties it all together, it needs a singular vision to give it direction. That, really, is the job of a director. To make sure everyone is moving in the same direction, making the same work of art. And they do that not so much by managing people

And this is probably as good a time as any to discuss the role of a director in cinema. There’s a school of thought out there, known as the auteur theory, that claims the director is the “author” of a work of cinema, not unlike the author of a novel, and that they alone are ultimately responsible for what we see on the screen.

But the idea is simple. Borrowed from theater, it refers to every element in the frame that contributes to the overall look of a film. And I mean everything: set design, costume, hair, make-up, color scheme, framing, composition, lighting… Basically, if you can see it, it contributes to the mise-en-scène.

In fact, the cinematic concept of framing has a clear connection to the literal frame, or physical border, of paintings. And one of the most powerful tools filmmakers – and photographers and painters – have at their disposal for communicating both explicit and implicit meaning is simply what they place inside the frame and what they leave out.

However, just as we can analyze technique, the formal properties of cinema, to better understand how a story is communicated, we can also analyze content, that is, what stories are communicating to better understand how they fit into the wider cultural context. Cinema, again like literature, can represent valuable cultural documents, reflecting our own ideas, values and morals back to us as filmmakers and audiences

“The actor seemed like they were in a different movie from everyone else.”

This is perhaps most obvious in the use of music. A non-diegetic musical score, that is music that only the audience can hear as it exists outside the world of the characters, can drive us toward an action-packed climax, or sweep us up in a romantic moment. Or it can contradict what we see on the screen, creating a sense of unease at an otherwise happy family gathering or making us a laugh during a moment of excruciating violence. In fact, this powerful combination of moving image and music pre-dates synchronized sound. Even some of the earliest silent films were shipped to theaters with a musical score meant to be played during projection. But as powerful as music can be, sound in cinema is much more than just music. Sound design includes music, but also dialog, sound effects and ambient sound to create a rich sonic context for what we see on the screen. From the crunch of leaves underfoot, to the steady hum of city traffic, to the subtle crackle of a cigarette burning, what we hear – and what we don’t hear – can put us in the scene with the characters in a way that images alone could never do, and as a result, add immeasurably to the effective communication of both explicit and implicit meaning.

Unless there is no thematic intent, or the filmmaker did not take the time to make it a unifying idea. Then you may have a “bad” movie on your hands. But at least you’re well on your way to understanding why!

That comparison between cinema and literature is not accidental.

In the hands of a gifted filmmaker, these subtle adjustments work together to create a coherent whole that communicates effectively (and invisibly). In the hands of not so gifted filmmakers, these choices can feel haphazard, unmotivated, or perhaps worse, “showy” – all style and no substance – creating a dissonant, ineffective cinematic experience.

We can say the same about transitions from shot to shot. Think of them as conjunctions in grammar, words meant to connect ideas seamlessly. The more obvious examples, like fade-ins and fade-outs or long dissolves, are still drawn from our experience. Think of a slow fade-out, where the screen drifts into blackness, as an echo of our experience of falling asleep, drifting out of consciousness. In fact, fade-outs are most often used in cinema to indicate the close of an act or segment of story, much like the end of a long day. And dissolves are not unlike the way we remember events from our own experience, one moment bleeding into and overlapping with another in our memory.

The same applies to cinematic language. The way cinema communicates is the product of many different tools and techniques, from production design to narrative structure to lighting, camera movement, sound design, performance and editing. But all of these are employed to manipulate the viewer without us ever noticing. In fact, that’s kind of the point. The tools and techniques – the mechanics of the form – are invisible. There may be a thousand different elements flashing before our eyes – a subtle dolly-in here, a rack focus there, a bit of color in the set design that echoes in the wardrobe of the protagonist, a music cue that signals the emotional state of a character, a cut on an action that matches an identical action in the next scene, and on and on and on – but all we see is one continuous moving picture. A trick. An illusion.

OIL

That independent spirit in American cinema also created space for women and people of color to have a voice in the art form. A quick scan of the history above and you’ll notice there are not a lot of women’s names. And almost all of the men are white. But filmmakers like Shirley Clarke, Julie Dash and Allison Anders didn’t wait around for Hollywood to give them permission to make great cinema. Nor did the filmmakers of the early so-called Blaxploitation movement (though their success was eventually and sadly co-opted by white filmmakers).

Nearly 100,000 were in Asia alone

If all of that makes your head spin, you’re not alone. In short, back in 1983, 90% of all American media was controlled by more than 50 distinct companies. By 2012, that same percentage was controlled by just 5. By 2019, it was down to 4: Comcast, Disney, AT&T and National Amusements.

JAWS (1975) cost $9 million to make (three times more than Universal budgeted) and took 159 days to shoot (three times longer the Universal had hoped), but it grossed more than $120 million in its first theatrical run. It hit Hollywood like a tidal wave. A simple genre movie with clear heroes and just enough eye-popping special effects to wow the audience. Best of all, there was no need for an expensive, star-studded cast or a well-known, temperamental director. The concept was the star. It was a formula the studios understood and knew they could replicate. Two years later, 20th Century Fox released Star Wars (1977). Its success dwarfed that of JAWS. Hollywood would never be the same.

The Exorcist (1973) broke every accepted norm of cinematography, sound design, narrative structure, editing, performance and even distribution models. And in the process broke every box office record.

And rather than control costs to maximize profits, studios allowed the freelance artists they employed to experiment with the form and take creative risks. In fact, more and more filmmakers were smart enough to shoot on location rather than on the studio backlot where executives might micromanage their productions.

Whatever the reason, Warner Bros. bankrolled Bonnie and Clyde (1967), tried to bury it on release, but ultimately had to admit they had a huge hit on their hands. It was as bold, unpredictable, and transgressive (for its time) as Beatty had hoped. And audiences, especially younger audiences, loved it.

Olivia de Havilland, a young actress known for her role as Melanie in Gone with the Wind (1939), sued Warner Bros. for adding six months to her contract, the amount of time she had been suspended by the studio for refusing to take roles she didn’t want. She wasn’t the first Hollywood actor to sue a studio over their stifling contracts. But she was the first to win her case.

It was an ingenious (and diabolical) system that meant studios could keep their production costs incredibly low.

Spoiler alert: It was a HUGE success. Unfortunately, Sam Warner didn’t live to see it. He died of a brain infection on October 5th, the day before the premiere.

Warner Bros. was a family-owned studio run by five brothers and smaller than some of the other larger companies like Universal and MGM. But one of those brothers, Sam, had a vision. Or rather, an ear. Up to that point, cinema was still a silent medium. But Sam was convinced that sound, and more specifically, sound that was synchronized to the image, was the future. And almost everyone thought he was crazy.

Not surprisingly, a lot of would-be filmmakers bristled at Edison’s control over the industry. And since patent law was difficult to enforce across state lines at the time, many of them saw California as an ideal place to start a career in filmmaking. Sure, the weather was nice. But it was also as far away from the northeast as you could possibly get within the continental United States, and a lot harder for Edison to sue for patent violations.

Thomas Edison. Edison owned the patent for capturing and projecting motion pictures, essentially cornering the market on the new technology (R.I.P. Louis Le Prince). If you wanted to make a movie in the 1900s or 1910s, you had to pay Edison for the privilege

His body and luggage, including his invention, were never found. Conspiracy theories about his untimely disappearance have circulated ever since (we’re looking at you, Thomas Edison).

In 1895, Woodville Latham, a chemist and Confederate veteran of the Civil War, lured away a couple of Edison’s employees and perfected the technique of motion picture projection. In that same year, over in France, Auguste and Louis Lumiere invented the cinematographe which could perform the same modern miracle. The Lumiere brothers would receive the lion’s share of the credit, but Latham and the Lumieres essentially tied for first place in the invention of cinema as we know it.

There was just one problem: the only way to view Edison’s films was through a kinetoscope, a machine that allowed a single viewer to peer into a viewfinder and crank through the images. The ability to project the images to a paying audience would take another couple of years.

Six years later, after narrowly avoiding a murder conviction (but that’s another story), Muybridge perfected a technique of photographing a horse in motion with a series of 12 cameras triggered in sequence. One of the photos clearly showed that all four of the horse’s hooves left the ground at full gallop. Stanford won the bet and went on to found Stanford University. Muybridge pocketed the $25,000 and became famous for the invention of series photography, a critical first step toward motion pictures.

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Hg

“Were it not for the rituals of the mouth, they believe that their teeth would fall out, their gums bleed, their jaws shrink, their friends desert them, and their lovers reject them” (p. 505).Miner, H. (1956).

he Water Cycle

For instance, they would see the adult as not possessing new skills, but more advanced skills that were already present in some form in the child.

sensory capabilities

he Diagnostic and Statistical Manual of Mental Disorders (DSM-5) is the most commonly used classification manual that clinicians use to read about the criteria, prevalence, risk factors, and details of over 200 disorders.

Mental disorders are conditions characterized by abnormal thoughts, feelings, and behaviors.

Failure to perform or respond to friendship-maintenance tasks can lead to the deterioration and eventual dissolution of friendships. Causes of dissolution may be voluntary (termination due to conflict), involuntary (death of friendship partner), external (increased family or work commitments), or internal (decreased liking due to perceived lack of support) (Bleiszner & Adams, 1992).

The number of friends we have at any given point is a situational factor that also affects whether or not we are actually looking to add new friends.

friendship may develop between two people who work out at the same gym. They may spend time with each other in this setting a few days a week for months or years, but their friendship might end if the gym closes or one person’s schedule changes.

Circumscribing

Intensifying

In this image, the “dog” is on the left side, and the “cat” is on the right side.

most people think leaders should be role models but does being a role model require moral perfection in every aspect of life or does it only require that that a leader serve as a model in areas relevant to his or her role as a leader

uctose is more commonly found together with glucose and sucrose in honey and fruit juices. Fructose, along with glucose are the monosaccharides found in disaccharide, sucrose. Fructose is classified as a monosaccharide, the most important ketose sugar, a hexose, and is a reducing sugar.