Subject: Gotta medies?

From: "Jean 52" <[email-masked]>
Date: Fri, 03 Aug 2007 01:47:33 -1100

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The attractive stranger at the airport bar hears one version, the parole officer another, and the P.T.A. Moreover, the tone, the lessons, even the facts in a life story can all shift in the changing light of a person’s mood, its major notes turning minor, its depths appearing shallow. Generous, civic-minded adults from diverse backgrounds tell life stories with very similar and telling features, studies find; so likewise do people who have overcome mental distress through psychotherapy. YouTube routines notwithstanding, most people do not begin to see themselves in the midst of a tale with a beginning, middle and eventual end until they are teenagers. Psychologists know what life stories look like when they are fully hatched, at least for some Americans.

The pride of college graduation is spoiled when a friend makes a cutting remark. The wedding party was wonderful until the best man collapsed from drink. A note of disappointment seems to close each narrative phrase. — they draw on these stories implicitly, whether they know they are working from them or not,” Dr.McAdams said.

Yet Mr.Adler found that in fact those former patients who scored highest on measures of well-being — who had recovered, by standard measures — told very similar tales about their experiences. They characterized their difficulty as if it were an outside enemy, often giving it a name (the black dog, the walk of shame). Mental resilience relies in part on exactly this kind of autobiographical storytelling, moment to moment, when navigating life’s stings and sorrows. To better understand how stories are built in real time, researchers have recently studied how people recall vivid scenes from recent memory. Instead they go to a Koranic school, where they learn the Koran by rote.

He said he worries they will end up as poor, illiterate traders like him. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline.

(This may be why I liked it better than the others. After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. 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. But then again, so did my kids.)

After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline.

(This may be why I liked it better than the others. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood.Success may not have spoiled Mr. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone. When the moneyed inner-city entrepreneur Quentin Leroux (Harry Lennix) builds a lavish competitor called Nappy Cutz right across the street from Calvin's shop, the battle is on — Calvin has to fight to keep his business alive. The cinematographer, Sean Kirby, has done some striking work here.

Characters don’t just walk in this film; they float across the frame, pouring like liquid toward their inexorable destinies. In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother. A Panglossian eternal teenager at heart, he is madly in love with his girlfriend, Doreen (Eva Mendes). zaudergrill nosmime-archive888lists.ietf.orgmo She, however, is running out of patience with his protracted adolescence.

He makes about $2 a day, and cannot afford to send his sons to school. The current installment finds him faced with impending fatherhood and something of a career crisis. (This may be why I liked it better than the others. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood.

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. When the moneyed inner-city entrepreneur Quentin Leroux (Harry Lennix) builds a lavish competitor called Nappy Cutz right across the street from Calvin's shop, the battle is on — Calvin has to fight to keep his business alive.

The cinematographer, Sean Kirby, has done some striking work here. When a bank robber escapes from prison and goes on a violent crime spree, Malcolm is assigned to bring him in. This shambling, good-natured comedy is a Wilson family affair. Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells. But there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws.

If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations. As it happens, the over-all shape does recall a Busby Berkeley musical — snappy story, lavish number, snappy story, lavish number — but without the snap or fun. Ice Cube returns as star and executive producer of "Barbershop 2." His Calvin Palmer provides the common sense that holds the shop together, a glue it desperately needs.

It is, rather more coyly, also about a man who died from a perforated colon after he arranged to have sex with a stallion. The cinematographer, Sean Kirby, has done some striking work here.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. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood. But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone.

When the moneyed inner-city entrepreneur Quentin Leroux (Harry Lennix) builds a lavish competitor called Nappy Cutz right across the street from Calvin's shop, the battle is on — Calvin has to fight to keep his business alive. The director Robinson Devor apparently would like viewers who watch his heavily reconstructed documentary, “Zoo,” to see it as a story of ineluctable desire and human dignity. Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of disguise and will stop at nothing to get his man. The thief's girlfriend Sherry (Nia Long), who is also the mother of his child, lives in a small Southern town, and Malcolm plans to set up a stake-out in the house across the street from Sherry's.

She, however, is running out of patience with his protracted adolescence. Smirks are to be had, but no belly laughs. Stories are stories, after all. By better understanding how life stories are built, this work suggests, people may be able to alter their own narrative, in small ways and perhaps large ones. Over the years, Dr.McAdams and others have interviewed hundreds of men and women, most in their 30s and older.

In analyzing the texts, the researchers found strong correlations between the content of people’s current lives and the stories they tell. 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.

Any life story is by definition a retrospective reconstruction, at least in part an outgrowth of native temperament. Yet Mr.Adler found that in fact those former patients who scored highest on measures of well-being — who had recovered, by standard measures — told very similar tales about their experiences. Those in the study who scored lower on measures of psychological well-being were more likely to see their moods and behavior problems as a part of their own character, rather than as a villain to be defeated. To better understand how stories are built in real time, researchers have recently studied how people recall vivid scenes from recent memory. They find that one important factor is the perspective people take when they revisit the scene — whether in the first person, or in the third person, as if they were watching themselves in a movie. In a 2005 study reported in the journal Psychological Science, researchers at Columbia University measured how student participants reacted to a bad memory, whether an argument or failed exam, when it was recalled in the third person. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline.

That DreamWorks ogre’s skin is the color of money after all. Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells. But there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion.

The current installment finds him faced with impending fatherhood and something of a career crisis. (This may be why I liked it better than the others.