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In the 1980s, neuroscientists studying the brain processes underlying our sense of conscious will compared subjects' judgments regarding their subjective will to move (W) and actual movement (M) with objective electroencephalographic activity called readiness potential, or RP. As expected, W preceded M: subjects consciously perceived the intention to move as preceding a conscious experience of actually moving. This might seem to suggest an appropriate correspondence between the sequence of subjective experiences and the sequence of the underlying events in the brain. But researchers actually found a surprising temporal relation between subjective experience and objectively measured neural events: in direct contradiction of the classical conception of free will, neural preparation to move (RP) preceded conscious awareness of the intention to move (W) by hundreds of milliseconds.
In A Raisin in the Sun, Lorraine Hansberry does not reject integration or the economic and moral promise of the American dream; rather, she remains loyal to this dream while looking, realistically, at its incomplete realization. Once we recognize this dual vision, we can accept the play's ironic nuances as deliberate social commentaries by Hansberry rather than as the "unintentional" irony that Bigsby attributes to the work. Indeed, a curiously persistent refusal to credit Hansberry with a capacity for intentional irony has led some critics to interpret the play's thematic conflictsas mere confusion, contradiction, or eclecticism. Isaacs, for example, cannot easily reconcile Hansberry's intense concern for her race with her ideal of human reconciliation. But the play's complex view of Black self-esteem and human solidarity as compatible is no more "contradictory" than Du Bois' famous, well-considered ideal of ethnic self-awareness coexisting with human unity, or Fanon's emphasis on an ideal internationalism that also accommodates national identities and roles.
The nearly circular orbits of planets in our solar system led scientists to expect that planets around other stars would also reside in circular orbits. However, most known extrasolar planets reside in highly elongated, not circular, orbits. Why? The best clue comes from comets in our solar system. Comets formed in circular orbits but were gravitationally flung into their present-day elliptical orbits when they ventured too close to planets. Astronomers suspect that pairs of planets also engage in this slingshot activity, leaving them in disturbed, elliptical orbits. If two planets form in close orbits, one will be scattered inward(toward its star), the other outward. They will likely then travel close enough to neighboring planets to disturb their orbits also.
While the influence of British magazines in shaping public opinion predates the nineteenth century, it was during the 1800s that mass distribution became possible and an explosion in periodical readership occurred, vastly increasing magazine`s opinion-shaping powers. The role of magazines as arbiters of nineteenth-century taste is seen in their depictions of the London theater. The magazines accorded some legitimacy to East End working-class theaters that mirrored the format of the fashionable West End theaters serving middle-and upper-class audiences. However, the magazines also depicted music halls-which competed for patronage with all theaters-as places where crass entertainment corrupted spectators`s taste and morals. Finally, they suggested that popular demand for substandard fare created a market unfriendly to higher expressions of dramatic art.

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