Breaking script: Deviations and postevent information in adult memory for a repeated event

2018 ◽  
Vol 32 (4) ◽  
pp. 474-486 ◽  
Author(s):  
Carla L. MacLean ◽  
Patricia I. Coburn ◽  
Kristin Chong ◽  
Deborah L. Connolly
Keyword(s):  
Repeated Event ◽  
Postevent Information

Primacy and Recency Effects in Children's Memory for Instances of an Active, Repeated Event

2014 ◽  
Author(s):  
Dayna Gomes ◽  
Kulnoor K. Sandhu ◽  
Hongyuan Qi ◽  
Chelsey M. Lee ◽  
Deborah A. Connolly
Keyword(s):  
Recency Effects ◽  
Repeated Event ◽  
Children's Memory

How and when postevent information impairs memory for a prior event

1998 ◽  
Vol 21 ◽  
pp. 662
Author(s):  
Alba Rossi-George ◽  
Carolyn Rovee-Collier
Keyword(s):  
Postevent Information ◽  
Prior Event

scholarly journals Effects of practicing episodic versus scripted recall on children's subsequent narratives of a repeated event.

2011 ◽  
Vol 17 (2) ◽  
pp. 286-314 ◽  
Author(s):  
Sonja P. Brubacher ◽  
Kim P. Roberts ◽  
Martine Powell
Keyword(s):  
Repeated Event

The effect of contextual cues on children's ability to remember an occurrence of a repeated event

2003 ◽  
Vol 8 (1) ◽  
pp. 39-50 ◽  
Author(s):  
Sarah L. Pearse ◽  
Martine B. Powell ◽  
Donald M. Thomson
Keyword(s):  
Contextual Cues ◽  
Repeated Event

Deadly interrogations: cycles of death and transcendence in Byron’s Gothic

2017 ◽  
Author(s):  
Adam White
Keyword(s):  
Death Drive ◽  
Repeated Event

A number of Byron’s works – in particular The Two Foscari but also ‘The Prisoner of Chillon’, Manfred, and Sardanapalus – can be located firmly within the Gothic. The tyrannical burden exerted by ancestry, for example, is a Gothic theme seen in these works, while ‘The Prisoner of Chillon’ and The Two Foscari also feature the Gothic scenarios of incarceration and torture: in both cases that which is loved and familial repeatedly becomes a source of pain and death. Yet Byron also moves beyond the Gothic view of death by presenting so many figures, from Manfred to Jacopo Foscari, who appear to actively exhibit a death drive, which is dramatised as a means of transcending different forms and conditions of imprisonment and torture. Death is a repeated event in these works where significant and extended claims are also made by Byron for the existence of variously imagined (mental, physical, and textual) afterlives.

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