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1 e largely understand emotion in tragedy (and fiction).
2 cs, such a picture is, at most, a convenient fiction.
3 gnitive schemata of art, representation, and fiction.
4 rapy that enables facts to be separated from fiction.
5 analogous to hibernation borders on science fiction.
6 m that narrative self is ultimately a useful fiction.
7 mputation, materials design is still science fiction.
8 uch as when a plot twist occurs in a work of fiction.
9 demands on citizens to distinguish fact from fiction.
10 al imagery, and facilitating socio-affective fiction.
11 operties-has long intrigued both science and fiction.
12 from dreams and hallucinations to satire and fiction.
13 historical events, theoretical concepts, and fiction.
14 ited an evolving capacity to acknowledge its fictions.
15 s is a common trope in the annals of science fiction.1 Although several of these remarkable feats are
16 edictable threats so far confined to science fiction and conjecture could in fact be powerful drivers
17 ade to clearly discriminate between fact and fiction, and to formulate the unresolved questions that
21 nds like something from the realm of science fiction, but it may one day become a reality through a t
22 editing is more complicated and nuanced than fiction, but its rapid development holds promise for fut
24 s natural limbs has long appeared in science fiction, but recent technological and neuroscientific ad
25 ch signals are either true or false, art and fiction consist of signals without determinate truth val
27 reading nonfiction (experiments 1), popular fiction (experiments 2 to 5), or nothing at all (experim
30 cess, one that adopts NHST logic as a useful fiction for selecting true effects that are potentially
31 iques (and contrary to the claims of popular fiction) forensic image retrieval is still widely being
32 that have made them darlings of the science fiction genre, owing to their wide array of innovative a
33 s, which used to be confined to the realm of fiction, have now been turned into a scientific reality
35 dvance from the pages and screens of science fiction into our homes, hospitals, and schools, they are
36 he enjoyment of negative emotions in art and fiction is distinct from the immediate pleasure deriving
38 ve experiments showing that reading literary fiction led to better performance on tests of affective
40 l enjoyment of tragedy - and our response to fiction more generally - are versions of what happens wi
42 g sleep was at most a plot device in science fiction movies, but a large corpus of studies now demons
43 laser beams is not only prevalent in science fiction movies, but finds numerous technological applica
47 le feats are still very much in the realm of fiction, scientists have recently overcome many of the p
50 f the author's intent, is illustrated by the fiction that the coronavirus disease 2019 vaccine contai
51 focuses on their treatment of the Paradox of Fiction, the neglect of the biological, adaptive nature
54 l implants is being transformed from science fiction to science fact through the increasing applicati
56 acterisation of rationalization as a "useful fiction," we think that Fiery Cushman's claim remains am
57 le and the internet was the stuff of science fiction were my family's love and the sheltered environm
59 r, and what used to be the domain of science fiction writers and snake oil salesmen may soon become s
60 tability of the motor cortex, scientists and fiction writers were considering the possibility of inte