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STYLE.....................68 (0.008%)
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| burst x-ray source x-ray style, | 6017 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| have much place for an elegant style; | 6602 COSMIC HERETICS: PART 1: - Chapter 2: THE PRODIGAL ARCHIVE - |
| judged by connoisseurs of tone and style to determine their adequacy. | 8398 COSMIC HERETICS: PART 1: - Chapter 4: A PROPER RESPECT FOR AUTHORITY - |
| up proscription lists in the Roman style was pointless. | 9533 COSMIC HERETICS: PART 2: - Chapter 6: HOLOCAUST AND AMNESIA - |
| many another but in his personal style, | 11228 COSMIC HERETICS: PART 2: - Chapter 8: HOMO SCHIZO MEETS GOD - |
| the geologists dismissed not only its style but also its catastrophist ideas. | 11317 COSMIC HERETICS: PART 3: - Chapter 9: NEW FASHIONS IN CATASTROPHISM - |
| proof is entirely different; practically everything -- style, | 11405 COSMIC HERETICS: PART 3: - Chapter 9: NEW FASHIONS IN CATASTROPHISM - |
| claim in the book itself. The style is less timid, | 12539 COSMIC HERETICS: PART 3: - Chapter 10: ABC'S OF ASTROPHYSICS - |
| and the humanities. He has a style, | 15492 COSMIC HERETICS: PART 4: - Chapter 13: THE EMPIRE STRIKES BACK - |
| predecessor of a century ago, whose style is even more pleasurable. | 15495 COSMIC HERETICS: PART 4: - Chapter 13: THE EMPIRE STRIKES BACK - |
| only mild objections to such a style, | 15496 COSMIC HERETICS: PART 4: - Chapter 13: THE EMPIRE STRIKES BACK - |
| generally well-educated lay reader. The style is clear at the college level. | 15866 COSMIC HERETICS: PART 4: - Chapter 13: THE EMPIRE STRIKES BACK - |
| suddenly a curriculum. The format and style of the new book was itself a threat; | 17381 COSMIC HERETICS: PART 4: - Chapter 14: THE FOIBLES OF HERETICS - |
| linotype systems and by already old-style small offset presses. | 18900 COSMIC HERETICS: PART 5: - Chapter 15: THE KNOWLEDGE INDUSTRY - |
| theory behind their selection, and the style with which they are conveyed are only several of the numerous conditions that may render even a close correspondence between "M" and "N" whether single or an average of a multiple nearly meaningless. | 19195 COSMIC HERETICS: PART 5: - Chapter 16: PRECURSORS OF QUANTAVOLUTION - |
| and confidently? It's matter of style, | 19264 COSMIC HERETICS: PART 5: - Chapter 16: PRECURSORS OF QUANTAVOLUTION - |
| career as an economist in good style, | 19540 COSMIC HERETICS: PART 5: - Chapter 16: PRECURSORS OF QUANTAVOLUTION - |
| to do with my present life style, | 19699 COSMIC HERETICS: PART 5: - Chapter 16: PRECURSORS OF QUANTAVOLUTION - |
| the heretics, each in his own style, | 20118 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| to follow. (Is it a British style of writing or is it me?) | 20179 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| then declared to be similar in style to a piece recovered at Key Marco, | 23266 CHAOS AND CREATION: - - CHAPTER 03: COLLAPSING TESTS OF TIME : RADIOCARBON (CARBON-14) DATING |
| West, in Central Italy, the Oriental style broke like a tidal wave over the simple, | 29805 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : MARTIA |
| with new goods in a new style, | 29808 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : MARTIA |
| and a new temple of Greek style is promptly built over it 99 . | 30116 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : THE GREEK "DARK AGES" |
| Mycenean palace with a new Greek-style temple built right over it 29 . | 36205 THE LATELY TORTURED EARTH: PART I: ATMOSPHERICS: Chapter 7 Fire and Ash - |
| out hundreds of compositions in a style typified by bunched and fanned brush strokes 2 ? | 60601 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION - |
| back 250,000 years, in a style close to that employed in Bronze Age Germany and present-day mutilation practices in Borneo and Melanesia. | 61302 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION : WAVES OF EVOLUTION |
| period an Acheulian and a Mousterian style. | 61322 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION : WAVES OF EVOLUTION |
| Africa are Upper Paleolithic, as their style might indicate, | 61344 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION : WAVES OF EVOLUTION |
| with only slight changes of essential style over a period of between twenty and thirty thousand years, | 65448 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : LOST MILLIONS OF YEARS |
| and the large animals. Of their style in general, | 65588 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : MAJOR DEVELOPMENTS EVERYWHERE CONTEMPORARY |
| they would be living in the style of the North American Indians before 1600 A. | 65616 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : MAJOR DEVELOPMENTS EVERYWHERE CONTEMPORARY |
| the great metaphoric stretching -- of his style can be seen as chanted liturgy, | 67927 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : SCHIZOID EPISODES IN ABUNDANCE |
| liturgy, divine schizoid language, whereas the style of Joyce was ultra-modern schizoid, | 67928 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : SCHIZOID EPISODES IN ABUNDANCE |
| They can all become the life style of whoever happens to become engaged in them from infancy. | 69446 HOMO SCHIZO II: - - Chapter 1: THE NORMALLY INSANE : S CULTURED MAMMALS |
| they are raised and trained, the style in which they live, | 69799 HOMO SCHIZO II: - - Chapter 1: THE NORMALLY INSANE : SELF-AWARENESS |
| new postures towards linguistic content and style. | 74714 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH : CULTURAL DISCIPLINE AND SPEECH DIVERGENCE |
| source, can select and discriminate vocabulary, style and usages. | 74725 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH : CULTURAL DISCIPLINE AND SPEECH DIVERGENCE |
| of the historical present in literary style partakes, | 75750 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : TIME AND SPACE |
| to perpetuate and maintain in royal style the distinction of good and evil. | 76168 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : THE ORIGINS OF GOOD AND EVIL |
| and near East influences in plots, style, | 78962 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 7: CRAZY HEROES OF DARK TIMES : SOCIETY IN SHOCK |
| Paphos, Cyprus, constructed in the Phoenician style (or is it vice versa? | 79740 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 8: THE TWO FACES OF LOVE : CONFUSION COMPOUNDED |
| before Homer. Both poems carry a style that is agreed to be oral. | 83092 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 14: THE USES OF LANGUAGE : HOMER: EDITOR AND PUBLISHER |
| the Iliad, is "remarkably Odyssean in style." | 83189 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 14: THE USES OF LANGUAGE : HOMER: EDITOR AND PUBLISHER |
| describe plagues in acceptable modern medical style, | 84028 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 15: THE BIRTH AND DEATH OF MEMORY : AMNESIAC PHILOSOPHERS |
| because of a new intelligence or style but because of the lack of terrible stimulus. | 84634 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 17: SETTLED SKY AND UNSETTLED MIND - |
| destroyed, in his impeccable unbelieving theological style, | 86321 GODS FIRE: - - Chapter 2: THE SCENARIO OF EXODUS : HIGH-LEVEL NEGOTIATIONS |
| the Hebrew language and of the style used by different individuals whose accounts have come down to the present. | 95012 GODS FIRE: - - - APPENDIX : THE LIMITS OF DISTORTION |
| in written form. Even though the style and other minor changes may be introduced when the oral version of the original written version is written down, | 95020 GODS FIRE: - - - APPENDIX : THE LIMITS OF DISTORTION |
| work and concealed by its positivistic style are paths that a mystic might perhaps follow in exploring the divine within oneself. | 101662 THE DEVINE SUCCESSION PART 2: THEOTROPY: Chapter 9: A NOTE ON SOURCES - |
| Agrigento and Segesta artwork in Mycenean style was practiced at both of the interfaces of the Dark Ages. | 103473 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 3: THE FOUNDING OF ROME - |
| 1500 BC judging by Egyptian pottery style chronology; | 105423 THE BURNING OF TROY: PART 2: GEOLOGICAL ISSUES: Chapter 11: ICE CORES OF GREENLAND - |
| until -1500 "judging by Egyptian pottery style chronology." | 105436 THE BURNING OF TROY: PART 2: GEOLOGICAL ISSUES: Chapter 11: ICE CORES OF GREENLAND - |
| across their messages, in movement, in style, | 107743 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE - |
| shall go on in the schizoid style of our culture. | 109193 THE BURNING OF TROY: PART 4: POLEMICS AND PERSONAGES: Chapter 23: RELIGION AND EDUCATION : I. QUANTAVOLUTION AND CREATION IN ARKANSAS |
| worked, but it's not my style. | 110200 THE BURNING OF TROY: PART 4: POLEMICS AND PERSONAGES: Chapter 26: EULOGIES TO THREE QUANTAVOLUTIONARIES : IMMANUEL VELIKOVSKY 1895-1979 1 |
| between them which is Cretan in style. ' | 116434 KA: - - Chapter 12: MYSTERY RELIGIONS - |
| The psalmist's disapproval of Greek-style sacrifices emerges in Psalm L, | 117313 KA: - - Chapter 13: 'KA', AND EGYPTIAN MAGIC : STATUES AND MUMMIES |
| the dithyramb, then develops in confrontational style like the later tragic chorus, | 118061 KA: - - Chapter 17: BYWAYS OF ELECTRICITY - |
| augur's lituus, and the Egyptian style of beard, | 118926 KA: - - Chapter 19: THE TIMAEUS - |
| sensitive to electrical fields. The hair style of some figures in Egyptian art suggests the symbol for radiation, | 119700 KA: - - Chapter 22: LIVING WITH ELECTRICITY - |
| of Apollo and Dionysus. The hair style of a kouros resembles the hood of a cobra. | 122620 - A FIRE NOT BLOWN: - - Chapter 09: NAXOS - |
| Examples of imitation are the hair style of Greek kouroi, | 123106 - A FIRE NOT BLOWN: - - Chapter 12: CATASTROPHE, MYTH AND SKY - |
| the houses of beavers. Yet this style of life lasted for many thousands of years. | 127029 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 2: THE PALAETIOLOGY OF FEAR AND MEMORY : ANIMAL AND HUMAN FAILURES ALIKE |
| of them under the influence, the style, | 127266 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 2: THE PALAETIOLOGY OF FEAR AND MEMORY : CATASTROPHIC FEAR |
| kept within safe bounds - character, plot, style, | 131616 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| not refer to his manner and style as worthwhile targets. | 134096 THE VELIKOVSKY AFFAIR: - SCIENTISM VERSUS SCIENCE - INTRODUCTION TO THE 2ND EDITION - |
| method is concealed by an easy style that separates empirically-tied ideas while allocating them to short sentences. | 139387 THE VELIKOVSKY AFFAIR: PART 6: THE SCIENTIFIC RECEPTION SYSTEM - - - |
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STYLED....................1 (0.000%)
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| year when he met a self-styled cosmic heretic, | 6348 COSMIC HERETICS: PART 1: - Chapter 1: ROYAL INCEST - |
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STYLES....................6 (0.001%)
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| no matter how compounded into life styles. | 6366 COSMIC HERETICS: PART 1: - Chapter 1: ROYAL INCEST - |
| as well as religion. Neanderthal Mousterian styles of stone-working are found in Magdalenian deposits. | 65685 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : MAJOR DEVELOPMENTS EVERYWHERE CONTEMPORARY |
| of patterns of integration and new styles, | 97735 THE DEVINE SUCCESSION PART 1: THEOMACHY Chapter 5: LEGENDS AND SCRIPTURE - |
| back upon the "tried and true" styles of literary analysis employed in such works as Mario Praz' The Romantic Agony, | 108268 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| Egyptians attached great importance to hair styles. | 119923 KA: - - Chapter 22: LIVING WITH ELECTRICITY : DRESS AND COSMETICS |
| from an area where the two styles of writing met, | 120520 KA: - - - APPENDIX B: READING BACKWARDS |