Gerrans (2012, 2013, 2014) uses a detailed comparison between instances of character misidentification in dreams and delusions of hyperfamiliarity (such as the Frégoli delusion, in which strangers are mistakenly identified as family members, but also déjà vu) to support the claim that anomalous experience, and not just faulty reality testing, plays a role in delusion formation.
Because dispersal between sympatric locations among transects is unlikely, these findings suggest that the repeated instances of character displacement have evolved in situ.
Together these suggest that the morphological divergence observed in sympatry represents replicated instances of character displacement, and that selection from competitive interactions has driven parallel evolution of morphological divergence in these species.
These adaptations have been shown to be more prominent in N. fodiens [ 30] but, when these species live in sympatry, various instances of character displacement and convergence have been demonstrated [ 31, 32].
We tried to implement knowledge about the evolution of rRNA in two ways: (i) the use of mixed DNA/RNA models is meant to account for known instances of character dependence due to compensatory mutations in stem regions, (ii) the application of time-heterogeneous models accounts for non-stationary processes that occurred in arthropod lineages.
Instances of American characters speaking British English may, on occasion, be at least partly intentional.
A few instances of dubious characters lying about medals does not require the government to deploy the heavy artillery of criminal sanction.
Leaving aside the many meretricious or fanciful biopics of composers (I exempt Straub-Huillet's The Chronicle of Anna Magdalena Bach, 1968) or films about musicians, there have been few instances of celluloid characters actually listening to classical music.
Some of the dialogue seemed particularly heavy-handed, especially in scenes involving Belle and her father Moe/Maurice, and there were a few too many instances of the characters telling us (dramatically) how they were feeling, instead of the script showing us with any nuance.
