A. The stereotype that creativity is enhanced by a mood disorder is dangerous, both for those with mood disorders and those pursuing creativity: it could keep them from seeking treatment if they believe treatment would diminish their creative ability.

B. However, there are differences that might vary systematically between the groups: for instance, people who have achieved real creative success typically face the stress of being in the public eye, while the average person does not.

C. Most people chosen to be included in the creative groups are successful writers or artists, while those in the less-creative group are typically average people living nearby to wherever the study is taking place.

D. Just that component could account for any number of differences in the instance of mood disorder, given that stress is a major cause for the onset of mood disorders.

A. Many of those who are racked with self-doubt often seek confirmation of their distorted self-perception.

B. This seems logical as those with a negative self-image would be just the ones who would want to overcompensate.

C. The reason for their behaviour is the desire for coherence: if others respond in a way that confirms their self-image, then the world is as it should be.

D. In some cases, individuals actually provoke others to respond negatively to them, in order hear their own bleak view of themselves.

A. In fact, compared to other mammals, humans are actually naturally adapted for a relatively low protein intake, requiring protein to make up just 10% of our daily calorie requirement.

B. Over the past 50 years, research has consistently found that whenever we tinker with our natural protein needs, it can have adverse consequences, at all phases of our lives.

C. This became associated with an increased risk of developing chronic diseases such as cancer in later life, forcing the formula to be adapted to have a lower protein content.

D. Human breast milk is quite low in protein: when cow’s milk formula was first used to create an artificial replacement for breast milk, the excessive protein content was found to cause accelerated growth rates in early life.

A. On the sliding scale of attribution that art historians use – painted by; hand of; studio of; circle of; style of; copy of – each step takes the artist farther from the painting.

B. If a fake is so expert that even after the most thorough examination its authenticity is still open to doubt, is it not as satisfactory a work of art as if it were genuine?

C. Leaving straight forgeries aside, any discussion about the “authenticity” of an artwork opens suddenly, like a trapdoor, into the murk of semantics.

D. Added to this is the unease about overpainting: Salvator Mundi had been worked over so many times and so heavily, critics argue, that it is less by Da Vinci than by his restorers.

A. Letters let us write words while emoji let us write gestures.

B. Emoji are so widely used that they are rightly called the lingua franca of the world.

C. They are the equivalent of gesticulating to add emphasis.

D. While they convey a writer's intentions, emoji are not a language in themselves.