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MEMORY. Understanding; a capacity to make contracts, a will, or to commit a crime, so far as intention is necessary.
     2. Memory is sometimes employed to express the capacity of the understanding, and sometimes its power; when we speak of a retentive memory, we use it in the former sense; when of a ready memory, in the latter. Shelf. on Lun. Intr. 29, 30.
     3. Memory, in another sense, is the reputation, good or bad, which a man leaves at his death. This memory, when good, is highly prized by the relations of the deceased, and it is therefore libelous to throw a shade over the memory of the dead, when the writing has a tendency to create a breach of the peace, by inciting the friends and relations of the deceased to avenge the insult offered to the family. 4 T. R. 126; 5 Co. R. 125; Hawk. b. 1, c. 73, s. 1.

MEMORY, TIME OF. According to the English common law, which has been altered by 2 & 3 Wm. IV., c. 71, the time of memory commenced from the reign of Richard the First, A. D. 1189. 2 Bl. Com. 31.
     2. But proof of a regular usage for twenty years, not explained or contradicted, is evidence upon which many public and private rights are held, and sufficient for a jury in finding the existence of an immemorial custom or prescription. 2 Saund. 175, a, d; Peake's Ev. 336; 2 Price's R. 450; 4 Price's R. 198.

A Law Dictionary, Adapted to the Constitution and Laws of the United States. By John Bouvier. Published 1856.
References in periodicals archive ?
These sequences refer to theatricality, to the artifice inherent in performance, and explicitly to acting, to the way sound and movement on a stage or screen actualize a persona or identity, and hence to the way a screen memory gains credence through its performance in the imagination.
However, the polar tension resulting from the screen memory of the opening chapter--between alienation from the community of urban dwellers and over-identification with the urban environment--continues to be played out in the protagonist's new life in Rome.
He divides his material into three chapters dealing with individual memory, screen memory, and collective memory.
All are titled Screen Memory, with the parenthetical titles Family Room, Sister's Room, Brother's Room, Father's Room, and Mother's Room.
Hans Christian Andersen's childhood memory of having mollified a bailiff about to whip him "reads like a screen memory" (p.