A Process for Incorporating Comparative Risk into Environmental Policymaking in Louisiana

The goal of Louisiana's 1990–1991 comparative risk project, also called the Louisiana Environmental Action Plan (LEAP), was to incorporate risk assessment into state environmental planning and policymaking. Scientists, government officials, and citizens were brought together to estimate the relative risk to human health, natural resources, and quality of life posed by 33 selected environmental issues. The issues were then ranked according to their relative estimated risks. It was hoped that this ranking of "comparative risks" would enable state policymakers to target the most important environmental problems and allocate scarce public resources more rationally and efficiently. As a result of the project, the governor issued an Executive Order forming a permanent Public Advisory Committee to continue this type of comparative risk assessment in Louisiana.     

CHILD PROTECTION: PARADOXES OF PUBLICITY,POLICY AND PRACTICE

Recent media coverage of child abuse in Victoria is critically analysed. Parallels are drawn between the substance and style of newspaper coverage of child abuse cases in the late nineteenth century ‘first wave’ of the child rescue movement and that in the late twentieth century ‘second wave’ of the child rescue movement. The twin themes of vengeance and voyeurism are clearly evident in both periods. The classic late nineteenth century concepts of Freud and Durkheim are drawn upon to illuminate the psychological and sociological sources of these themes. The current Victorian child protection system is used as a case study to explore the paradoxes for policy and practice which arise in part from the publicisation and associated politicisation of child abuse. These paradoxes include the redirection of resources from prevention and treatment to investigation services.     

Utilizing a game for both needs assessment and learning in adolescent sexuality education

A fact-gathering, experimental game proved to be an effective instrument in the needs assessment phase of an adolescent sexuality educational program aimed at low-income females. The game ("Family Few"), which covered the topics of menstruation and reproduction, was played by 35 Black, Hispanic, and white females aged 13-16 years recruited from medical and psychiatric clinics in Miami, Florida. The goals of the game were to elicit terminology used by participants, identify and correct misconceptions and misinformation, and determine if learning could occur. Although 57% of participants reported prior exposure to formal sex education, misinformation about the need for activity curtailment during menstruation and the importance of early pregnancy detection was widespread. Group members believed they needed to restrict activities involving physical exercise, sexual relations, water, and cold during menses and were not likely to seek medical or family consultation regarding a missed period until the end of the 1st trimester of pregnancy. Also evident was a need for accurate information on the side effects, risk factors, benefits, and effectiveness of contraceptive methods. The group responses enabled the sex educators to prepare a culturally responsive, developmentally oriented curriculum for further work with disadvantaged female adolescents. The group process was ranked highly on the Likert Scale by these teenagers as an enjoyable, useful means of information dissemination and problem solving.     

From the 30s to the 60s: The folk music revival in the United States

Conclusion Woody Guthrie's ashes were spread by the wind over the water from a Coney Island, New York pier a few days after he died on Oct. 3, 1967. His wife and children, including his 19-year-old son Arlo, were present as America's greatest folksinger was laid to rest. One of the last things Woody heard before he died was Arlo's recorded voice singing the draft-dodging tale of Alice's restaurant. He must have sensed that the spirit had been passed on. Woody Guthrie died just as the second great wave of popular interest in American folk music was coming to an end. Alice's Restaurant was in many ways one of its last echoes. The symbolism could not have been more poignant. At the center of the first folk revival, Woody Guthrie was a vital source of inspiration for the second.The new generation of singer-songwriters who marked the second wave was largely composed of those with at least some contact with the new mass higher education and those multi-versities that were built to dispense it. They were neither members of a déclassé elite, as could be said of Charles and Pete Seeger and John and Alan Lomax, nor were they authentic folk singers, like Woody Guthrie. Nor could they be. By the 1960s, the conditions that had created the possibility for the first wave of the movement had been irretrievably altered. After the Second World War, with a postwar economic expansion and population explosion under way, America was a different place. Besides, the first folk revival had already claimed authenticity as its own. For the most part, if there was any aspiration toward authenticity amongst the topical singer-songwriters (those in New York City in any case), it was to be as close a copy of the first generation, Guthrie and Seeger, as possible. Purism was the second wave's answer to the authenticity of the first.Being part of an expanding generation of white, college-educated youths affected the form and content of the music that characterized the second wave. The most obvious aspect of this was the arena of performance and the audience who filled it. Gone were the union halls, the singing in working-class bars and beerhalls and at Party functions, all of which had characterized the first wave. These were replaced first by coffee shops and small clubs, either in Greenwich Village or those surrounding college campuses. The forays into the South in support of the civil-rights movement were for the most part short-lived and highly symbolic, not to say self-serving. The real mass audience arrived with the antiwar activity and was largely university centered.It was also this audience that filled the auditoriums and concert halls for the more obviously commercial performances by the singer-songwriters of the second wave. This overlapping public provided the grounds for a new mass market in folk music. Peter, Paul, and Mary, who sang in front of many mass demonstrations in protest against the war in Vietnam or in support of civil rights, were, although they saw themselves as carrying on in the spirit of the Weavers, an entirely commercial creation. In the article from the East Village Other cited above, written just after the first big concert in America against the war in Vietnam, Izzy Young angrily notes that everybody was a part of it except the people managed by Albert Grossman - Peter, Paul and Mary, and Bob Dylan. When the war in Vietnam became popular, three years later, Peter, Paul and Mary flew down to Washington, D.C. to take their place in front of the cameras.Commercial rationality was much more a factor in defining the second folk revival than the first. The possibilities were greater and the structure of the music industry was different. With a new mass market still in the process of formation and thus unspecified in terms of taste, the larger record companies could afford to take a liberal attitude and to include under their label, all the revolutionaries, as Columbia Records proudly announced in its contemporary advertising. Commercial possibilities thus were more important in shaping the musical form and content of second folk revival than politics, which were so central to the first. As opposed to the old left, the new left was a loosely organized contingent of organizations and groups with little coordination between them. In fact, many if not most of the organizations were ad hoc committees formed for a specific strike or demonstration. No one group was thus in a position to exert ideological hegemony. Following from this, at least during the period under discussion, there was little political dogmatism to be found. With no powerful organization to impose it, there was no clear political line to defend and thus to sing about. Even the notion of the people, so central to the first folk revival, was relatively absent in the second. Who were the people addressed? Certainly not the working class or even the common man. I am just a student, Sir, I only want to learn, sang Phil Ochs.During the second folk revival, the people had become the silent majority, the province of the conservative right. Neither in music nor in politics did the new left make many attempts to reach the common man in the street. The people had been massified, according to new left theory, and in the new one-dimensional mass society the grounds of political and social identity were always shifting. Besides, country music had already established itself as the musical genre of the rural, southern, western and white, common man. From a commercial point of view, there was little need to look for authenticity or the people; the market was sufficiently large and getting larger as more and more young people entered the institutions of higher education. Politically, this was not a serious problem either, as long as the aim was not revolution as it had been for the old left. It was sufficient, then, to address the masses of youngsters gathering together at institutions of higher education. If there was a revolution at foot, this was it.While the first wave practically had to invent folk music, the second could draw on the reservoir of public culture that to a large extent resulted from this invention. The networks and institutional support provided by the old left and the personal authority of a figure like Alan Lomax made possible the imposition of rather strict criteria for determining in what exactly folk music consisted. Neither networks nor gatekeepers were so determinate to the second wave. With the folksong and folksinger already invented, the new generation could pick and choose from a rather wide range of options. In addition, by the time the new left and the topical-song movement achieved at least a semblance of cohesion, folk music was already institutionally supported by radical entrepreneurs like Izzy Young and the more commercial recording industry. There were, thus, strong institutional bases for folk music outside of politics. Politics, in other words, was not the only game in town. But neither was commerce. The civil-rights movement and the new social movements that developed out of it opened for a short period a space, a public arena, in which the idea of folk music could be reinvented anew. Within this space the traditions constituted during the first wave of folk revival were experimented with and modified in light of the new social and historical context. America was not the same place in the 1960s as it had been in the 1930s and neither could its folk music be. The actors, the setting, and the songs were all different, yet still the same.In attempting to account for both this continuity and change in the two waves of folk revival we have drawn from both the cognitive approach to the study of social movements, which calls attention to the creative role of social-movement actors in the production of knowledge, and the production of culture perspective, which highlights the effects of institutional arrangements in the production of cultural goods. From the former, we have focused on the changing character of movement intellectuals, those to whom Ralph Rinzler in the epigraph that begins this article gave special place; from the latter, we have noted how, among other things, the changing nature of the recording industry helped recast the folk music revival. We hope that the foregoing has demonstrated that in combining these approaches, as well as areas of research interest, we have uncovered aspects of the folk revival others may have missed.     

An Exploration of the Meaning and Consequences of Workaholism

Although much has been written aboutworkaholism, rigorous research andtheoretical development on the topic is in its infancy.We integrate literature from multiple disciplines andoffer a definition of workaholic behavior. We identify three types ofworkaholic behavior patterns: compulsive-dependent,perfectionist, and achievement-oriented workaholism. Apreliminary model is proposed; it identifies potential linkages between each type of workaholismpattern and important outcomes such as performance, joband life satisfaction, and turnover. Specificpropositions for future research are articulated. Weconclude that, depending on the type of workaholicbehavior pattern, workaholism can be good or bad, andits consequences may be experienced or evaluateddifferently by individuals, organizations, and societyat large. Researchers and managers should avoidmaking judgments about the positive or negative effectsof workaholism until more carefully controlled researchhas been published.     

刻意创新

我们大多数人都认同创新是成长的关键途径。问题是如何创新?许多企业依靠突发机遇。也就是说,他们指望某个人提出产品或服务方面的点子,然后从中获利。然而有些时候,企业必须发掘比以往更多的创意,并先于竞争对手将创意化为切实可行的产品与服务。此时,企业便不能再依靠机缘巧合了。我们需要可持续、可重复的创新方法。     

Difficulties in Emotion Regulation as a Mediator of the Relationship Between Child Sexual Abuse Victimization and Sexual Aggression Perpetration in Male College Students

Although numerous studies document a link between child sexual abuse and later sexual assault perpetration in men, little research has examined why this relationship exists. One potential mechanism may be emotional regulation difficulties. The current study utilizes a college sample of 132 men to examine the mediating role of emotion regulation difficulties on the relationship between experiencing child sexual abuse and later sexual aggression. Although emotion regulation difficulties in general was not significantly related to sexual aggression, one facet, impulse control difficulties, emerged as a significant mediator of the relationship between child sexual abuse and sexual aggression. Intervention programs should focus on the care that children receive following sexual abuse, with particular emphasis on how emotion regulation abilities may be impacted.