New innovational outlier unit root test with a break at an unknown time

The Perron test which is based on a Dickey–Fuller test regression is a commonly employed approach to test for a unit root in the presence of a structural break of unknown timing. In the case of an innovational outlier (IO), the Perron test tends to exhibit spurious rejections in finite samples when the break occurs under the null hypothesis. In the present paper, a new Perron-type IO unit root test is developed. It is shown in Monte Carlo experiments that the new test does not over-reject the null hypothesis. Even for the case of a level and slope break for trending data, the empirical size is near its nominal level. The test distribution equals the case of a known break date. Furthermore, the test is able to identify the true break date very accurately even for small breaks. As an application serves the Nelson–Plosser data set.     

The Reception Given to Sadhu Sundar Singh,the Itinerant Indian Christian ‘Mystic’, in Interwar Britain

In 1920 and 1922, an Indian Christian called Sadhu Sundar Singh toured Britain. Widely renowned in the global Christian community in the interwar period, Singh was notorious for certain stories of miracles, for his appearance and for the ways in which he epitomised Eastern Christianity. Using Singh’s correspondence and a range of newspapers, this article argues that British audiences were attracted to Singh because of his appearance and ethnicity and because he conformed to stereotypes of essentialised Indian spirituality despite his Christian faith. It argues that the reception to Singh in Britain must be understood in relation to the perpetuation of Orientalist understandings of Indians and Indian religions in the interwar period.     

Unruly Voices in the Museum

ABSTRACT

This article addresses the use of audio recordings and oral memory for the critical engagement with colonial pasts in ethnographic museums by focusing on the traveling exhibition What We See, curated by Anette Hoffmann (2009). Specifically, it draws on Jeffrey Feldman's notion of colonial “contact points,” i.e. material traces of colonial encounter, to highlight the exhibition's ability to convey and critique the sensory experience of colonial contact. In What We See, this colonial contact consisted in an anthropometric project conducted in South-West Africa, today's Namibia, in 1931, resulting in an archive of anthropometric measurements and photographs, life-casts, and phonographic recordings. The exhibition proposed an innovative way of reworking this archive by staging an intricate interplay between sound and sight, thereby disrupting conventional ocularcentric forms of display. However, this multisensory approach provoked highly divergent reactions at its various exhibition venues. This article argues that the divergent reactions in Cape Town, South Africa, and Vienna, Austria, were due to different levels of what Ann Stoler describes as “colonial aphasia”—that is the context-dependent difficulty of addressing disquieting colonial pasts and its sensory dimensions.     

Establishing Laws and Policies on Parent to Child Violence in Finland 1965–1983

This study explores perceptions of parent to child violence, the arguments for imposing legal regulation, and the intended objectives of the legislative process that led to a ban in Finland in 1983. This qualitative policy analysis examines policy documents alongside expert interviews with professional on the legislative process. The example of Finland shows that a significant change in attitudes and decreased levels of violence towards children can be achieved without the threat of legal punishment, even without specific intervention policies. However, the study emphasises the importance of establishing clear practices alongside altering legislation which has been inadequate in Finland.     

关于三分Cantor集的结构的一些新结论

旨在采用代数的方法来研究三分Cantor集的结构特点。主要结果除了给出三分Cantor集的代数构造外还定义了仿四进位；结合代数构造、拓扑构造以及仿四进位分别给出并证明了三分Cantor集及其余集的结构公式，从而改进了已有的结论。     

Fat Monica,Fat Suits,and Friends

This paper examines narratives about fatness that are represented and reproduced by the character of “Fat Monica” played by Courteney Cox in a fat suit on the sitcom Friends. By drawing on David T. Mitchell's framework for analyzing “narrative prosthesis,” I examine how Fat Monica's narratives on Friends represent complex intersections of identities. I argue that fat suits often evoke fatness to support limited and clichéd narratives; however, fat suits may also enable new means of representing and understanding fatness. Through an analysis of the ways in which Fat Monica is represented in the episodes she appears in, three key uses of Fat Monica's fatness are discussed. Firstly, I examine the comic uses of Fat Monica and their relationship between fatness and humour. Next, I examine how Fat Monica storylines represent interlocking narratives of fatness, femininity, and sexual desire. Lastly, I consider how Fat Monica represents the construction of the normative body and claims about fatness and authenticity. Ultimately, Fat Monica illustrates how fatness relates to understandings of humour, gender, social class, and heterosexuality.     

写作表述的三级范式

写作表述在文句、层次和篇章等三个层级上都有一定的范式。表述范式在不同基本文体的层次范式之间、篇章范式之间,以及篇章范式和层次范式之间,虽然各有不同,但也有共同之处。这些表述范式分别都是其同类相仿的写作表述模式构造,能为写作者实施写作表述提供可以借鉴的基本经验。     

从"Representation"看人类学"表述危机"

本文通过对于人类学中的一个重要概念“representation”的梳理,探讨了其在人类学不同阶段理论背景下的不同内涵以及在人类学本体论、认识论、方法论方面的意义,透过“representation”反映出人类学理论从现代主义到后现代主义的发展过程中,尤其是后现代主义思潮下人类学“表述危机”的理论论争的根源和问题的实质。     

纳西族空间观念之色彩表象

空间是抽象的 ,只有对它们进行具体的表象 ,才能将抽象还原成具体。无论在纳西族民俗中 ,还是在其他民族的民俗中 ,色彩常常成为对空间方位进行表象的具体手段之一。由色彩所表象的空间不仅决定着民俗活动的性质 ,也规范着民俗活动的形式与内容。本文从前空间、原空间等方面对纳西族民俗中空间的色彩表象作了介绍和分析