Developing a Broadly Applicable Measure of Risk Perception

Decades of research identify risk perception as a largely intuitive and affective construct, in contrast to the more deliberative assessments of probability and consequences that form the foundation of risk assessment. However, a review of the literature reveals that many of the risk perception measures employed in survey research with human subjects are either generic in nature, not capturing any particular affective, probabilistic, or consequential dimension of risk; or focused solely on judgments of probability. The goal of this research was to assess a multidimensional measure of risk perception across multiple hazards to identify a measure that will be broadly useful for assessing perceived risk moving forward. Our results support the idea of risk perception being multidimensional, but largely a function of individual affective reactions to the hazard. We also find that our measure of risk perception holds across multiple types of hazards, ranging from those that are behavioral in nature (e.g., health and safety behaviors), to those that are technological (e.g., pollution), or natural (e.g., extreme weather). We suggest that a general, unidimensional measure of risk may accurately capture one's perception of the severity of the consequences, and the discrete emotions that are felt in response to those potential consequences. However, such a measure is not likely to capture the perceived probability of experiencing the outcomes, nor will it be as useful at understanding one's motivation to take mitigation action.     

Maternal and paternal reactions to child sadness predict children's psychosocial outcomes: A family‐centered approach

Parents' reactions to children's emotions shape their psychosocial outcomes. Extant research on emotion socialization primarily uses variable‐centered approaches. This study explores family patterns of maternal and paternal responses to children's sadness in relation to psychosocial outcomes in middle childhood. Fifty‐one families with 8‐ to 12‐year‐old children participated. Mothers and fathers reported their reactions to children's sadness and children's social competence and psychological adjustment. Cluster analyses revealed three family patterns: Supportive (high supportive and low non‐supportive reactions from both parents), Not Supportive (low supportive reactions from both parents), and Father Dominant (high paternal supportive and non‐supportive reactions, low maternal supportive and non‐supportive reactions). Supportive families had children with higher social competence and more internalizing symptoms whereas Father Dominant families had children with lower social competence and fewer internalizing symptoms. Not Supportive families had children with average social competence and fewer internalizing symptoms. Findings are discussed in relation to the “divergence model” which proposes that a diverse range of parental responses to children's sadness, rather than a uniformly supportive approach, may facilitate children's psychosocial adjustment.     

运用心理学移情原理消除师生的情感障碍

英语教学的成败是诸多因素相互作用的结果 ,但无论这些因素多么错综复杂 ,主要还是来自教和学两方面。教师和学生能否在教学中相互理解从而形成互动是教学成败的关键。文章将着重讨论师生间营造互动关系中的两个重要环节———情感与移情     

莎士比亚作品修辞手法欣赏

莎士比亚被认为是古往今来全世界最伟大的剧作家，诸多评论家给予他极高的评价。莎士比亚作品中充满各种修辞手法，这些修辞手法的运用显示了莎士比亚极其丰富的想象力。但评论家在评论其作品时却很少涉及其中的修辞手法，这对深刻理解这位文学巨匠乃是一件憾事。文章列举其中一些修辞手法，并略加点评，与读者共同欣赏。     

梁漱溟对孔子伦理思想的体认

梁漱溟是现代新儒家的开拓者,他以自己的亲身体验,并借助西方心理学观念,对孔子伦理思想的核心范畴“仁”、“礼”、“乐”,做了独特的体认。从中可以看出他对孔子的理解以及阐述其思想的基本方法。     

生态审美意义上的人格重建

从生态美学的角度对蒙古族作家满都麦的作品作全新解读,而解读本身即是生态美学意义上的人格重建过程,同时也是价值体系和道德体系重建的过程。从某种意义上讲,这意味着人类文化的转型,具有全人类的意义。     

意义：《项狄传》的一个哲学主题

《项狄传》中有一个关于意义的哲学主题。斯特恩认为 ,语言和理性不能表达意义 ,只有构成感性内容的东西 ,如情感、想象 ,动作等 ,才是意义的源泉。     

西部诗人高凯的乡土世界

甘肃诗人高凯的乡土诗在中国西部当代诗歌中是独特的,他构筑的乡土世界已逐渐引起评论家的关注并赢得较高的评价。他的乡土诗主要有这样三部分组成:一,风俗画的展现;二,乡情、乡愁的吟唱;三,家园意识的追寻。高凯的乡土世界是厚重的、完整的。诗歌具有哲学和人类学的思想高度。     

论沈约的山水诗

沈约是齐梁之际的著名诗人。他的山水诗集中创作于东阳外任期间。其山水诗作景物描写细致生动,而诗中的情与景却呈现为不相交融的割裂状态,并带有较多的述行意味。沈约山水诗的这种特征与当时的文学风气虽然相左,却与前代的谢灵运有类似之处。而导致这种相左与相似的主要原因便在于个人的遭遇与心态。     

快意恩仇：《聊斋志异》果报故事的审美情感及特征

《聊斋志异》一书快意恩仇。蒲松龄借因果报应之说而转换了其实际内容，其因果报应篇章的审美情感和特征主要表现为：报应内容的社会化和道德化，行为主体的动机化和情感化，小说叙述的艺术化和个性化。其主调是与《聊斋》文奇义正、寄托遥深的整体精神相契合的。