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     

杨绛散文的独特价值

杨绛在文坛上具有一种独特的价值,她打破了17年散文的沉闷压抑,延续了五四时期幽默散文一路的发展,并具有自己的个性。杨绛对“文革”的描写与反思,采取了迥异于他人的远距离视角,带一种调侃与审视,因此显得超然而从容。文中流贯着一个侠骨柔肠的抒情主人公形象,读来令人感动。而作者采取的冷静的白描这种写法,对于17年散文的滥抒情是一种有力的反拨和纠正。正缘此,杨绛在文坛既是边缘的,又是独特的。     

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。     

成长体验的女性言说——从《乌鸦之歌》、《怀念声名狼藉的日子》看池莉性别创作立场的位移

在当代文学中 ,池莉惯以“非女性化”写作而著称 ,但她的两篇近作《乌鸦之歌》、《怀念声名狼藉的日子》却显示着作者向“女性写作”的转变。文章从这两篇小说的女性叙述立场、女性成长的叙述话语和作品的审美风格等方面阐述女作家性别创作立场的位移     

冯梦龙《山歌》的女性话语解析

以女性视角来解读晚明时期的《山歌》，其充满一种女权主义的隐喻，是在封建伦理式微前夕男权中心的退位及女权意识的崛起在民间的映证。     

论"革命文学"的流行性艺术素质

“革命文学”之所以在1920年代后期广为流行,其中一个重要原因,就在于它采用了为广大读者熟悉并喜爱的艺术手法,从而使其艺术素质隐含着一定的流行态势。“革命文学”的独特叙事方式,缩短了读者与作家及作品人物之间的距离,增加了叙事的真实性与感染力。而它在题材上呈现出的“故事类型”化特点,以及局部细节描写上的“套式”形态,都便于读者的理解与接受。此外,传统的人物描写手法以及语言的简单易懂,又进一步促进了“革命文学”的广泛流行。     

《汉宫秋》：在历史叙事上的创造与延伸

昭君故事的史传书写、民间传说和文人歌咏构成了昭君故事的“历史叙事”。马致远创作《汉宫秋》的时候,对“历史叙事”有吸收,有改造,作了大胆的超越。但他的超越不是随意的,而是从现实的时代要求出发,抓住古与今的契合点,使之既符合艺术规律,又实现借古讽今的目的,成为一部富有现实意义的历史悲剧。这一改编的成功给现今历史题材作品的创作和改编以很好的启示。     

从《老人》看凯瑟琳·安·波特的叙述艺术

凯瑟琳.安.波特的中篇小说《老人》在时间结构、叙述视角以及人物话语几个方面紧紧围绕米兰达对艾米姑妈的悲剧故事的了解过程这一主线展开。通过这些叙事策略进一步深化了小说的主题。