1,721,059 research outputs found
The effects of counterfactual attacks on social judgments
No full textTwo experiments were conducted to compare the effects of different styles of verbal criticism (factual vs. counterfactual) on the perceptions of target, source, and quality of the attack. Counterfactual attacks resulted in more negative overall judgment of the target and ratings of the target's morality than either factual attacks or no attack. Counterfactual attacks were also rated more positively than factual attacks, and the source of the counterfactual attack was rated as being less biased against the target. Regression analyses confirmed that the observed effect on overall judgment was mediated by the perceived bias of the source. The greater effectiveness of counterfactual attacks was moderated by awareness of prior hostility of the source of the attack toward the target
Emozioni. Il cuore a sinistra
No full textIl ruolo delle emozioni nell'identificazione politica e nelle scelte elettoral
The strategic use of counterfactual communication in politics.
No full textWhile counterfactual thinking has been widely investigated, we know much less about how counterfactual (“If... then”) statements are employed in political communication. We analysed statements made by politicians during pre-electoral televised broadcasts, to assess whether politicians employ counterfactuals in facework. Counterfactuals were coded according to their direction, controllability, and structure. Log-linear analysis revealed that upward, controllable, and additive counterfactuals were more frequent than downward, uncontrollable, and subtractive counterfactuals, respectively. A significant three-way interaction between target, direction, and controllability also emerged. While politicians more often employed upward controllable counterfactuals when speaking about targets other than themselves, they more often used downward controllable and upward uncontrollable counterfactuals when referring to themselves. These findings advance our knowledge of how counterfactuals are employed by politicians to promote their positive face and aggravate the face of adversaries
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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