1,721,126 research outputs found
sj-DOCX-1-asm-10.1177_10731911211067538 – Supplemental material for Ecological Momentary Assessment: A Meta-Analysis on Designs, Samples, and Compliance Across Research Fields
No full textSupplemental material, sj-DOCX-1-asm-10.1177_10731911211067538 for Ecological Momentary Assessment: A Meta-Analysis on Designs, Samples, and Compliance Across Research Fields by Cornelia Wrzus and Andreas B. Neubauer in Assessment</p
Supplemental_Material – Supplemental material for “The sound of affect”: Age differences in perceiving valence and arousal in music and their relation to music characteristics and momentary mood
No full textSupplemental material, Supplemental_Material for “The sound of affect”: Age differences in perceiving valence and arousal in music and their relation to music characteristics and momentary mood by Caroline Cohrdes, Cornelia Wrzus, Melanie Wald-Fuhrmann and Michaela Riediger in Musicae Scientiae</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Personality and the own-age ingroup bias
No full textStudy examines whether personality traits moderate the own-age ingroup bia
Conscientiousness and situation perception
No full textThe study examines how conscientiousness and gender predict differences in perceiving untidiness in situation
Age differences in the neuroticism-threat linkage
No full textThe study examines the association between neuroticism and attention to threatening objects as well as age differences thererin
Literature:
Leikas, S., & Lindeman, M. (2009). Personality, threat identification and emotional processing.
European Journal of Personality, 23, 455–474. https://doi.org/10.1002/per.713
Tamir, M., Robinson, M. D., & Solberg, E. C. (2006). You may worry, but can you recognize
threats when you see them?; Neuroticism, threat identifications, and negative affect. Journal of Personality, 74, 1481–1506. https://doi.org/10.1111/j.1467-6494.2006.00417.x
age differences: positivity effect &
Josef, A. K., Richter, D., Samanez-Larkin, G. R., Wagner, G. G., Hertwig, R., & Mata, R. (2016). Stability and change in risk-taking propensity across the adult life span. Journal of Personality and Social Psychology. doi: 10.1037/pspp0000090
Rasa, O. A. E., & Hopp, M. (1989). Age and sex‐related differences in threat perception in a modern urban society. Aggressive behavior, 15(5), 389-398
Variations on the Author
Get PDF“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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