1,721,178 research outputs found
sj-docx-1-msx-10.1177_10298649211062724 – Supplemental material for Auditory and visual mental imagery in musicians and non-musicians
No full textSupplemental material, sj-docx-1-msx-10.1177_10298649211062724 for Auditory and visual mental imagery in musicians and non-musicians by Francesca Talamini, Julia Vigl, Elizabeth Doerr, Massimo Grassi and Barbara Carretti in Musicae Scientiae</p
sj-docx-2-msx-10.1177_10298649211062724 – Supplemental material for Auditory and visual mental imagery in musicians and non-musicians
No full textSupplemental material, sj-docx-2-msx-10.1177_10298649211062724 for Auditory and visual mental imagery in musicians and non-musicians by Francesca Talamini, Julia Vigl, Elizabeth Doerr, Massimo Grassi and Barbara Carretti in Musicae Scientiae</p
Marina Apollonio. La vertigine della percezione
No full textLa ricerca artistica di Marina Apollonio è incentrata sui risvolti percettivi che determinate forme geometriche, scientemente “programmate”, provocano sullo spettatore, il quale diventa così parte attiva dell’opera. Tale orientamento spinge l’artista a superare i processi automatici e gestuali della congiuntura informale in favore di una piena ripresa di “controllo” sul fare artistico. Tuttavia, nei suoi lavori Apollonio non manca di lasciare un certo margine di operatività anche alla componete emotiva. Infatti, grazie allo sfruttamento dei meccanismi sottesi ai principi della Gestalt, oltre a essere catturato dal rigore della composizione il fruitore dell’opera è investito allo stesso tempo da un vago senso di vertigine e smarrimento. L’artista, dunque, perviene a una sorta di sintesi a priori fra “ragione e sentimento” in nome di una salutare unità funzionale
Parental flooding as mediator in the relationship between children emotional/behavioral difficulties and resilience in times of Covid-19.
No full textWith a 3-wave study, we explored whether parental stress during COVID-19 pandemic helps to shape the link between child emotional and behavioral difficulties and resilience. A survey targeting Italian families with children aged 5-10 years was conducted online. Time 1 (June 2020) was completed by parents of 158 children (48% boys, mean age = 7.4 years; SD = 1.8 years); 68 and 49 parents respectively completed Time 2 (December 2020) and Time 3 (June 2021). We hypothesized that parental ability to handle family conflicts would mediate the relationship between children’s difficulties and their resilience in the unfolding of the
pandemic. Results of mediation analyses showed that Time 1 child difficulties were associated with Time 2 higher parental flooding (b = -.45, s.e. = .22, p = .04) and Time 2 high parental flooding was related to Time 3 decreased child resilience (b = .09, s.e. = .04, p = .03). The direct effect of early children’s difficulties on their later resilience was not significant (b = -.08, s.e. = .07, p = .23), as parental flooding fully mediated their relationship (b = -.09, s.e. = .05, 95% C.I. = -.1993, -.0052). Knowing that children’s difficulties interact with parental stress in determining resilience during stressful periods can guide tailored interventions
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
This is what life is all about": Romantic couples’ meaning-making of death. A pilot study with Italian couples before the Covid-19 pandemic
Full text linkAccording to the humanistic-existential perspective, people develop and attribute meanings to death that impact their life purpose (Wong et al., 1994). The romantic experience represents a particular case of the meaning-making process in which partners negotiate meanings and co-construct a dyadic reality (Molina et al., 2018). Experimental quantitative research acknowledged that romantic relationships have an existential function: individuals seek romantic close others to cope with the anxiety triggered by death reminders (Mikulicer et al., 2003). Concurrently, little is known about couples’ meaning-making of death. This pilot qualitative study explored death-related meanings within romantic couples. Conjoint semi-structured interviews were conducted with 4 Italian heterosexual middle-aged and married couples in February 2019, before the Covid-19 outbreak. Thematic analysis was performed (Braun & Clarke, 2006) supported by the software ATLAS.ti. Three main themes were identified: partners’ sharing attitudes towards death; partners’ intimacy in loss(es) contexts; partners’ dyadic views of life. This study highlights insights for clinical work with couples facing mortality-salient and existentially challenging situations
Marina Apollonio. La vertigine della percezione
No full textLa ricerca artistica di Marina Apollonio è incentrata sui risvolti percettivi che determinate forme geometriche, scientemente “programmate”, provocano sullo spettatore, il quale diventa così parte attiva dell’opera. Tale orientamento spinge l’artista a superare i processi automatici e gestuali della congiuntura informale in favore di una piena ripresa di “controllo” sul fare artistico. Tuttavia, nei suoi lavori Apollonio non manca di lasciare un certo margine di operatività anche alla componete emotiva. Infatti, grazie allo sfruttamento dei meccanismi sottesi ai principi della Gestalt, oltre a essere catturato dal rigore della composizione il fruitore dell’opera è investito allo stesso tempo da un vago senso di vertigine e smarrimento. L’artista, dunque, perviene a una sorta di sintesi a priori fra “ragione e sentimento” in nome di una salutare unità funzionale
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