1,721,092 research outputs found
A blast from the past: the terror management function of nostalgia
Full text linkAccording to terror management theory, people turn to meaning-providing structures to cope with the knowledge of inevitable mortality. Recent theory and research suggest that nostalgia is a meaning-providing resource and thus may serve such an existential function. The current research tests and supports this idea. In Experiments 1 and 2, nostalgia proneness was measured and mortality salience manipulated. In Experiment 1, when mortality was salient, the more prone to nostalgia participants were, the more they perceived life to be meaningful. In Experiment 2, when mortality was salient, the more prone to nostalgia participants were, the less death thoughts were accessible. In Experiment 3, nostalgia and mortality salience were manipulated. It was found that nostalgia buffered the effects of mortality salience on death-thought accessibility.<br/
Task engagement after mortality salience: The effects of creativity, conformity, and connectedness on worldview defense
No full textTerror management research has shown that activating thoughts about mortality (mortality salience) increases defence of one's worldview. This study investigated how worldview defence is affected by engaging in a task that fosters creativity, conformity, or sharing values after being reminded of death. After writing about death or a control topic, participants were randomly assigned to design a t-shirt with the goal of being as creative as possible, trying to please others but not oneself, or trying to connect with others via shared values. After mortality salience, conforming to others led to increased worldview defence whereas sharing values did not. Further, engaging in a creative task decreased worldview defence after mortality salience. Implications for understanding the interface between different forms of social connectedness, creativity and the management of existential fears are discussed
Marking time: managing mortality through meaningful conceptions of time and the self in time
No full textGoing 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
The blueprint of terror management: understanding the cognitive architecture of psychological defense against the awareness of death
No full textVariations 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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