笔迹鉴定员的素养与其工作质量

笔迹检验过程中,鉴定员的目的动机、情感、实践经验等主观因素,有时可能会给检验造成一定的消极影响。从认识论角度分析,鉴定员主观因素在检验中的消极影响会客观存在,应研究避免消极因素影响的对策。     

浙江遂昌“昆曲十番”音乐形态探析

遂昌“昆曲十番”是全国罕见的一种用民间乐器演奏传统名剧昆曲曲牌的器乐演奏形式。它的起源与明万历年间汤显祖在遂昌任知县积极传教昆曲和创作《牡丹亭》有着密切的联系。“昆曲十番”经历代艺人的不断传唱衍承,已有400多年的历史,具有极高的文化研究价值和可观赏性,可谓是一项民间艺术瑰宝。本文从“昆曲十番”的起源、艺术特征、研究价值、生存状况及保护传承等方面加以探析,以期更好地保护这一传统音乐文化,使之能健康地延续和发展下去。     

艺术转向与日常生活审美化

“日常生活审美化”现象的发生与艺术自身的发展演变有关。康德以来的“现代性”艺术观念带来了艺术与生活原初联系的断裂,造成现代艺术的困境,使艺术产生了转向。黑格尔和丹托的“艺术终结论”从不同的出发点、不同的层面揭示了艺术走出困境从而转向、再生的可能。日常生活审美化正是艺术转向的途径和表现。     

基于语音情感分析系统的语音压力测谎

目的探究语音情感分析系统(Layered Voice Analysis,LVA)在不同情况下的表现,并通过分析数据找出影响系统识别率的因素。方法设置两种不同场景对20名研究对象进行提问,并录音。通过LVA语音系统对语音样本进行分析,使用SPSS统计软件对系统生成的参数进行统计分析。结果在未告知研究对象实验真相的情况下LVA语音系统平均识别率为91.75%,要远高于研究对象在知情情况下的识别率。在询问过程中,当未涉及敏感问题时,随着时间的推移研究对象的心理压力逐渐减小。结论LVA语音系统具有良好的情感分析和识别能力,可为司法工作提供参考。     

“Nerve” and violent encounters: An assessment of fearlessness in the face of danger

The findings from a large body of research on the ecology of violence indicate that individuals demonstrate a willingness to engage in violence to reduce their risk for violent victimization. Scholars have suggested that a reputation for toughness and aggression acts as an informal signal that deters mistreatment. Anderson (1999), in his street code thesis, in particular, argued that adherence to the street code functions as a signal that reduces violent victimization risk. Other research findings, however, reveal that the street code leads to an increase in victimization risk; moreover, violent offenders are routinely victimized at high rates given their lifestyle and routine activities. The evidence, therefore, does not show support for the position that a reputation for toughness or aggression effectively reduces violent victimization. In the current study, we operationalize the concept of nerve, which findings from criminological studies indicate is an important mechanism for protecting adolescents from victimization. Using data from the second national evaluation of the Gang Resistance Education and Training Program, we test this operationalization of nerve to determine whether the concept is associated with later violent offending and violent victimization in ways consistent with theory and research on the ecology of youth violence. Our results demonstrate support for the notion that nerve is positively associated with violent offending, whereas those at the highest levels of this construct experience fewer violent victimizations.     

“I have always been so afraid”: Fearsome Encounters in Unni Lindell’s Rødhette

Norwegian crime writer Unni Lindell’s novel Rødhette [Red Riding Hood] (Oslo: Aschehoug & Co, 2004/2010) is a narrative about a woman whose feeling of safety transforms into a fear of violation, and how her defence against this fear takes the form of systematic violence. The novel is a rewriting of the traditional tale of “Little Red Riding Hood” and is a comment on the patriarchal premises of the most widely known version of this folktale. In the article, I discuss the representation of the female murderer as being in the grip of an affective economy based on the fear of male violence, represented in the novel by the metaphor of the “wolf”, and how fear grows into a comprehensive, moral and pragmatic, murderous orientation towards the world after an experience of violence. Theoretically, I draw on affect theory and particularly Sara Ahmed’s ideas about the affective politics of fear (The cultural politics of emotion. Edinburgh: Edinburgh University Press, 2014) and how this fear turns into a significant qualifier in encounters with people who are experienced as strangers (Strange encounters: Embodied others in post-coloniality. London: Routledge, 2000). Fear is treated in Lindell’s novel as a psychological constriction and a tool for the construction of agency, through which the mechanisms of othering and violence are explored.     

The dark underbelly of land struggles: the instrumentalization of female activism and emotional resistance in Cambodia

Facing land grabs and eviction in the name of development, women worldwide increasingly join land rights struggles despite often deeply engrained images of female domesticity and conventional gender norms. Yet, the literature on female agency in the context of land struggles has remained largely underexplored. Based on extensive ethnographic fieldwork, my findings suggest that land rights activism in Cambodia has undergone a gendered re-framing process. Reasoning that women use non-violent means of contestation and are less prone to violence from security personnel, non-governmental organizations (NGOs) push women affected by land grabs and eviction to the frontline of protests. Moreover, female activists are encouraged to publicly display emotions, such as the experienced pain behavior that sharply contrasts with Cambodian norms of feminine modesty. I critically question this women-to-the-front strategy and, drawing on Sara Ahmed’s politics of emotions approach, show the adverse risks for female activists. Furthermore, I demonstrate that the instrumentalization of female bodies and emotions in land rights protests perpetuate gender disparities instead of strengthening female agency in the Cambodian society and opening up political space for women.     

论情感分享与饭店营销

情感需求是现代饭店消费者各种需求的核心,饭店管理者应满足各类消费者显性和隐性的情感需求.从饭店产品的设计与促销、饭店服务到处理宾客投诉、员工培训,都应从情感分享出发,制定相应的策略和措施.这是使饭店获得较好的经济效益与持续发展的重要条件.     

论旅游宣传中的心理策略

旅游宣传是旅游业的“开路先锋” ,在 2 1世纪的旅游业发展中更显示出其作用和价值。旅游知觉、模仿与暗示、情感与理性等学术问题 ,可以积极地指导旅游宣传 ,影响旅游消费者的意识和行为。如何利用这些心理规律增强旅游宣传效应 ,这是需要我们认真深入研究的一个重要课题     

Visualising the ‘real’ and the ‘fake’: emotion work and the representation of orgasm in pornography and everyday sexual interactions

Visual representations of orgasm – whether in the flesh or mediated through a screen – are produced in a context of intense uncertainty about whether what is being seen represents an authentically experienced bodily event. Despite detailed scientific scrutiny and close attention to bodily signs, the authenticity of women's orgasm remains a site of cultural anxiety and contested gender politics. This uncertainty is exacerbated by the construction of female orgasm as inherently invisible or un-see-able, and ‘faking’ orgasm as a prevalent social practice. Drawing on existing literature from psychology, sociology and porn studies, this theoretical paper explores the problem of visually representing orgasm in the context of these uncertainties, and examines how the distinction between the ‘real’ and the ‘fake’ is structured by discourses of authenticity. Pornography and everyday sexual interactions provide ideal contexts for exploring the practices of producing and consuming visual representations of embodied experience because both necessitate a see-able orgasm which consumers/lovers can read as ‘real’. This paper demonstrates that considerable interpretative work is necessary to read the female body as authentically orgasmic in the context of cultural uncertainty, and that distinctions between the ‘real’ and the ‘fake’ are continually reworked. Drawing on the contrast between ‘surface’ and ‘deep’ acting (Hochschild, 1983), I argue that the distinction between the ‘real’ and the ‘fake’ cannot be established by recourse to unmediated bodily experience, and instead, researchers should consider how and when this distinction has traction in the world and the implications of this for gendered power relations, subjectivities and practices.