The Self-Administered Interview: a means of improving children's eyewitness performance?

Abstract

In order to obtain the most informative and correct statements, witnesses should be heard as soon as possible after the incident. However, this is not always possible. This experimental study investigated whether completing a Self-Administered Interview form (SAI) immediately after a critical event could enhance children's witness performance at a later stage. Children (N = 194, age 11–12) reported their memory of an event in a structured SAI, an open SAI, or did not report their memory (control). Two weeks later, the children were interviewed about the event. Before the interview, half of the children were subjected to social influence from a co-witness. Children's free recall of the event was enhanced by the SAI. More precisely, children in the SAI-Structured condition reported more details about the event than children in the SAI-Open condition and the control condition, without a loss of accuracy. The SAI manipulation did not, however, reduce children's vulnerability to social influence. The results suggest that the use of a SAI might prove a simple and yet effective way of increasing the quality of statements from child witnesses in some situations.     

语义激活:开启大学生英语说写思路的策略

语言认知的多重维度——词汇网络和语义网络、图式和情景框、语义激活理论即以语义为联想点的词汇积聚、列锦式的主题联想、预读复述和添加图式概念 ,是开启大学生英语说写思路的策略     

试论《诗经》时代乐器的重要角色

《诗经》时代是以礼乐文化为主体的时代。“乐器”是礼乐文化的重要硬件设施,与诗、歌、舞并存,在当时贵族社会生活中有着重要的地位。日常生活中,乐器运用既有一、二种乐器的简单伴奏,又有小型乐队式的排演组合,还有乐器独奏曲。而在礼仪场合中,大型乐队则有着规定的摆设位置、组合形式和演奏程序,塑造浓厚的场景氛围。通过出土乐器实物的印证,更可看出当时乐器科技水准的进步和演奏技艺的高超。     

Epistemic stance in orchestral interaction

An interactional participant's epistemic status relies on their access to “epistemic domains” which exist beyond the unfolding interaction in which they are expressed. Heritage argues that comparative access and epistemic status can be described along an “epistemic gradient” and that it is the expression of this status which, in the interaction, exists as the taking, aligning to, and challenging of epistemic stance. This paper describes some of the resources musicians use in interaction to encode the epistemic domains from which knowledge comes during orchestral rehearsal. As “sound-hearing” and “instrument-playing” are central to the work of musicians, the discussion will focus on how perceptions of auditory and corporeal experience are deployed as part of musicians' epistemic stance taking. I will argue that these epistemic stances, as expressions of graded and differential access to epistemic domains, form part of the construction of authority in orchestral rehearsal.