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81.
Jayson L. Dibble 《Communication Research Reports》2018,35(2):112-120
Is the reluctance to share bad news (i.e., the MUM effect) motivated more by a public display or private concern, and does it benefit mainly the messenger or the recipient? An experiment (N = 309) that crossed good/bad news with three communication channels (face-to-face, text messaging, e-mail) revealed that messenger reluctance was greatest under conditions of bad news and did not vary based on the channel through which the recipient contacted the messenger. In contrast with earlier work, this MUM effect was more consistent with a private fear of distressing the recipient. Theoretical implications and limitations are discussed. 相似文献
82.
In the aftermath of the 2016 election of President Trump, a veritable cottage industry of opinion pieces, blogs, and articles emerged overnight, most of which seemed to agree that only the post-truth could explain how a racist, misogynistic, neo-nationalist member of the economic elite could win a presidential election. This article, in contrast, is inspired by Barbara Christian’s injunction that we question why a given statement, concept, or theory is now acceptable when before it was not. Operating in this spirit, we critique post-truth critics for neglecting the material tradition of ideological criticism in favor of epistemological explanations for understanding post-truth literature; we then offer two case studies—American drug policy and housing policy—to illustrate the racial amnesia required for claiming that only now do we live in a post-truth era. 相似文献
83.
“There’s nothing I hate more than a racist:” (Re)centering whiteness in American Horror Story: Coven
Amanda Kay LeBlanc 《Critical Studies in Media Communication》2018,35(3):273-285
This article examines race and racism in the popular cable horror-drama American Horror Story: Coven. Centered around a feud between a white witch coven and a black, voodoo group of witches, Coven overtly deals with the issue of racism, but presents racism as a phenomenon contained in the past; something that does not happen anymore. Using critical post-race theory and scholarship on colorblind racism, whiteness, as well as black feminist theory, I show that although the narrative of Coven explicitly decries racism, it simultaneously invests in colorblind racist narratives and dialogue. Whiteness is central in Coven, operating through discourse that ignores racial difference and contemporary forms of oppression and erasure. Coven uses graphic depictions of violence against black bodies, makes explicit connections between black sexuality and animals, and uses exotic and aggressive stereotypes of black women to tell its story. Thus, Coven’s narrative both condemns racism and relies on it. This article shows that the contemporaneous presentations of explicit anti-racist dialogue and racist imagery work to (re)place whiteness at the center of Coven, a TV show that purports to forward a message of equality and justice for those who are different. 相似文献
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双星滑动聚束模式合成孔径雷达(SAR)既保持了双星SAR的灵活性、可靠性和稳定性,同时还可产生高分辨率的图像对,对于观测和测绘具有巨大的潜力.这种模式下需要兼顾双星成像与多普勒带宽显著增加的问题.分析双星滑动聚束SAR系统下目标的多普勒特性,结合双星成像算法与频谱分析法,提出一种基于双曲等效的双星滑动聚束SAR 2步成... 相似文献
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