关于弗洛伊德与皮亚杰心理发展观的比较分析

弗洛伊德和皮亚杰都是心理学的大师,他们关于心理发展的阶段、过程、结构等方面的思想既有关联,也存在不同。揭示两位大师心理观的关联和异同不仅有助于认清心理学思想的发展逻辑,而且对心理学理论的建构和研究也有裨益。     

论法家“法治”学说的定性问题

<正>近代以来,法家以法治国(《韩非子·有度》,下引该书只注篇名。类似说法亦见于《管子·明法》)、不别亲疏,不殊贵贱,一断于法(《史记·太史公自序》)的法治思想引起了学界的普遍关注。西学源于诸子说的盛行,使得薛福成、黄遵宪皆认为先秦法家之法治与西方法治殊途同归。不料这种观点引起了沈家本、严复等人的强烈批评,他们明确主张法家法治乃专     

4～5岁儿童一一对应任务中的比例效应

一一对应和数量比较是幼儿数概念发展的两个重要方面。在本研究中．40名4岁和39名5岁的儿童分别完成了不同比例数量的一一对应任务和数量比较任务。结果表明：（1）两种实验任务下均出现比例效应．说明儿童在解决一一对应问题时,仍然用数量比较的方法来进行判断;（2）任务类型的主效应显著,一一对应任务下的正确率要显著低于数量比较任务下的正确率;（3）知觉线索更多地影响数量比较任务。     

关于奥斯汀的我知道的重新思考

1946年,为了阐明他心是否可知这个问题,哲学界以维斯道姆(John Wisdom)、奥斯汀(J.L Austin)和艾耶尔(A.J.Ayer)三大哲学家为首展开了一场热烈的讨论.     

Death by 1000 ‘true fans’: Do marketing laws apply to music listening?

The advice to musicians and marketers is to focus on what they love: a truism for practitioners is to find 1000 ‘true fans’ and make $100 from each of them (Kelly, 2008. 1000 True fans. The Technium). If this advice is correct, we should see musicians with loyal user bases engaging more with their favourite artists and less with other music, suggesting a narrow targeting strategy would suffice. On the other hand, the established marketing laws indicate that the listeners of very different genres should overlap more than conventional wisdom would suggest, supporting the need for a much broader approach to targeting potential audiences. Given these conflicting views, musicians need to know if they should market to their existing listeners, the listeners of music similar to theirs (i.e., the same genre), or if they should try to reach a much wider audience. We turn to established choice patterns from the marketing literature to address these questions in the music context. This study examines 84,000,000 observations of music listening from 27,000 unique global users between 2013 and 2014 and survey data from 2019 containing music listening from over 1000 representative respondents in the United States. The results show that listening follows the Duplication of Purchase law for genres, artists, albums, and songs, at an annual, 6-months, 3-months, 1-month, and 1-week period, with no indication of partitioned music listening. The implication is that musicians should try to reach all potential listeners, regardless of what they already listen to. These findings contribute to the theoretical knowledge about duplication analyses of various durations, extend the contexts of choice behaviour that exhibit this pattern, and managerially, to knowledge about the extent of potential audiences and ‘share of ear’ competition.