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【阅读】2019/12/12起岳笃整理(12.21更新,39篇原始,34篇考古)

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发表于 2019-12-12 16:01:40 发自手机 Web 版 | 只看该作者 回帖奖励 |正序浏览 |阅读模式


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32#
发表于 2022-10-18 14:10:41 | 只看该作者
Mark一下!               
31#
发表于 2019-12-20 14:11:02 | 只看该作者
JOURNAL ARTICLE
The Demand for Female Labor
David A. Cotter, JoAnn DeFiore, Joan M. Hermsen, Brenda Marsteller Kowalewski and Reeve Vanneman
American Journal of Sociology
Vol. 103, No. 6 (May 1998), pp. 1673-1712
Published by: The University of Chicago Press
DOI: 10.1086/231404
https://www.jstor.org/stable/10.1086/231404
Page Count: 40

举证支持旧理论的缺失:empirically, increase female labor demand也是不管用的。这里跟我考到的有点出入。说是实证证实有一段时间salary gap的减少归功于更多受到良好教育,技能更好的妇女进入了劳动市场,而很多low skilled 男性的工资降低,因此gap 缩小了。

Empirically, also, it is doubtful that the increased demand for female labor can explain the recent trends in gender earnings equality. The growth in the demand for female labor in the third quarter of this century was not accompanied by any noticeable decline in the gender earnings gap (Bianchi 1995). And the subsequent narrowing of the gender earnings gap after the mid-1970s has been more often attributed to the increased supply of more experienced and educated female workers (O’Neill and Polachek 1993) or to the decline in wages for less skilled male workers (Bernhardt, Morris, and Handcock 1995; Bianchi 1995; Oppenheimer 1994; Blau and Kahn 1997) rather than to the increased demand for female labor.


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30#
发表于 2019-12-18 23:14:38 | 只看该作者
12/21还能赶上这波吗
29#
发表于 2019-12-18 21:14:35 | 只看该作者
Mark一下!               
28#
发表于 2019-12-18 12:06:48 | 只看该作者
谢谢!!
27#
发表于 2019-12-17 20:58:09 | 只看该作者
https://www.nytimes.com/2009/07/07/science/07glass.html

SCIENCE | MATERIAL WORLD
As Unbreakable as ... Glass?
By HENRY FOUNTAIN
JULY 6, 2009


A CLEAR VIEW A project lets visitors see all angles from the 103rd floor of the Sears Tower in Chicago. Builders are experimenting with new materials and methods to expand the use of glass in construction. Credit Sally Ryan for The New York Times

CHICAGO — To truly appreciate how glass can be used structurally, make your way to 233 South Wacker Drive in downtown Chicago. More precisely, make your way 1,353 feet above South Wacker, to the 103rd floor of the Sears Tower.

Once there, take a few steps over to the west wall, where the facade has been cut away. Then take one more step, over the edge.

facade (noun) = the front of a building, especially a large or attractive building

You’ll find yourself on a floor of glass, suspended over the sidewalk a quarter-mile below. If you can’t bear looking straight down past your feet, shift your gaze out or up — the walls are glass, too, as is the ceiling. You’ve stepped into a transparent box, one of four that jut four and a half feet from the tower, hanging from cantilevered steel beams above your head. The glass walls are connected to the beams, and to the glass floor, with stainless-steel bolts. But what’s really saving you from oblivion is the glass itself.

The boxes, which opened last week as part of an extensive renovation of the tower’s observation deck, are among the most recent, and more outlandish, projects that use glass as load-bearing elements. But all glass structures have at least a bit of daring about them, as if they are giving a defiant answer to the question: You can’t do that with glass, can you?

defiant (adj) = openly refusing to obey somebody/something, sometimes in an aggressive way

You can. Engineers, architects and fabricators, aided by materials scientists and software designers, are building soaring facades, arching canopies and delicate cubes, footbridges and staircases, almost entirely of glass. They’re laminating glass with polymers to make beams and other components stronger and safer — each of the Sears Tower sheets is a five-layer sandwich — and analyzing every square inch of a design to make sure the stresses are within precise limits. And they are experimenting with new materials and methods that could someday lead to glass structures that are unmarked by metal or other materials.

soar (verb) = to be very high or tall

“Ultimately what we’re all striving for is an all-glass structure,” said James O’Callaghan of Eckersley O’Callaghan Structural Design, who has designed what are perhaps the world’s best-known glass projects, the staircases that are a prominent feature of some Apple Stores.

Through it all, they’ve realized one thing. “Glass is just another material,” said John Kooymans of the engineering firm Halcrow Yolles, which designed the Sears Tower boxes.

It’s a material that has been around for millennia. Although glass can be made in countless ways to have any number of specific uses — to conduct light as fibers, say, or serve as a backing for electronic circuitry, as in a laptop screen — structural projects almost exclusively use soda-lime glass, made, as it has always been, largely from sodium carbonate, limestone and silica.

“For years, the basic composition of soda-lime glass has not changed much,” said Harrie J. Stevens, director of the Center for Glass Research at Alfred University. It’s the same glass, more or less, that is used for the windows in your home and the jar of jam in your fridge — and that old elixir bottle you bought at an antique store.

elixir (noun) = a substance, usually a liquid, with a magical power to cure, improve, or preserve something

It’s basic stuff, but far from simple. “Of course, glass is an unusual material,” said James Carpenter of James Carpenter Design Associates, who has designed glass facades and other structures and was a consultant for the glassmaker Corning in the 1970s. “Since we don’t really know what it is.”

Although there has long been debate as to whether glass is a solid or liquid, it is now usually described as an amorphous solid (there is no evidence that it flows, extremely slowly, over time as a liquid). The noncrystalline structure is achieved by relatively rapid cooling below what is referred to as the glass transition temperature, around 1,000 degrees Fahrenheit for the soda-lime variety.

Cooled further and cut, pristine glass is very strong. But like a new car that plummets in value the moment it is driven off the lot, glass starts to lose its strength the instant it’s made. Tiny cracks begin to form through contact with other surfaces, or even with water vapor and carbon dioxide.

“If you take the freshly made surface and blow on it with your breath, you’ve reduced the strength of glass by a factor of two,” said Suresh Gulati, a mechanical engineer and self-described “strength man” who retired in 2000 after 33 years at Corning but still works for the company as a consultant.

Even one gas molecule can break a silicon-oxygen bond in glass, generating a defect, said Carlo G. Pantano, a professor of materials science at Pennsylvania State University. While glass is very strong in compression, tensile stresses will make these tiny fissures start to grow, bond by bond. “That’s what makes glass break,” Dr. Pantano said. “And if it doesn’t break, it weakens it.”

Protective coatings are one way to avoid new cracks, although they can affect transparency, which is the main reason for using glass in the first place. Changing the glass recipe can also make it harder for cracks to form and propagate. “There is some evidence that you can modify the composition to make it innately stronger,” Dr. Stevens said, although that risks altering other properties or making the glass too costly. (And glass projects are not cheap to start with; the glass in the Sears Tower project cost more than $40,000 per box.)

The manufacturing process can be modified, too, to keep the surfaces of the glass as pristine as possible. In one technique, used for laptop glass, molten glass is pumped into a V-shaped trough, spills over on both sides and flows down the outside of the V, joining together at the bottom into a sheet that continues to move downward as it cools. This way, each side of the sheet is a “melt surface,” exposed only to the air and not touched by any part of the equipment.

For structural purposes, glass is often strengthened the old-fashioned way — by tempering. This puts the surface under compression, so that even more tensile force is needed for cracks to grow.

For flat glass, heat tempering is most often used. William LaCourse, a professor at Alfred, said the process took advantage of one property of glass — that when it cools slowly it becomes denser. By rapidly cooling the exterior of a sheet (usually with air), the surface stays less dense. “Inside it’s still hot, and tries to cool to a more dense structure,” Dr. LaCourse said. “This pulls the surface into compression.”

In chemical tempering, sodium ions in the surface are replaced with potassium ions, which are about 30 percent larger. It’s like taking a suitcase full of summer-weight clothes and replacing the top layer with winter-weight items; the suitcase will bulge at the seams when you try to close it. Glass cannot bulge at the seams, so the surface becomes compressed.

bulge (verb) = to stick out in a round shape

Tempered glass may take longer to crack, but it can still break. Because surface compression must be balanced by interior tension, when tempered glass does break it forms many more smaller pieces than untempered glass, as more fracture lines release more energy. “The more it is strengthened the more pieces it will fly into,” Dr. Gulati said. An extreme example of this is a Prince Rupert’s drop, a small glass ball with a long tail formed by dropping molten glass into water. You can pound on the ball end with a hammer and it will not break, but snip off the tail and the ball will explode into tiny pieces as the tensile forces are released.

snip (verb) = to cut something with scissors, usually with small, quick cuts

In structural applications, breaking into smaller pieces is often preferred, because these have less chance of causing injury. But tempering alone is usually not enough.

integrity: completeness, conformity, high quality, soundness, complexity五个选项都有了哦!我和JJ选的不一样,我觉得应该是soundness,因为单词所在句之前说到这种玻璃要碎的话,会碎成小块,不会碎成大块,就是还保持着integrity的形状或形态吧。

印象最深的一道题是与文中高亮的Integrity一词意思LEAST相似的哪个?
LZ选的是Complexity印象最深的一道题是与文中高亮的Integrity一词意思LEAST相似的哪个?

A primary concern when building with glass is what happens if and when a component breaks — what engineers call “post-failure behavior.” Unlike steel or other materials, glass does not deform or otherwise give advance warning of failure. If breakage occurs, maintaining the integrity of the structure is paramount so that people on or below it are safe.

第个类比题,说下列选项中哪个和Lamination这种工艺比较相近。
(2) 哪个选项和Lamination这种工艺比较相近穿成串的Pearl (760)
我选了E,好像是一穿珠子什么的连在一起,这样断了也只掉出来一个。

That’s where lamination comes in. In a typical project, glass sheets (one-half-inch thick in the Sears Tower project) are bonded with thin polymer interlayers. The interlayers add strength and, should one of the glass layers break, keep the structure together, and the pieces from falling.

But lamination makes fabricating glass for structural uses very difficult. Since cutting into tempered glass causes it to break, each sheet must be polished and drilled for the connecting fittings before it is tempered. Tolerances are extremely small, to avoid potentially destructive stresses in the assembled structure.

“It’s doable,” said Lou Cerny of MTH Industries, who managed the installation at the Sears Tower, where the tolerances were one-sixteenth of an inch. “There’s just not a lot of people who want to get involved in it.”

No wonder, then, that those who build with glass look forward to a day when their structures will be unencumbered by metal or other materials.

unencumbered (adj) = not having or carrying anything heavy or anything that makes you go more slowly

“My goal has always been to reduce the amount of fittings in glass,” said Mr. O’Callaghan, whose Apple staircases use stainless steel and, occasionally, titanium to join the glass components.

Already, some engineers are using different glass shapes to reduce the dependence on metal. Rob Nijsse, a professor at the Delft University of Technology in the Netherlands and a structural engineer with the firm ABT Belgium, has used large sheets of corrugated glass, mounted vertically, for window walls in a concert hall in Porto, Portugal, and a museum being built in Antwerp, Belgium. The shape helps stiffen the glass against wind loads.

Other designers think about using different kinds of glass. “There are so many amazing types of glass available,” Mr. Carpenter said. “There’s an enormous potential to transfer some of their characteristics into architectural uses.”

Using a glass that does not expand much when heated, for example, would enable components to be welded together, forming, in effect, a continuous piece of glass. Conventional soda-lime glass expands too much, so welding introduces stresses that can lead to failure.

Researchers at Delft have experimented with welding glass components. But low-expansion glass is much costlier than soda-lime glass.

Other engineers are starting to use adhesives to join glass directly to glass. Lucio Blandini, an engineer with Werner Sobek Engineering and Design in Stuttgart, Germany, used adhesives to create a thin glass dome, 28 feet across, for his doctoral thesis in a clearing in Stuttgart. “I think adhesives are the most promising connection device,” Dr. Blandini said. “It allows glass to keep its aesthetic qualities.” His firm is using adhesives in parts of structures being built at the University of Chicago and in Dubai.

But the long-term strength and reliability of adhesives has not been proved, so most people who work in glass think an all-glued structure is a long way off.

“We have way too many lawyers in this country,” said Mr. Cerny, the installer at the Sears Tower. “It’ll be awhile before we see that.”

Correction: July 11, 2009
An article on Tuesday about new structural uses of glass referred incorrectly to glass staircases that are a feature of Apple Stores. While many high-profile Apple Stores have such a staircase, there is not one in every store. And a graphic with the article misidentified a substance used as a layer between some joints in the glass observation boxes at the Sears Tower. It is silicone, a rubberlike compound containing silicon — not silicon itself, a nonmetallic chemical element. A corrected version of the graphic can be found at nytimes.com/science.
26#
发表于 2019-12-17 20:57:01 | 只看该作者
http://www.economist.com/node/10329254

Cement
Concrete proposals needed
The construction industry confronts its carbon footprint
Dec 19th 2007

FANS of cement like to point out that it is the most widely used substance on the planet after water. Unfortunately it is also one of the most polluting. The main ingredient in concrete, cement is made by heating limestone and clay until they fuse into a material called clinker, which is then ground up and mixed with various additives. Both the heating, which is normally fuelled by coal, and the chemical reaction it induces release large amounts of carbon dioxide, and so contribute to global warming. By the industry's own admission, cement-making accounts for some 5% of the world's emissions of greenhouse gases—twice the amount attributed to aviation.

p2政府已经采取行动实际是为进一步减少cement生产所带来的影响.  然后说公司 in order to head off the future restrictions (确定原句,  考点 问水泥公司为什么要采取措施来降低水泥的污染问题)

The European Union already restricts emissions from cement kilns, and other jurisdictions are likely to follow suit. The biggest cement firms have joined an outfit called the Cement Sustainability Initiative, which promises to realise voluntary emissions cuts—doubtless in the hope of heading off further regulation. But with demand for cement growing by around 5% annually, the industry's environmental headaches are only likely to grow.

其中有一题问,要实现文章第二段的保证(Pledge),水泥企业最好的办法是什么。
我选的答案是改进水泥制造工艺,降低石灰石和 XX 反应需要的温度。

Lafarge, Holcim and Cemex, the three biggest firms in the business, have all pledged to cut the emissions from each tonne of cement they make: the first two by a fifth by 2010 and Cemex by a quarter by 2015. So far, they are all more or less on track. In 2006, for example, Holcim's emissions per tonne were 16% below the level of 1990.

The cuts come in three main areas. First, cement-makers are trying to make their kilns more efficient and so reduce the amount of energy needed per unit of output. Second, they are replacing fossil fuels such as coal and coke with alternatives such as farm waste or used tyres. Third, they are mixing more additives into their cement, and so reducing the proportion of emissions-intensive clinker.

但是这样用 farm waste 替代有一点不好,会燃烧产生不好的东西,所以 environmentists 把 focus从 global warming 转到了 waste incineration 上来(有考点)

p3环境学家则开始针对每条措施来反驳 说什么科技已经到了极限,blablabla,记不清了 但是有句话记得很清楚 说Environmentist are now focusing more on the dangers of waste incineration than on the role they play on the climate.因为有题应该是从这句话理解 具体也忘了 囧...

But all three tactics have their limits. Cement-makers have been improving the efficiency of their kilns for over a century, leaving relatively little scope for further big gains. Fuel substitution is also difficult: environmental activists worry that burning waste might release noxious chemicals. Indeed, Greenpeace's campaigns against cement plants have focused more on the dangers of waste incineration than on their role in climate change. And building codes limit the extent to which cement can be diluted with additives.

第二段好像说这样只产生了margin effect,说市场对cere需求更大,总的排放还是高。。。,

Moreover, these measures yield only marginal benefits. Demand for cement is growing faster than emissions per tonne are falling, leading to an overall increase in emissions. Holcim's total emissions, for example, have risen by two-thirds since 1990. Lafarge has pledged to cut its overall emissions in rich countries, where demand is growing relatively sluggishly. But at the same time it hopes to expand rapidly in emerging markets. In mid-December it agreed to buy the cement division of Orascom, an Egyptian conglomerate, for €8.8 billion ($12.9 billion).

Cement firms see no way to alter the basic chemistry of cement-making. In time, they say, they may be able to capture the carbon dioxide they produce and store it underground, just as some utilities propose to do with some power stations. They also point out that the stronger and more flexible varieties of cement and concrete they have developed can be used more sparingly. Bruno Lafont, the boss of Lafarge, proudly indicates a photograph of an impossibly thin pedestrian bridge built with one such miracle product. Instead of blaming the cement industry, he says, anxious environmentalists should take on the construction industry as a whole. Buildings could be more energy-efficient with such materials, and smarter architecture and city planning could reduce the demand for cement and concrete.

David Santillo of Greenpeace supports such initiatives, but argues that the industry will ultimately need to come up with a substitute for cement. There are various alternatives, including binding agents derived from oil and silicon—but none has achieved much commercial success. Mr Lafont, meanwhile, says he spends a week in the laboratory every year, urging Lafarge's boffins on.
25#
发表于 2019-12-17 20:55:47 | 只看该作者
Journal of Consumer Psychology
Volume 13, Issue 3, 2003, Pages 198-204

Hearing Voices: The Impact of Announcer Speech Characteristics on Consumer Response to Broadcast Advertising
AmitavaChattopadhyay1Darren W.Dahl2Robin J.B.Ritchie3Kimary N.Shahin4

https://doi.org/10.1207/S15327663JCP1303_02Get rights and content

Virtually every broadcast advertisement uses the voice of an announcer, but due to lack of guidance from the marketing literature, managers must rely on gut feel when choosing a voice. Drawing on research from psycholinguistics, we identify 3 important voice characteristics —syllable speed, interphrase pausation, and pitch — and link these characteristics to key advertising response variables. By considering these 3 variables simultaneously, we test competing explanations previously offered to explain the process by which speech rate affects consumer response to advertising. Specifically, we assess whether an increase in speech rate enhances or reduces processing of the advertisement and whether this effect is driven primarily by syllable speed or interphrase pausation. Consideration of these 2 aspects of speech rate independently helps identify whether the changes in processing stem from changes in the opportunity to process and/or the motivation to process. Our results show that a voice with faster-than-normal syllable speed and low pitch produces less negative advertisement-directed cognitive responses and more favorable ad attitudes, as well as more favorable brand attitudes, lending support to a motivational process explanation. No significant effects were found for interphrase pausation, suggesting that the results cannot be accounted for by the reduced opportunity to process in the compressed conditions.

Broadcast advertising is one of the most effective but costly forms of marketing communications. According to Advertising Age (Anonymous, 2000), U.S. advertisers spent $48 billion on airtime for radio and television commercials in 1999, representing nearly half of their total media expenditures. Add to that the billions of dollars spent producing commercials, and the overall investment becomes larger still. Thus, even subtle improvements can translate into significant improvements to the bottom line.

A host of factors contribute to the effectiveness of a broad cast advertisement; one important consideration is the voice that delivers the advertising message. Whether employed on its own or used in tandem with sound effects and visual images, the announcer's voice provides a focal point for the audience. Evidence from psychology suggests that voice plays an important role in influencing the message recipient’s response to persuasive messages. Selecting the right voice can provide the marketer with at least three potential benefits. First, its style of delivery (e.g., straight, hard hitting, folksy) can help to convey information about the brand's image or functionality. Second, the voice may attract consumers’ attention and help the ad break through clutter, increasing the probability that the advertising information will be attended to. Third, an attractive voice may facilitate the generation of favorable responses among listeners, leading to the development of positive attitudes. Here, we focus on the latter two of these three benefits.

This research makes conceptual, methodological, and managerial contributions. From a conceptual perspective, we identify syllable speed and interphrase pausation as two independent aspects of speech compression that have not been studied separately in previous marketing research. We also explore the impact of pitch, a variable that has not been studied in conjunction with syllable speed and interphrase pausation. By considering these three variables simultaneously, we distinguish between competing explanations offered to explain the process by which speech rate affects consumer response to advertising (MacLachlan & Siegel, 1980; Moore et al., 1986). Specifically, we tested whether increased speech rate enhances or reduces processing of the advertisement and whether this effect is driven primarily by syllable speed or interphrase pausation. Consideration of these two aspects of speech rate independently helps us identify whether the changes in processing stem from changes in opportunity to process andlor motivation to process.

From a methodological perspective, our use of a single source recording, manipulated using a digital signal processor, represents a significant advance because it permits independent manipulation of the factors of interest while holding all other aspects of the advertisement constant. Independently manipulating voice characteristics has been a problem in the past. For example, early research on speech rate simply accelerated or slowed the original recording, which had an unintended and confounding effect on pitch. Likewise, the use of multiple recordings in which the announcer subjectively alters his or her delivery also has obvious problems (e.g., N. Miller, Maruyarna, Beaber, & Valone, 1976; Smith & Shaffer, 1995).

The insights gained from our findings both confirm and complement the existing knowledge of practitioners. As an exploratory first step in our investigation, we conducted a series of interviews with 11 managers from advertising agencies and production studios whose responsibilities included selection of voice talent for broadcast advertisements. We asked them to outline the criteria they use to choose a voice, and describe the characteristics of voices they believe to be most effective. Overall, we found that practitioners generally use intuition to seek a voice whose gender, apparent age, ethnic inflection, and delivery style is consistent with the product and advertising message. All of our interviewees agreed that a systematic examination of the effects of individual voice characteristics would provide useful additional insight. By delineating the characteristics of voice and linking them to important advertising response variables, our research promises to both accelerate the learning curve of novice managers by providing a systematic approach for making decisions and assist seasoned managers in making better and faster decisions by providing a benchmark against which to compare their "gut feel" selections.

CONCEPTUAL FRAMEWORK

Although studies of objective voice characteristics have been undertaken in related fields, including telephone interviews (e.g., Oksenberg, Coleman, & Cannell, 1986) and public speaking (e.g., Brown, Giles, & Thakerar, 1985), research in marketing itself has been limited. Efforts have focused primarily on the effects of speech compression, in large part because of its widespread application by advertisers seeking to reduce airtime costs. These studies have produced mixed findings, suggesting that compression produces significant improvements jn processing, recall, and attitude in some instances (LaBarbera & MacLachlan, 1979; MacLachlan & Siegel, 1980) but deterioration in others (e.g., Schlinger, Alwitt, McCarthy, & Green, 1983; Vann, Rogers, & Penrod, 1987). Alternative competing hypotheses have been advanced to account for these effects.

Speech Rate

MacLachlan and his colleagues (LaBarbera & MacLachlan, 1979; MacLachlan & Siegel, 1980) have argued that people have a preferred rate of information transmission that is moderately faster than normal speed. They suggest that faster speeds are not only preferred but cause listeners to devote greater attention to processing advertisement information. This implies that people should be more likely to elaborate on the advertising message when speech rate is moderately faster than normal; that is, they should follow the central route to persuasion (Petty & Cacioppo, 1986). Although MacLachlan's data are consistent with this conclusion (LaBarbera & MacLachlan, 1979; MacLachlan & Siegel, 1980), attempts at replication have not provided support.

第一段说有研究调查电视广播中广告的语速对听众的影响,两个M开头的人分别持两种对立观点。M1说语速快的有助于听众更好的接受广告信息,因为他们更加concentrated。 M2说快语速不好,有两个分观点:一是语速快reduce了听众对广告信息的processing,二是语速快削弱了听众听广告的motivation,因为他们没有opportunity去仔细听。

Moore et al. (1986) presented an alternative thesis. Drawing on the Elaboration Likelihood Model (ELM; Petty & Cacioppo, 1986), they suggested that time compression could interfere with both the listener's opportunity and motivation to process the advertisement. Specifically, Moore et al. pointed out that time compression gives consumers less time to elaborate on the advertisement, reducing their opportunity to process the message. They also speculated that fast speech may serve as a cue that the processing task will be difficult, causing consumers to "tune out." In other words, consumers may become less motivated to process the advertisement. Moore et al. based this claim on evidence showing that difficult tasks cause people to allocate less attention to them.

Thus, in direct contrast to MacLachlan (LaBarbera & MacLachlan, 1979; MacLachlan & Siegel, 1980), Moore et al. (1986) suggested that when speech rate is faster than normal, consumers will process the substance of the advertisement less and focus instead on peripheral cues such as the likeability of the announcer's voice, due to both reduced opportunity and motivation. Results from a series of studies, reported by Moore et al., suggest that when speech rate is high, consumers do in fact process advertisement claims less. However, their research does not distinguish between whether this is the result of a reduction in opportunity to process, motivation to process, or both.

DISCUSSION

This research builds on previous studies by specifying how three important voice characteristics influence consumer response to broadcast advertisements, along with the mechanism by which this occurs. Our results both support and extend the findings of Moore et al. (1986). Consistent with their research, we show that the effect of increasing speech rate in broadcast advertising is to disrupt, rather than enhance, consumer processing of the advertisement. More importantly, we extend their work by distinguishing between two alternative explanations for the observed disruption. First, we find that interphrase pausation has no effect on ad processing or attitudes.
Because this variable has a substantial impact on the time available to process, it seems unlikely that lack of opportunity to process is responsible for the reduced processing associated with faster speech. Syllable speed, on the other hand, does influence consumer response, with faster articulation serving to disrupt message processing. Further, in the high syllable speed condition, participants exposed to an advertisement with a low-pitch voice (which is perceived as more attractive and credible) exhibited more favorable advertisement-directed cognitive responses and more positive ad and brand attitudes. Given that both manipulations reduced the advertisement's running time by exactly the same amount, these results support a motivational explanation for the effects of compressed speech, at least within the normal range of human speech. Obviously, with greater levels of compression, opportunity to process would also become an issue, but this would be neither theoretically nor substantively interesting.

In addition to its theoretical contributions, our findings offer important insights for managers. First, they suggest that media costs can be reduced with little impact on message processing by shortening interphrase pausation. Our results show that a 4-sec reduction in length for a 30-sec advertisement (a 12.5% change) had no detectable impact on message processing. Second, in the case of advertisements that seek to persuade primarily through executional elements (i.e., peripheral cues), our results suggest that managers can improve advertising effectiveness by drawing attention to these elements through accelerated syllable speed. Finally, given that low-pitched voices are preferred in the case of a male announcer, it would seem that managers lose little by selecting a lower pitched male voice and that doing so offers the possibility of substantial gains.

Future Research

Although our research promises to help managers improve the effectiveness of their broadcast advertising, it falls short of providing a simple recipe for selecting a voice. To provide such a recipe, future research would have to explore a range of compression and pitch to identify optimal levels of these dimensions. It would also be important to consider other voice and, more broadly, advertising characteristics that may interact with the variables studied here to have a comprehensive model to guide managerial decisions. We elaborate on these and other directions for future research below.

First, the advertisement used in our study was informational in nature, there was no background music in the ad, and we used a single product category. Also notable is the fact that our advertisement used a male announcer's voice. Whereas the majority of research in linguistics and psychology on voice has been conducted using male voices, there is evidence that female voices differ in systematic ways (Karlsson, 1991, 1992; Street, Brady, & Lee, 1984). Future research should explore these differences and their effects on consumer response, including potential interactions between gender of the spokesperson and the message recipient.

Second, there is a need for investigation of voice characteristics not included in our study. One key characteristic is pitch contour—the variation in pitch across a phrase that often imbues verbal communication with additional meaning. For example, a phrase ending on a rising pitch is often understood to be a question, whereas the same phrase in a downward pitch may be interpreted as a statement. Future research could systematically vary pitch contour to investigate its impact on the effectiveness of marketing communications. Another potentially important characteristic is voice amplitude (loudness). Although not typically under the control of the marketing manager in the advertising context, variability on this dimension may also play an important role in other contexts such as service encounters.

Finally, although our investigation focused on the effects of voice in the context of broadcast advertising, voice is also important in the context of telephone interviewing, personal selling, and service encounters. It would be useful to know the degree to which our findings generalize to these contexts.


24#
发表于 2019-12-17 20:53:29 | 只看该作者
Longing and Belonging From the Faraway Nearby Paperback – October 1, 1996
by Edward O. Wilson (Author)

The Fitness of Human Nature (Page 185)

some 认为territorial expansion and defense可以被避免因为它们是origin of culture. 但是好像不是这样。跟动物

Territorial expansion and defense by tribes and their modern equivalents the nation states is a cultural universal. The contribution to survival and future reproductive potential, especially by tribal leaders, is overwhelming, and so is the warlike imperative of tribal defense. “Our country!” declared Commodore Stephen Decatur, hard-fighting hero of the War of 1812, “may she always be right; but our country, right or wrong." (Personal aggressiveness has its Darwinian limits, however; Decatur was killed in a duel in 1820.)

提到了一个density dependent factors,有解释说这些factors是随着动物density变化而变化的。这些factors有重要资源(类似于essential resources有题)例如habitat, water, food.随着density变大,这些资源的增长速度在变小。

Biologists have determined that territoriality is not unavoidable during social evolution. It is apparently entirely absent in many animal species. The territorial instinct arises during evolution when some vital resource serves as a "density-dependent factor.” That is, the growth of population density is slowed incrementally by an increasing shortage of food, water, nest sites, or the entire local terrain available to individuals searching for these resources. Death rates increase or birth rates decrease, or both, until the two rates come more or less into balance and population density levels off. Under such circumstances animal species tend to evolve territorial behavior. The theoretical explanation is that individuals hereditarily predisposed to defend private resources for themselves and their social group pass more genes on to the next generation.

后面一段又说,不一定只有资源稀缺才会造成这种instinct,如果资源充足,但是出现一些natural disaster或者disease之类的,导致种群数量不能增加,也会出现这种扩展领地的instinct,举了一个动物的例子。

In contrast, the growth of other species is not leveled off by limiting resources but by rising amounts of emigration, disease, or predation. When such alternative density-dependent factors are paramount, and resource control is therefore not required, territorial defense usually does not evolve as a hereditary response.

第三段:段落开始有一句:人类是decidedly territorial的生物(decidedly这个词很重要哈,跟某个题目相关,就是问关于人类对于领土本性的),然后说,人类历史上无数的战争就是领土资源的稀缺导致本性爆发的证明。最后总结我们需要更多得研究本性和文化之间的联系来避免未来再出现一些战争。

Humanity is decidedly a territorial species. Since the control of limiting resources has been a matter of life and death through millennia of evolutionary time, territorial aggression is widespread and reaction to it often murderous. It is comforting to say that war, being cultural in origin, can be avoided. Unfortunately, that bit of conventional wisdom is only a half truth. It is more nearly correct—and far more prudent—to say that war arises from both genes and culture and can best be avoided by a thorough understanding of the manner in which these two modes of heredity interact within different historical contexts.


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