scholarly journals The Adaptation Process of Consumer Behaviors in Matsue City

1979 ◽  
Vol 31 (6) ◽  
pp. 539-550 ◽  
Author(s):  
Masato IKUTA
2020 ◽  
Vol 36 (2) ◽  
pp. 336-347
Author(s):  
Eleni Georganta ◽  
Felix C. Brodbeck

Abstract. As a response to the lack of quantitative and reliable measures of the team adaptation process, the aim of the present study was to develop and validate an instrument for assessing the four phases of the team adaptation process as described by Rosen and colleagues (2011) . Two trained raters and two subject matter expert groups contributed to the development of four behaviorally anchored rating scales (BARS) that span across the spectrum of team processes involved in each team adaptation phase. To validate the four BARS, two different trained raters assessed independently the team adaptation phases of 66 four-person teams. The validation study provided empirical support for the BARS’ psychometric adequacy. The BARS measures overcame the common middle anchor problem, showed sensitivity in differentiating between teams and between the four phases, showed evidence for acceptable reliability, construct, and criterion validity, and supported the theoretical team adaptation process assumptions. The study contributes to research and praxis by enabling the direct assessment of the overall team adaptation process, thereby facilitating our understanding of this complex phenomenon. This allows the identification of behavioral strengths and weaknesses for targeted team development and comprehensive team adaptation studies.


2014 ◽  
Vol 7 (2) ◽  
pp. 31-63
Author(s):  
Sonia Lagerwall

This article deals with Philippe Druillet's three-volume comic adaptation (1980–1985) of Salammbô, Gustave Flaubert's historical novel from 1862, set three centuries BC. Flaubert was famous for not wanting his texts illustrated: he argued that the preciseness of images would undo the poetic vagueness of his written words. The article examines how Druillet tackles the challenge of graphically representing Flaubert's canonical work without reducing the priestess Salammbô into a given type. The analysis shows a dynamic adaptation process in which Druillet gives a kaleidoscopic form to Flaubert's text. His variation on the Salammbô character foregrounds photography, a medium historically relevant to the novel but also to Druillet's own artistic training. Featuring his character Lone Sloane in the role of Mathô, the adaptation proves to be a highly personal appropriation of the novel, where Druillet enhances an autobiographical dimension of his work previously hinted at in La Nuit and Gaïl.


2017 ◽  
Vol 11 (1) ◽  
pp. 52-57
Author(s):  
Татьяна Фомина ◽  
Tat'yana Fomina ◽  
Наталья Гончаренко ◽  
Natal'ya Goncharenko
Keyword(s):  

2020 ◽  
Vol 16 (4) ◽  
pp. 603-625
Author(s):  
Juming Shen ◽  
Yu Sheng ◽  
Ying Zhou

AbstractThe conceptualization of intercultural communication competence (ICC) has been updated tentatively since it was formulated in the 1970s. A common recognition is that development of ICC can only be realized through an individual’s adaptation, which results from the integration of the multiple forces within the individuals themselves. However, most of the existing research on ICC has focused on the conscious aspects of competence like abilities or skills that are distinguishable, that is, what to adapt, rather than the less conscious aspect, or its correlation with the unconscious part, that is, the how to adapt, or what the process of adaptation is. The absence of investigation into the adaptation process may have been a consequence of the educational context of studies on ICC, which depends much on, or is heavily affected by, the Cartesian dualistic viewpoints that emphasize the dichotomy of mind–body while ignoring the “middle” in between. Based on our previous semiotic analysis that explained the process of intercultural communication as a form of semiosis, this paper adopts more perspectives from edusemiotics to conceptualize learning following a triadic framework with emphasis on the process as the “middle,” which renders it possible to reflect on the process of individuals’ adaptation in contexts of intercultural communication.


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