Promoting a low-noise driving style: An eco-driving intervention study

Road-traffic noise impairs the well-being and health of many people. Motivating car drivers to voluntarily adopt a low-noise driving style (i.e., eco-driving) contributes to the reduction of road-traffic noise, complementary to requirements, bans, and laws. In a field study with employees of a municipality (N = 88), we investigated the effects of an intervention on car drivers’ motivation to prevent road-traffic noise, motivation to practice eco-driving, and driving behavior. The intervention consisted of a leaflet intended to enhance participants’ motivation, a practical eco-driving course, and weekly driving-performance feedbacks. We used a switching-replications design with two intervention groups. In both groups, eco-driving behavior was significantly strengthened by the intervention. The effects on the motivational variables were significant in only one of the groups (however, it should be noted that the average motivation was already relatively high before the intervention). For one of the groups, the study design allowed testing for the effects at an additional follow-up assessment (4 months after the intervention). The results showed that the intervention effect on driving behavior held across this period. The findings of the present research suggest that it is possible to improve car driver’s behavior with regard to a low-noise driving style.

Selecting Contexts. One Method of Selecting Contexts for Theatre Historiography

In principle, the world and life itself are the contexts of theatrical events. The term context is broad and thus seems hardly usable. It only makes sense to use the term when terminologies and methodologies determine which parts of their contexts are to be incorporated and analysed for which theatrical event. This presentation exemplifies a method which is particularly suitable for sensibly selecting the most important contexts for research in theatre history. The complexity of the representation increases continuously from The Presentation of Self in Everyday Life to Brecht’s “Street Scene” and “Everyday Theatre”, portrayals of rulers in feasts and parades to Hamlet productions by the Royal Shakespeare Company or a Wagner opera in Bayreuth. The different forms of theatre thus constitute a continuum which spans from “everyday theatre” to “art theatre”. The representation of the world in this continuum is sometimes questioned by the means of theatre, for example when Commedia dell’arte takes a critical stance towards the representative theatre of the humanists or when playful devices such as reversal, parody and fragmentation challenge the representative character of productions, which is applied by the Vice character for instance. There is a second component that has an impact on the continuum without a theatrical device: attitude, opinion, norms and bans which originate from society. As excerpts of contexts, they refer to single forms of theatre in the continuum. This results in a complex system of four components which evolves from the panorama between the antipodes “everyday theatre” and “art theatre” as well as both spheres of influence of which only one uses theatrical devices. All components interact in a specific time frame in a specific place in a specific way in each case, which can then be described as the theatricality in this time frame. This presentation will deal with what the concept is capable of doing.