Investigative interviewing and memory: How accurate are interviewers recollections of investigative interviews?

Contrary to interviewing guidelines, a considerable portion of witness interviews are not recorded. Investigators’ memory, their interview notes, and any subsequent interview reports therefore become important pieces of evidence; the accuracy of interviewers’ memory or such reports is therefore of crucial importance when interviewers testify in court regarding witness interviews. A detailed recollection of the actual exchange during such interviews and how information was elicited from the witness will allow for a better assessment of statement veracity in court. ^ Two studies were designed to examine interviewers’ memory for a prior witness interview. Study One varied interviewer note-taking and type of subsequent interview report written by interviewers by including a sample of undergraduates and implementing a two-week delay between interview and recall. Study Two varied levels of interviewing experience in addition to report type and note-taking by comparing experienced police interviewers to a student sample. Participants interviewed a mock witness about a crime, while taking notes or not, and wrote an interview report two weeks later (Study One) or immediately after (Study Two). Interview reports were written either in a summarized format, which asked interviewers for a summary of everything that occurred during the interview, or verbatim format, which asked interviewers to record in transcript format the questions they asked and the witness’s responses. Interviews were videotaped and transcribed. Transcriptions were compared to interview reports to score for accuracy and omission of interview content. ^ Results from both studies indicate that much interview information is lost between interview and report especially after a two-week delay. The majority of information reported by interviewers is accurate, although even interviewers who recalled information immediately after still reported a troubling amount of inaccurate information. Note-taking was found to increase accuracy and completeness of interviewer reports especially after a two week delay. Report type only influenced recall of interviewer questions. Experienced police interviewers were not any better at recalling a prior witness interview than student interviewers. Results emphasize the need to record witness interviews to allow for more accurate and complete interview reconstruction by interviewers, even if interview notes are available. ^

Investigative Interviewing and Memory: How Accurate Are Interviewers’ Recollections of Investigative Interviews?

Contrary to interviewing guidelines, a considerable portion of witness interviews are not recorded. Investigators’ memory, their interview notes, and any subsequent interview reports therefore become important pieces of evidence; the accuracy of interviewers’ memory or such reports is therefore of crucial importance when interviewers testify in court regarding witness interviews. A detailed recollection of the actual exchange during such interviews and how information was elicited from the witness will allow for a better assessment of statement veracity in court. Two studies were designed to examine interviewers’ memory for a prior witness interview. Study One varied interviewer note-taking and type of subsequent interview report written by interviewers by including a sample of undergraduates and implementing a two-week delay between interview and recall. Study Two varied levels of interviewing experience in addition to report type and note-taking by comparing experienced police interviewers to a student sample. Participants interviewed a mock witness about a crime, while taking notes or not, and wrote an interview report two weeks later (Study One) or immediately after (Study Two). Interview reports were written either in a summarized format, which asked interviewers for a summary of everything that occurred during the interview, or verbatim format, which asked interviewers to record in transcript format the questions they asked and the witness’s responses. Interviews were videotaped and transcribed. Transcriptions were compared to interview reports to score for accuracy and omission of interview content. Results from both studies indicate that much interview information is lost between interview and report especially after a two-week delay. The majority of information reported by interviewers is accurate, although even interviewers who recalled information immediately after still reported a troubling amount of inaccurate information. Note-taking was found to increase accuracy and completeness of interviewer reports especially after a two week delay. Report type only influenced recall of interviewer questions. Experienced police interviewers were not any better at recalling a prior witness interview than student interviewers. Results emphasize the need to record witness interviews to allow for more accurate and complete interview reconstruction by interviewers, even if interview notes are available.

The Art of Change Movement: an anti-oppressive Social Work initiative

This article presents the Art of Change Movement (Movimiento Arte del Cambio), which has developed out of a project of the Association of Social Workers Without Boundaries (Asociación Trabajadores/as Sociales Sin Fronteras), with the collaboration of the Faculty of Social Work at Universidad de Granada and of education professionals, incorporating theatrical creativity and musical expression as pedagogical and social intervention tools. The aim is for the initiative to become another instrument in the fight against oppression. Through a laboratory for collective creativity involving students and professionals from social work and other social science disciplines, the movement seeks social transformation through artistic expression, based on political commitment and sustainable development that empowers participants.

Espanto: Adaptação de excertos do romance "As aventuras de joão sem medo" de José Gomes Ferreira para um espectáculo de formas animadas, duas actrizes e uma máquina de "encontar"

A partir de excertos do romance "As Aventuras de João Sem Medo" (publicado em 1963) de José Gomes Ferreira (1900-1985), criou-se um espectáculo para duas actrizes manipuladoras de bonecos, interagindo com uma máquina de cena. De início, identificaram-se no romance uma série de atmosferas e pequenas unidades de acção, que serviram de base para o guião do espectáculo orientado para um público heterogéneo. Partindo dos recursos existentes, procurou-se uma dramaturgia do texto com dois níveis de representação: o jogo entre as actrizes que, enquanto fadas competem entre si pelo uso da máquina de "encontar"; e o jogo entre os bonecos que, embora autónomo do ponto de vista narrativo, acaba por funcionar como a materialização do conflito entre as manipuladoras. Do texto para o teatro, assistimos ao espanto que nos provoca uma marioneta rebelde. /ABSTRACT: From excerpts of the "The Adventures of Fearless John" a romance (published in 1963) by Jose Gomes Ferreira (1900-1985), a show was created for two actresses I puppeteers who interact with an onstage prop. From the beginning, a series of different moods and small units of action were identified, and serve as the basis for the show oriented to a general audience. Trough the existing resources, two different levels of representation were found to dramatize the text: the interplay between the actresses who, while portraying fairies, compete for the use of the storytelling box; and the interplay between the puppets who, although they are independent from the narrative point of view, end up functioning as a materialization of the conflict between the puppeteers. From the text to the theatre, we witness the wonder that a rebellious puppet inspires.

Scrub typhus in mainland China, 2006–2012 : the need for targeted public health interventions

Scrub typhus is a vector-borne disease carried by the chigger mite. The aetiological agent is the rickettsia Orientia tsutsugamushi, which is endemic to several countries in the Asia-Pacific region, including China [1]. It is also a travel-associated disease [2] and of great importance among military personnel [3], [4]. During the Second World War, scrub typhus was associated with a higher case fatality ratio than any other infectious disease in the China-Burma-India theatre of operations 1,3. Clinical presentation in patients varies from asymptomatic to life-threatening disease [5], including acute hearing loss and multiple organ failure [6], [7]. To date, there is still no effective and reliable human vaccine against scrub typhus and no point-of-care diagnostics available [1].

Ruumiinkuvia! : Suomalainen performanssi- ja kehotaide 1980- ja1990-luvulla psykoanalyysin valossa

My PhD-thesis Body Images! Psychoanalytical Analysis of Finnish Performance and Body Art in the 1980s and 1990s considers Finnish performance and body art performed mainly by visual artists. In Part I, I chart the historical construction of performance art and its extension since the beginning of the 21st century. There are several wievs of the historical background of performance art. I introduce three different genealogies of performance art. One is Rose-Lee Goldberg s view. She connects performance art with the European avant-garde already at the beginning of the 20th century from futurists and dadaists to Russian avant-garde and the Bauhaus. I prefer to present performance art as contemporary art, which began to take shape in connection with visual arts in the 1950s and 1960s. The focus on the body is apparent in nearly all performance art. Nevertheless, throug the concept of body art I want to empasize the artist s body as the place of art. Body art (as part of performance art) functions as thematic and interpretive concept, which allows me to focus on performances where the questions of body image, narcissism, desire, language and pleasure are incorporated in particular intensive ways. In Part II, I explore the arrival of performance art in Finnish visual arts in the 1980s. I study the new generation s relation to earlier Finnish happenings (1960s) and performative actions in 1970 s. I briefly introduce performance groups of the 1980s art scene and consider their reception in media. The main focus is on the group Jack Helen Brut, in which I see many similarities to the so- called Theatre of Images. The goal of this part II is to provide historical context for the performance analysis that follows. In Part III, I develop the concept of body image which is my main theoretical term. The concept of body image is used according to Lacanian psychoanalytical theory, especially his considerations of mirror stages. My first mapping of body image, which I call imaginary body image, is based on Lacan s famous mirror stage article (1949). According to my reading, body image is narcistic and aggressive. The important concepts here are ego, imaginary, méconnaisance and alienation. In 1953 Lacan began to develop different version on mirror stage, in which he emphasized the primacy of symbolic dimension. It is not image, but language which constructs the foundations of body image. Central concepts in this chater are Other as language, ego-ideal, demand and desire. In the last chapter I connect the third version of the mirror stage to concepts of gaze, phantasy, real, jouissance and object a. In previous chapters I had considered body image in relation to ego. Now I explore it in relation to subject. In my reading the body image is fragile phenomen, which oscillates between yearning for coherence and phantasies of fragmented images. Part IV of the thesis begins with an introduction to the central concepts and debates in performace studies over the last few decades. Important concepts are presence, performativity and theatricality. The main substance of my thesis, however, is the performance analysis, which focuses on works by three Finnish artists and one Finnish group. The first analysis concerns the performance (1992) of Kimmo Schroderus. I discuss the relationship between narcissism and body art and the changes in demands projected on body images of men in recent decades in a Euro-American context. I also explore this performance in relation to the myth of Narcissus, which I reinterpret through Narcissus s aggression against his own body. The group Homo S is the main subject of the next analysis. I discuss the relationship between feminist art and performance art, especially in the United States in the 1960s and 1970s. Homo S is different from this early performance art because of its anarchism, humor and rejection of all ideals. Homo S characterizes its performance Body Body (1983) as liberating vulgar feminism . Sociality and performance of erotic relations between women are central in Body Body. Pia Lindman s performances are the subjects of my third analysis. I study three of her performances: Olen muoto (1993), 17 and in love (1994) and Arranged views (1995). I interpret these performances as efforts to disperse the imaginary and symbolic structures of the body image. She constructs the peculiar object a and phantasy space of her own. In the last analysis I move from questions of image and gaze to a study of language, sound and jouissance. I discuss at a general level the performance of orality and helplesness (Hilflosigkeit) in body art. The central elements in Pentti Otto Koskinen s performances are the ear, listening and receptive gestures and postions. Perseveraatio (1998) can be understood representing as submission to the super-ego s power, which compels one to enjoy. I examine particularly closely the performance Maissi on hyvää ei missään nimessä maissia (1995), which I interpret as the return of a baby s body image to the liminal site of choice: language or jouissance?

[C_Cordoba_Teatro] Documentación geométrica de los restos del Teatro Romano de Córdoba

[ES] El proyecto documenta los restos de una parte del antiguo teatro romano de Córdoba que se encuentran bajo la ampliación del museo arqueológico (MAECO) y ocupan una superficie de unos 50 x 20 metros, en el momento de la documentación era un área sobre la que se estaba construyendo el nuevo edificio. Se incluyen también otros posibles restos visibles desde el sótano de una residencia anexa.

A peregrinação ocidental no teatro de Afonso Álvares (XVI) e Xavier Lama (século XX)

Esta dissertação tem por objetivo mostrar como o mito de São Tiago Maior e a peregrinação religiosa na Idade Média são retratados na dramaturgia portuguesa e galega. Para isso, reporta-se a duas obras: Auto de Santiago de Afonso Álvares (Portugal - séc. XVI) e O Peregrino errante que cansou ó demo de Xavier Lama (Galícia séc. XX). Objetiva verificar como os discursos das personagens, associados aos demais elementos que estruturam as obras, têm por finalidade acentuar a importância, no contexto da religiosidade ibérica, do culto à Virgem de Guadalupe e de São Tiago em sua tríplice representação: São Tiago Apóstolo, Peregrino ou Mata-mouros. E, sobretudo, demonstrar o caráter doutrinador e moralizante das peças, principalmente na recomendação das virtudes a serem seguidas e dos pecados a serem evitados pelo cristão em sua peregrinação existencial, objetivando a ascenção espiritual

膜厚监控误差及监控片不均匀对膜厚监控的影响

借助于VC＋＋编程从理论上模拟分析了膜厚监控误差以及监控片不均匀性对光学膜厚监控的影响。结果表明，膜厚监控误差和监控片的不均匀性都对监控曲线有影响；随着膜层层数的增加，监控片不均匀性逐渐增大。实验制备了多层规整薄膜并对其监控曲线进行了分析，分析表明考虑到膜厚监控误差和监控片不均匀性后计算的光学监控曲线和镀膜过程实测光学监控曲线吻合较好。这说明膜厚监控误差和监控片不均匀性是引起监控曲线与理论值偏离的重要因素。介绍了如何计算考虑膜厚监控误差和监控片不均匀性后的理论监控曲线。这将对膜厚自动监控，尤其是对非规整膜

Polski a amerykański dyskurs sądowy: śledcze i skargowe procedury przesłuchiwania świadków w procesach karnych

Wydział Anglistyki

Polski Hamlet

Chapter is an attempt at reconstruction of the culminating moment of the first stage of the Polish reception of Shakespeare's "Hamlet". It has been entirely devoted to J. Słowacki's "Horsztyński". There is no doubt that "Horsztyński" should be viewed as the fullest and deepest interpretation of Shakespearean elements in the literary output of Juliusz Słowacki. Numerous citations and references to the works of the Elizabethan dramatist reach deeply into the structure of the world and human's life. Thanks to many adductions (citations) to Shakespeare, Słowacki approached the so much important problem for the Romantic period in Polish literature, namely the problem of individual tragedy of existence of the main character of a play and a clash with historical dilemmas of the community. The analysis of the text is aimed at showing all references to Shakespearean masterpiece with a particular emphasis on the hamletism of the charactwe of Szczęsny Kossakowski. The author describes the motif of betrayal, ever-present on different levels of the text structure, which in the most complete way describes the organisation of space between humans and their interaction in "Horsztyński". The author focuses his attention on detailed description and analysis of the recurrent themes frequently repeated in Szczęsny's statements, namely motifs of "man-harp", "man-actor in the theatre of the world", and "man-puppet", harlequin, clown. These motifs prove the sensibility of Szczęsny's to the theatrical aspect of the surrounding reality. The motif of darkness and of a blind man groping his way in the darkness so frequent in Szczęsny's statements can be interpreted as a manifestation of utter lack of hope and the feeling of uselessness of one's existence in the world.

Piechota na wschodnim teatrze działań wojny secesyjnej

Wydział Historyczny

Created relation: the translated play in performance

Summary: The process of translation restores the materiality of time and space to a play. Performance, of course, takes place only within the here and now of an audience, but a play that comes from a different time or different place prompts an encounter with the conceptual and perceptual real from sometime or somewhere else. If we are to consider translation as an ethical practice, one concerned not only to present the dislocated other to the located self, but also to protect the other from wholesale assimilation by the self, then the translated play must in some ways prove resistant to such assimilation. But of course the retention of foreignness – or what Steiner called restitution – is problematic, not least because of the attendant danger of merely exoticising. The theatre of García Lorca in English presents an interesting case study in this regard.