The Impact of Risk-aware Consumer Trust on CB E-commerce Platforms on Purchase Intention

Cross-border e-commerce(CBRC) is increasingly affecting the value of traditional trade due to its rich variety, convenient operation, and free of time and space restrictions, and has also changed the consumer's Shopping habits. However, the development of CBEC still faces many problems, resulting in domestic consumers' willingness to consume on CBEC platforms is not high. Based on the above background, the research content of this paper is the influence of consumer trust on purchase intention based on perceived risk of CBEC platforms. In this paper, a questionnaire survey is used to collect data for simulation. The results show that from the regression results of the five dimensions of trust on purchase intention, the adjusted R2 is 0.466, indicating a high degree of fit. When the exploratory value in perceived promotional gains is high, it will leave consumers in an irrational state and weaken the perception of risk.

The Impact of Risk-Aware Consumer Trust on CB E-Commerce Platforms and Purchase Intention

Cross-border e-commerce(CBRC) is increasingly affecting the value of traditional trade due to its rich variety, convenient operation, and free of time and space restrictions, and has also changed the consumer's Shopping habits. However, the development of CBEC still faces many problems, resulting in domestic consumers' willingness to consume on CBEC platforms is not high. Based on the above background, the research content of this paper is the influence of consumer trust on purchase intention based on perceived risk of CBEC platforms. In this paper, a questionnaire survey is used to collect data for simulation. The results show that from the regression results of the five dimensions of trust on purchase intention, the adjusted R2 is 0.466, indicating a high degree of fit. When the exploratory value in perceived promotional gains is high, it will leave consumers in an irrational state and weaken the perception of risk.

Synthesis, Structure and Magnetic Properties of NiFe3O5

A new CaFe3O5-type phase NiFe3O5 (orthorhombic Cmcm symmetry, cell parameters a = 2.89126(7), b = 9.71988(21) and c = 12.52694(27) Å) has been synthesised under pressures of 12-13 GPa at 1200 °C. NiFe3O5 has an inverse cation site distribution and reveals an interesting evolution from M2+(Fe3+ )2Fe2+O5 to Fe2+(M2+ 0.5Fe3+ 0.5)2Fe3+O5 distributions over three distinct cation sites as M2+ cation size decreases from Ca to Ni. Magnetic susceptibility measurements show successive transitions at 275, ~150, and ~20 K and neutron diffraction data reveal a series of at least three spin-ordered phases with evolving propagation vectors k = [0 0 0] [0 ky 0]  [½ ½ 0] on cooling. The rich variety of magnetically ordered phases in NiFe3O5 likely results from frustration of Goodenough-Kanamori exchange interactions between the three spin sublattices, and further interesting magnetic materials are expected to be accessible within the CaFe3O5-type family.

Fandangos de Alosno

In our days the musical activity of Huelva cannot be understood without attending to its emblematic cante: the fandangos. They constitute a tradition of enormous significance for many citizens, beyond what it may mean for flamenco fans, accompanying relevant spaces of their social, personal and daily life. A wide variety of "styles", stylistic variants of the poetic-musical and choreographic form of the Andalusian fandango have been developed in various towns. They constitute each of the characteristic and recognizable musical designs with which they are sung and or danced in different places. These are practices that combine a multiplicity of forms: socially maintained collective traditions and experienced in local contexts, together with musical recreations by individual performers presented as an artistic product aimed at the audience. In this article we show the rich variety and uniqueness of the fandango in Alosno, analyzing its relationship and interdependence with the territorial, cultural and festive framework of El Andévalo region, the traditional contexts of performance, the generation of a variety of styles and the consolidation of the repertoire. En nuestros días no puede entenderse la actividad musical de la provincia de Huelva sin atender a su cante emblemático: los fandangos. Constituyen una tradición de enorme significación para muchos ciudadanos, más allá de lo que pueda suponer para los aficionados al flamenco, acompañando espacios relevantes de su vida social, personal y cotidiana. En varias localidades de la provincia se han desarrollado un amplio número de estilos o variantes estilísticas de la forma poético-musical y coreográfica genérica del fandango andaluz. Constituyen cada uno de los diseños musicales característicos y reconocibles con el que se cantan o bailan en distintos lugares. Se trata de prácticas que conjugan una multiplicidad de formas: tradiciones colectivas socialmente mantenidas y vivenciadas en contextos locales, junto a recreaciones musicales de intérpretes individuales presentadas como producto artístico dirigido al público. En este artículo mostramos la rica variedad y singularidad del fandango en Alosno, analizando su relación e interdependencia con el marco territorial, cultural y festivo de la comarca del Andévalo, los contextos tradicionales de interpretación, la generación de variedad de estilos y consolidación del repertorio.

The Low Frequency Perspective on Fast Radio Bursts

Fast radio bursts (FRBs) represent one of the most exciting astrophysical discoveries of the recent past. The study of their low-frequency emission, which was only effectively picked up about ten years after their discovery, has helped shape the field thanks to some of the most important detections to date. Observations between 400 and 800 MHz, carried out by the CHIME/FRB telescope, in particular, have led to the detection of ∼500 FRBs in little more than 1 year and, among them, ∼20 repeating sources. Detections at low frequencies have uncovered a nearby population that we can study in detail via continuous monitoring and targeted campaigns. The latest, most important discoveries include: periodicity, both at the days level in repeaters and at the millisecond level in apparently non-repeating sources; the detection of an FRB-like burst from a galactic magnetar; and the localisation of an FRB inside a globular cluster in a nearby galaxy. The systematic study of the population at low frequencies is important for the characterisation of the environment surrounding the FRBs and, at a global level, to understand the environment of the local universe. This review is intended to give an overview of the efforts leading to the current rich variety of low-frequency studies and to put into a common context the results achieved in order to trace a possible roadmap for future progress in the field.

Listening to Yourself Listening: The Metaperceptual Approach to Sound Art

<p>This thesis presents a framework for the creation and analysis of metaperceptual sound artworks. Metaperceptual is a term coined herein to describe a range of works that use the perception of the audience as their artistic materials. They provoke their audiences to direct their attention back upon themselves, inviting audiences to observe the nature of their perception and the subjectivity of their experience. A core focus of many contemporary works is the experience of the audience. These works act as ‘experience shapers’, guiding the audience through their materials and creating environments in which the audience can explore on their own terms. Metaperceptual works share this focus by drawing the audience’s attention back upon themselves, provoking them to attend to the subjectivity of their own experience. These works reveal facets of our perception that constantly mediate our experience, yet often go overlooked and unexplored. The framework presents a systematic ordering of different approaches to creating metaperceptual works. Three main categories of works are identified: Deprivation, Perceptual Translation, and Perceptual Hacking. Deprivation works involve the removal, reduction, or denial of the audience’s perceptual field. They intervene in the audience’s everyday modes of interaction by silencing the din of the world, revealing the facets of experience that often go unnoticed or are masked from our awareness. Perceptual Translation works directly interface with the audience’s perceptual apparatus by shifting, extending, and rearranging its orientation and organisation. These works offer the allure of experiencing what it is like to be someone or something else. By allowing us to experience the world through an altered lens, these works give us a new perspective on ourselves and the ways in which our perceptual apparatus mediates our experience. Lastly, Perceptual Hacking works involves a rich variety of perceptual oddities and artefacts. These works creatively misuse facets of the audience’s perceptual apparatus and perceptual processes, and, in doing so, reveal that our perception is not a neutral objective lens through which to perceive the world. Metaperceptual works employ a diversity of materials and techniques, and traverse a variety of media and styles. While these themes have most extensively been explored in the visual arts, their potential for sonic exploration is a key concern subject of this research. The framework maps the artistic terrain of metaperceptual approaches, and speculates on the potential for new metaperceptual works. To this end, a portfolio of new metaperceptual sound artworks is presented. These works test the metaperceptual framework, enacting the artistic avenues identified during its development. The works span a range of the approaches identified in the metaperceptual framework, and are manifestations of the framework as a creative tool.</p>

Listening to Yourself Listening: The Metaperceptual Approach to Sound Art

<p>This thesis presents a framework for the creation and analysis of metaperceptual sound artworks. Metaperceptual is a term coined herein to describe a range of works that use the perception of the audience as their artistic materials. They provoke their audiences to direct their attention back upon themselves, inviting audiences to observe the nature of their perception and the subjectivity of their experience. A core focus of many contemporary works is the experience of the audience. These works act as ‘experience shapers’, guiding the audience through their materials and creating environments in which the audience can explore on their own terms. Metaperceptual works share this focus by drawing the audience’s attention back upon themselves, provoking them to attend to the subjectivity of their own experience. These works reveal facets of our perception that constantly mediate our experience, yet often go overlooked and unexplored. The framework presents a systematic ordering of different approaches to creating metaperceptual works. Three main categories of works are identified: Deprivation, Perceptual Translation, and Perceptual Hacking. Deprivation works involve the removal, reduction, or denial of the audience’s perceptual field. They intervene in the audience’s everyday modes of interaction by silencing the din of the world, revealing the facets of experience that often go unnoticed or are masked from our awareness. Perceptual Translation works directly interface with the audience’s perceptual apparatus by shifting, extending, and rearranging its orientation and organisation. These works offer the allure of experiencing what it is like to be someone or something else. By allowing us to experience the world through an altered lens, these works give us a new perspective on ourselves and the ways in which our perceptual apparatus mediates our experience. Lastly, Perceptual Hacking works involves a rich variety of perceptual oddities and artefacts. These works creatively misuse facets of the audience’s perceptual apparatus and perceptual processes, and, in doing so, reveal that our perception is not a neutral objective lens through which to perceive the world. Metaperceptual works employ a diversity of materials and techniques, and traverse a variety of media and styles. While these themes have most extensively been explored in the visual arts, their potential for sonic exploration is a key concern subject of this research. The framework maps the artistic terrain of metaperceptual approaches, and speculates on the potential for new metaperceptual works. To this end, a portfolio of new metaperceptual sound artworks is presented. These works test the metaperceptual framework, enacting the artistic avenues identified during its development. The works span a range of the approaches identified in the metaperceptual framework, and are manifestations of the framework as a creative tool.</p>

Buddhist Homiletics on Grief

The study first introduces a hitherto completely unstudied anonymous work, for which I reconstruct the title *Saddharmaparikathā. This substantial text is a Buddhist homiletician’s guidebook with sample sermons in Sanskrit on a rich variety of topics. I argue that it dates from the 5th century and that it was possibly authored in a Saṃmatīya environment. I first discuss the unique manuscript transmitting the text, the structure and contents of the work, what information it can provide for the tradition of preaching and its importance for Buddhist studies. In the second half, I provide a sample chapter ‘On Grief’ with an annotated translation.

Discourse marker well in natural and political discourses: ambivalence and bifunctionality

Устный модус дискурса невозможно представить без богатого репертуара дискурсивных маркеров, для которых характерна ослабленность денотата, с одной стороны, и наполненность прагматическими функциями — с другой. Для выявления особенностей функционирования прагматических маркеров в политическом дискурсе и моделирования макро- и микрофункций дискурсивных маркеров были проанализированы метатекстовые и межличностные функции маркеров, разработанные в трудах отечественных и зарубежных исследователей, и на их основе, а также с учетом лексикографических источников, представлены макро- и микрофункции дискурсивных маркеров в политическом дискурсе. Проведенный анализ позволил выявить новые функции, которые получают ряд дискурсивных маркеров (you know, I mean), в том числе рассматриваемый маркер well в связи с манипулятивной природой политической коммуникации. Данные функции играют важную роль в создании альтернативной действительности и неопределенности, свойственных политической коммуникации. В исследовании представлен подробный анализ функций маркера well с дискурсивно-прагматических позиций на материале телеинтервью Д. Трампа. It is impossible to imagine the existence of the oral mode of discourse which would not include a rich variety of discourse markers. The distinctive feature of discourse markers is weak denotation on the one hand, and explicit pragmatic functions on the other. To identify peculiarities of pragmatic markers functioning in a political discourse and for the purpose of designing their macro- and microfunctions, in the present paper metatext and interpersonal functions of markers developed in the works of Russian and international researchers were scrutinized. On the basis of the data obtained from the previous researches, as well as lexicographic sources, macro- and microfunctions of discourse markers in a political discourse were designed. The analysis allowed to identify new functions developed by a number of discourse markers (you know, I mean), including the marker well, announced in the title of the paper, due to the manipulative nature of political communication. These functions play an important role in creating alternative reality and uncertainty inherent in political communication. The research presents a detailed analysis of functions obtained by the discourse marker well through the lens of discursive pragmatics based on Donald Trump's TV interview.