Journal of Material Culture最新文献

英文中文

Masculinized femininity of women characters on the Kabuki stage: Female Onnagata's “cross-gender” performance in the “all-male” theatre 歌舞伎舞台上女性角色的男性化女性特质:女翁长形在“全男性”剧场中的“跨性别”表演

3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-11-01 DOI: 10.1177/13591835231211222

Maki Isaka

This article explores four-century-old “all-male” kabuki theatre of Japan as the site of logics, mechanisms, and operations of onnagata's gender performance. The term onnagata signifies actors performing women's roles in kabuki, and since the first two and a half centuries of kabuki history overlapped with the time when women were legally expelled from performance activities, male onnagata mostly developed and established the artistry and traditions of onnagata acting. Women resumed kabuki performance when it was still illegal, but that did not cancel this fact. The present article studies kabuki in this historical context in order to investigate how dynamically genders are taking shape on the kabuki stage and off. To that end, this paper uses “cultivation” (a training methodology called shugyô) as a key point of investigation, while paying special attention to female onnagata as a main subject of examination. Cultivation is the training methodology of weight that has long been used and systematized in many circles engaged in activities established in premodern times, such as Buddhism, martial arts, and performing arts, and constitutes a blanket regime for these wide-ranging areas. Cultivation is to obtain and internalize second nature to the extent that it could function as if it were natural, the process of which takes place through two stages: (1) repetitive, long-lasting, personal, and somatic training in, e.g., posture, movements, and the like, and (2) internalization of said technique as second nature. That this cultivation process is congruous with the concept of performativity in contemporary critical theory suggests that an analysis of how female kabuki actors go through cultivation in order to internalize kabuki body grammar, including gender related code can contribute not only to kabuki studies but also to gender studies.

本文以四百年的日本“全男性”歌舞伎剧场为背景，探讨女长性别表演的逻辑、机制和运作。“女长”一词指的是在歌舞伎中扮演女性角色的演员，由于歌舞伎历史的前两个半世纪与女性被法律驱逐出表演活动的时间重叠，男性女长主要发展和建立了女长表演的艺术和传统。当歌舞伎仍然是非法的时候，妇女们重新开始表演，但这并没有取消这一事实。本文在这一历史背景下对歌舞伎进行研究，以探讨性别在歌舞伎舞台上和舞台下是如何动态地形成的。为此，本文以“修炼”(一种训练方法shugyô)为调查重点，特别关注女性女永形作为主要考察对象。修炼是一种训练重量的方法，在佛教、武术和表演艺术等前现代社会的许多活动中，长期以来一直被使用和系统化，并构成了这些广泛领域的一揽子制度。修炼是获得和内化第二天性，使其能够像自然一样发挥作用，这一过程通过两个阶段进行:(1)重复的、持久的、个人的和身体的训练，例如姿势、动作等，以及(2)将上述技术内化为第二天性。这种培养过程与当代批评理论中的表演性概念是一致的，这表明分析女性歌舞伎演员如何通过培养来内化包括性别相关代码在内的歌舞伎身体语法，不仅有助于歌舞伎研究，也有助于性别研究。

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引用次数: 0

Down the (digital) rabbit hole: Mapping and decolonizing Safavid women's imagery in digital museums 掉进(数字)兔子洞:在数字博物馆中绘制和去殖民化萨法维女性图像

3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-11-01 DOI: 10.1177/13591835231210438

Ladan Rahbari

In this article, I trace Safavid paintings depicting women's imagery online and explore the possibility of digitally mapping Safavid (1501–1736) paintings featuring women on publicly accessible platforms. Along with the practice of online mapping that led me to digital museums, I investigated the descriptions presented on three digitized paintings on different platforms to address the questions, “Where and how can Safavid paintings be digitally encountered” and “In light of the theoretical developments in the scholarship on pre-modern discourses of Safavid gender and sexuality, how do the descriptions of Safavid paintings reflect gender discourses online?” By following Safavid paintings of women online and probing the textual descriptions attached to them, and using netnographic research methods to document my experience and encounter with the digitized Safavid paintings, I explore whether the online descriptions accompanying the images could contribute to the making of decolonial knowledge about non-Western gender discourses.

在这篇文章中，我追踪萨法维绘画中描绘的女性形象，并探索在公共平台上绘制萨法维绘画(1501-1736)中女性形象的数字地图的可能性。在数位博物馆的线上绘图实践中，我调查了三幅数位绘画在不同平台上的描述，以回答以下问题:“萨法维派绘画在哪里以及如何被数位化”，以及“根据萨法维派性别与性取向的前现代论述学术的理论发展，萨法维派绘画的描述如何反映线上的性别论述?”通过追踪网上的萨法维女性画作，探究其附带的文字描述，并使用网络研究方法来记录我的经历和与数字化萨法维画作的相遇，我探讨了伴随图像的在线描述是否有助于非西方性别话语的非殖民化知识。

引用次数: 0

What a Genderful World – Thinking through and making of an exhibition 多么性别的世界-思考和制作一个展览

3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-10-29 DOI: 10.1177/13591835231210659

Fanny Wonu Veys

On 10 October 2019 the exhibition What a Genderful World opened in the Tropenmuseum in Amsterdam. The central premise was that all people experience inhabiting a body that moves, lives and breathes in a gendered world. The article firstly examines the process of making this a ‘gender' exhibition. In order to refrain from labelling, the exhibition team departed from the original assignment that aimed at an exhibition about ‘women’. Asking questions of what makes a woman or a man or any other gender identity in relation to the museum's historically and geographically diverse collections, revealed the necessity to do justice to the multiple layers involved in a discussion about gender. Ideas around gender are shaped and expressed differently through time and space, but other intersectional aspects including race, religion, socio-economic class, age or sexual orientation may well be equally important. Hence, this section discusses the means by which this huge and complex topic is made accessible in the exhibition to a broad audience. Finally, the article takes the reader on a journey through the various areas of the exhibition framed around the following questions: (1) What do you think? (2) Does your body determine your gender? (3) How do you become a gender? (4) How ought you to behave? (5) Gender without borders? (6) Who has power here? (7) Playful with gender? In so doing, the article addresses the theoretical framework underlying the choice of certain interactives and the privileging of design elements. The article will conclude with a critical reflection on the museum's role in the societal debate around gender.

2019年10月10日，“What a Genderful World”展览在阿姆斯特丹Tropenmuseum开幕。其中心前提是，所有人都体验到自己的身体在一个性别化的世界里运动、生活和呼吸。文章首先考察了这个“性别”展览的制作过程。为了避免标签，展览团队偏离了最初的任务，旨在举办一个关于“女性”的展览。在博物馆历史上和地理上多样化的藏品中，询问是什么造就了女人、男人或任何其他性别认同，揭示了公正对待性别讨论所涉及的多层次的必要性。随着时间和空间的不同，性别观念的形成和表达方式也不同，但其他交叉方面，包括种族、宗教、社会经济阶层、年龄或性取向，可能同样重要。因此，本节将讨论如何使这个庞大而复杂的主题在展览中呈现给广大观众。最后，文章围绕以下问题带领读者穿越展览的各个领域:(1)你怎么看?(2)你的身体决定你的性别吗?(3)你是如何成为一个性别的?你应该如何表现?(5)性别无国界?这里谁有权力?(7)玩弄性别?通过这种方式，本文阐述了某些交互选择和设计元素特权的理论框架。文章最后将对博物馆在围绕性别的社会辩论中所扮演的角色进行批判性反思。

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引用次数: 0

Adopted heritage: German objects in the Western Territories of Poland 被采纳的遗产:波兰西部领土上的德国物品

3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-10-23 DOI: 10.1177/13591835231208912

Anna Kurpiel, Katarzyna Maniak

The article focuses on the material culture of regions that underwent a shift in statehood when, post-World War II, formally German territories became Polish. It seeks to analyse how the heritage of post-conflict territories was integrated into everyday life and, in some instances, affirmed and appreciated by second and third-generation settlers. Through research conducted amongst contemporary city-dwellers, the authors scrutinise the relationships between people and pre-war German objects, identifying a form of relation referred to as ‘kinship’. By exploring the mechanisms through which objects are incorporated into individual and/or group history, they elaborate on the concept of ‘adopted heritage’, as demonstrated in various field research cases. This concept is derived from the idea of affinity and its application to material culture studies, and enhanced by theories that emphasise the role of emotions in heritage.

这篇文章的重点是在二战后，德国领土正式成为波兰领土时，经历了国家地位转变的地区的物质文化。它试图分析冲突后领土的遗产如何融入日常生活，并在某些情况下得到第二代和第三代定居者的肯定和赞赏。通过对当代城市居民的研究，作者仔细研究了人与战前德国物品之间的关系，确定了一种被称为“亲属关系”的关系形式。通过探索物品被纳入个人和/或群体历史的机制，他们详细阐述了“被收养遗产”的概念，正如在各种实地研究案例中所展示的那样。这一概念来源于亲和力的概念及其在物质文化研究中的应用，并通过强调情感在遗产中的作用的理论得到加强。

引用次数: 0

Making time: Knitting as temporal-material entanglement 制造时间:编织作为暂时的物质纠缠

3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-10-09 DOI: 10.1177/13591835231206231

Susan Jones

This article presents data from interviews with amateur knitters to explore the temporal-material entanglements which constitute meaning-making in everyday life, and the potential of thinking with knitting to better understand these entanglements. It follows three strands which reflect different aspects of the temporal-material in how knitting comes to matter for amateur makers. Firstly, knitters discuss the threads to and from the past which recursively shape their ongoing thinking and feeling about their craft. Secondly, temporal dimensions entwine with the material as participants describe the process of turning threads into a knitted surface. Thirdly, participants’ experiences of un-making and re-making, and the role of ‘stash’, challenge unilinear models of both time and meaning. Thinking with knitting not only re-opens ways of understanding it as a significant meaning-making practice in the present, it also dynamically re-connects us to the past and offers ways of re-imagining the future and how we make this together.

本文通过对业余编织者的采访，探讨了日常生活中构成意义制造的时间-物质纠缠，以及用编织思考的潜力，以更好地理解这些纠缠。它遵循三条线，反映了编织对业余制造者来说是如何重要的临时材料的不同方面。首先，编织者讨论过去的线索，这些线索递归地塑造了他们对工艺的持续思考和感受。其次，当参与者描述将线变成针织表面的过程时，时间维度与材料纠缠在一起。第三，参与者的“拆解”和“重新制造”的经历，以及“藏匿”的角色，挑战了时间和意义的线性模型。用编织思考不仅重新打开了理解它作为一种重要的意义创造实践的方式，它还动态地将我们与过去重新联系起来，并提供了重新想象未来的方式，以及我们如何共同创造未来。

引用次数: 0

The travel of a thangka: Crossing gender and cultural boundaries with Lutso's stories 唐卡的旅行：用鲁索的故事跨越性别和文化界限

IF 0.9 3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-08-08 DOI: 10.1177/13591835231193969

Ming Xue

The article examines how the life experiences of a Tibetan female thangka painter, Lutsojam (known as Lutso), are intertwined with the meaning of her artworks, in particular, with the thangka painting, “Avalokiteśvara with Mind at Rest,” which I followed from its birth in Amdo Rebgong (Qinghai, China), to its visit to an art gallery in Beijing, and finally to its entry into the collection of an ethnographic museum in New York. Through painting thangkas and training her own apprentices (especially female apprentices), Lutso is able to support her family, empower other Tibetan women, and authenticate a religious identity that has been elided in the official narrative of Tibetan thangka art.

这篇文章探讨了西藏女唐卡画家鲁索加姆（Lutsojam，又名鲁索）的生活经历如何与她的艺术作品的意义交织在一起，尤其是与唐卡画作《静心观世音》交织在一起，最后，它被纽约一家民族志博物馆收藏。通过绘画唐卡和培训自己的学徒（尤其是女学徒），鲁索能够养家糊口，赋予其他西藏女性权力，并验证一种在西藏唐卡艺术官方叙事中被忽视的宗教身份。

引用次数: 0

Invasive group A streptococcal (iGAS) surveillance in Island Health, British Columbia, 2022. 2022 年，不列颠哥伦比亚省岛屿卫生部对侵袭性 A 群链球菌 (iGAS) 进行监测。

3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-08-01 DOI: 10.14745/ccdr.v49i78a06

Andrea Nwosu, Andrea Schut, Christie Arlotti Wood, Christine Urquhart, Claudia Bachman, Katelyn Thompson, Julia Evans, Kathleen Mills, Lisa Wenstob, Theresa Restemeyer, Trista Galbraith, Shannon Mason, Stephanie Gabriel, Twyla Gasper, Cheryl Broeren, Francine Lewis, Dee Hoyano, Sandra Allison, Pamela Kibsey, Angela Reid, Maritia Gully, Carl Swanson

Background: Invasive group A streptococcal disease (iGAS) is caused by Streptococcus pyogenes group A bacteria. In 2022, multiple disease alerts for iGAS in the Island Health region, in the context of increased infections in the paediatric population in Europe and the United States, prompted further investigation into local trends. This surveillance study summarizes epidemiological trends of iGAS in the region covered by Island Health, a regional health authority in British Columbia, in 2022.

Methods: In British Columbia, iGAS is a reportable disease; all confirmed cases are reported to the regional authority and the provincial health authority (BC Centre for Disease Control). Island Health's iGAS surveillance system is passive and collects information on cases that are identified through laboratory testing. Surveillance data were summarized for 2022 and compared with historical data from 2017-2021.

Results: In 2022, the incidence rate was 11.4 cases per 100,000 population (n=101), the highest observed rate in the last six years. The median age of cases was 53 years, with a range of 0-96 years, and 64% of cases were male. The highest risk of infection was reported in men 40-59 years of age, with an incidence rate of 21.3 cases per 100,000 population. The most common emm types were emm92 (n=14), emm49 (n=13), and emm83 (n=12). Overall, 85% (n=86) of cases were hospitalized, 21% (n=21) were admitted to the intensive care unit, and 6% (n=6) died.

Conclusion: This study highlights that the incidence of iGAS in the Island Health region continued to increase throughout the coronavirus disease 2019 (COVID-19) pandemic, reaching its highest annual rate in 2022. In contrast to reports from Europe and the United States, there was no notable increase in infections in the paediatric population. Given the sustained increase in iGAS activity, continued monitoring and description of the epidemiology of these cases on a regular basis is imperative.

背景：侵袭性 A 组链球菌疾病（iGAS）由化脓性链球菌 A 组细菌引起。2022 年，在欧洲和美国儿科感染率上升的背景下，Island Health 地区多次发出 iGAS 疾病警报，促使人们进一步调查当地的趋势。本监测研究总结了 2022 年不列颠哥伦比亚省地区卫生局 Island Health 所辖地区 iGAS 的流行趋势：在不列颠哥伦比亚省，iGAS 是一种需要报告的疾病；所有确诊病例都要向地区卫生局和省卫生局（不列颠哥伦比亚省疾病控制中心）报告。岛屿卫生局的 iGAS 监控系统是被动的，收集通过实验室检测确定的病例信息。对2022年的监测数据进行了汇总，并与2017-2021年的历史数据进行了比较：2022 年的发病率为每 10 万人 11.4 例（n=101），是过去六年中观察到的最高发病率。病例年龄中位数为 53 岁，范围在 0-96 岁之间，64% 的病例为男性。据报告，40-59 岁的男性感染风险最高，发病率为每 10 万人 21.3 例。最常见的emm类型为emm92（14人）、emm49（13人）和emm83（12人）。总体而言，85%（n=86）的病例住院治疗，21%（n=21）入住重症监护室，6%（n=6）死亡：本研究强调，在冠状病毒病2019（COVID-19）大流行期间，海岛卫生地区的iGAS发病率持续上升，在2022年达到最高年发病率。与欧洲和美国的报告不同的是，儿科人群的感染率没有明显上升。鉴于 iGAS 活动的持续增加，继续定期监测和描述这些病例的流行病学情况势在必行。

{"title":"Invasive group A streptococcal (iGAS) surveillance in Island Health, British Columbia, 2022.","authors":"Andrea Nwosu, Andrea Schut, Christie Arlotti Wood, Christine Urquhart, Claudia Bachman, Katelyn Thompson, Julia Evans, Kathleen Mills, Lisa Wenstob, Theresa Restemeyer, Trista Galbraith, Shannon Mason, Stephanie Gabriel, Twyla Gasper, Cheryl Broeren, Francine Lewis, Dee Hoyano, Sandra Allison, Pamela Kibsey, Angela Reid, Maritia Gully, Carl Swanson","doi":"10.14745/ccdr.v49i78a06","DOIUrl":"10.14745/ccdr.v49i78a06","url":null,"abstract":"Background: Invasive group A streptococcal disease (iGAS) is caused by Streptococcus pyogenes group A bacteria. In 2022, multiple disease alerts for iGAS in the Island Health region, in the context of increased infections in the paediatric population in Europe and the United States, prompted further investigation into local trends. This surveillance study summarizes epidemiological trends of iGAS in the region covered by Island Health, a regional health authority in British Columbia, in 2022.Methods: In British Columbia, iGAS is a reportable disease; all confirmed cases are reported to the regional authority and the provincial health authority (BC Centre for Disease Control). Island Health's iGAS surveillance system is passive and collects information on cases that are identified through laboratory testing. Surveillance data were summarized for 2022 and compared with historical data from 2017-2021.Results: In 2022, the incidence rate was 11.4 cases per 100,000 population (n=101), the highest observed rate in the last six years. The median age of cases was 53 years, with a range of 0-96 years, and 64% of cases were male. The highest risk of infection was reported in men 40-59 years of age, with an incidence rate of 21.3 cases per 100,000 population. The most common emm types were emm92 (n=14), emm49 (n=13), and emm83 (n=12). Overall, 85% (n=86) of cases were hospitalized, 21% (n=21) were admitted to the intensive care unit, and 6% (n=6) died.Conclusion: This study highlights that the incidence of iGAS in the Island Health region continued to increase throughout the coronavirus disease 2019 (COVID-19) pandemic, reaching its highest annual rate in 2022. In contrast to reports from Europe and the United States, there was no notable increase in infections in the paediatric population. Given the sustained increase in iGAS activity, continued monitoring and description of the epidemiology of these cases on a regular basis is imperative.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"6 1","pages":"342-350"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10917361/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87624097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A tiny home of one's own 自己的小家

IF 0.9 3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-07-12 DOI: 10.1177/13591835231187555

J. Smitheram, A. Nakai Kidd

The home occupies a prominent place in our popular and material imagination. The ideal home is a powerful image because it is understood to be a haven from the ills of the world and a material expression of our true selves. This article considers how home, as a tiny home, is framed through two YouTube channels, Living Big in Tiny Homes and Kirstin Dirksen. Extending Sara Ahmed's work on affect, we present this framing as twofold: first, through a sense of ‘with-ness’ where YouTube facilitates an intimate storytelling with materiality; and second, a sense of ‘against-ness’ where both channels facilitate the notion of the materiality of home as separate and bounded. The study draws on detailed analysis of 42 video episodes and accompanying written comments to consider how materialities, affects, and experiences of tiny homes are intersected with the constraints of the ideal of a stand-alone home.

这个家在我们的大众和物质想象中占有突出的地位。理想的家是一个强大的形象，因为它被理解为远离世界弊病的天堂，是我们真实自我的物质表达。这篇文章考虑了家作为一个小家是如何通过两个YouTube频道构建的，分别是《在小家里过大日子》和《Kirstin Dirksen》。扩展Sara Ahmed关于情感的工作，我们将这种框架呈现为两个方面：首先，通过一种“与性”的感觉，YouTube促进了一个具有实质性的亲密故事；第二，一种“反对”的感觉，这两种渠道都促进了家的物质性是分离和有界限的概念。这项研究对42集视频进行了详细分析，并附上了书面评论，以考虑小房子的物质性、影响和体验如何与独立房子的理想约束相交叉。

引用次数: 0

Tourists of their own past: Aural palimpsests from the Mao era 他们自己的过去的游客:毛时代的听觉重写

IF 0.9 3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-02-14 DOI: 10.1177/13591835221135404

Shelley Zhang

This article explores how individuals in contemporary China use songs to both express and protect their memories of the Cultural Revolution and Mao era. As individuals who experienced the Cultural Revolution find ways to voice their recollections of the past, they casually listen to and perform songs from the Mao era, pursue domestic tourism, and engage with other material culture from that time. Their actions index individuals’ complicated nostalgias and continual negotiations with their political presents. Drawing from ethnographic fieldwork in the Hunan province, this article analyzes song objects as ‘aural palimpsests’ that allow individuals to gesture towards their political presents without criticizing the government or articulating traumatic memories. Aural palimpsests are performed and heard in architectural spaces that shape how music from different eras and genres become layered atop one another to create new social meaning in a contemporary China that is still grappling with its recent history.

这篇文章探讨了当代中国的个人如何用歌曲来表达和保护他们对文化大革命和毛时代的记忆。当经历过文化大革命的人找到表达他们对过去的回忆的方式时，他们会随意地听和表演毛时代的歌曲，追求国内旅游，并参与当时的其他物质文化。他们的行为反映了个人复杂的怀旧情绪，以及与政治礼物的持续谈判。从湖南省的民族志田野调查中，本文分析了歌曲对象作为“听觉重写”，允许个人在不批评政府或表达创伤记忆的情况下对他们的政治礼物做出手势。在建筑空间里演奏和聆听听觉上的改写，塑造了不同时代和流派的音乐如何相互叠加，在一个仍在努力应对近代史的当代中国创造新的社会意义。

引用次数: 0

Did destructive leadership help create the conditions for the spread of Covid-19, and what are the early warning signs? 破坏性领导是否为 "科威德-19 "的传播创造了条件？

3区社会学 Q3 ANTHROPOLOGY

Journal of Material Culture

Pub Date : 2023-02-01 DOI: 10.1177/17427150221104890

Eugene Sadler Smith, Vita Akstinaite

This research asks: 'were there any objectively identifiable signals in the words leaders used in the early stages of the Covid-19 pandemic that can be associated with ineffective management of the crisis?' We chose to focus on the leaders of the two English-speaking nations that fared worst and best in the pandemic, the United States and New Zealand. By way of background and in order to contextualise the research, we compared and contrasted Trump's and Ardern's leaderships using the toxic triangle framework of destructive leadership. We then focused on the leader behaviour element of the triangle by using computerised text analysis (CTA) to analyse Trump's and Ardern's public pronouncements during the critical early stages of the pandemic. Based on a similarity index (S), we identified linguistic markers associated with destructive leader behaviours and negative outcomes (Trump) and non-destructive leader behaviours and positive outcomes (Ardern). We discuss future applications of these linguistic markers for the diagnosis both of incumbent and potential leaders' responses to crises management.

本研究的问题是："在 Covid-19 大流行病的早期阶段，领导人使用的词语中是否有任何客观可识别的信号，可以与危机管理不力联系起来？我们选择了在大流行中表现最差和最好的两个英语国家--美国和新西兰的领导人作为研究对象。作为研究背景的说明，我们利用破坏性领导力的 "有毒三角 "框架，对特朗普和阿德恩的领导力进行了比较和对比。然后，我们利用计算机文本分析 (CTA) 分析了特朗普和阿德恩在疫情早期关键阶段的公开言论，重点研究了三角关系中的领导行为要素。根据相似性指数（S），我们确定了与破坏性领导行为和消极结果（特朗普）以及非破坏性领导行为和积极结果（阿德恩）相关的语言标记。我们讨论了这些语言标记在诊断现任和潜在领导人危机管理对策方面的未来应用。

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