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Previous research on working memory (WM) in children with poor mathematical skills has yielded heterogeneous results, possibly due to inconsistent consideration of the IQ-achievement discrepancy and additional reading and spelling difficulties. To examine the impact of both, the WM of 68 average-achieving and 68 low-achieving third-graders in mathematics was assessed. Preliminary analyses showed that poor mathematical skills were associated with poor WM. Afterwards, children with isolated mathematical difficulties were separated from those with additional reading and spelling difficulties. Half of each group fulfilled the IQ-achievement discrepancy, resulting in a 2 (additional reading and spelling difficulties: yes/no) by 2 (IQ-achievement discrepancy: yes/no) factorial design. Analyses revealed that not fulfilling the IQ achievement discrepancy was associated with poor visual WM, whereas additional reading and spelling difficulties were associated with poor central executive functioning in children fulfilling the IQ-achievement discrepancy. Therefore, WM in children with poor mathematical skills differs according to the IQ-achievement discrepancy and additional reading and spelling difficulties.
From opening books to read them, through the continuous effort at opening one's heart to God, to the eventual disclosure of God's mysteries to human beings, Augustine seems to trace an implicit conceptualization of openness in his "Confessions". The words of Matthew 7. 7–8 underlie Augustine's engagement with openness up to the very last sentence of the book, which ends with a sequence of verbs in the passive voice that culminates with the desired manifestation of the divine. The entire endeavour of opening oneself up undertaken in the "Confessions" aims at this final passive openness, which is (always) yet to come as much as human opera are (always) yet to come to completion.
On the one side there is book culture, centered on the printed book as a material object; on the other digital culture, centered on what is displayed on a screen, by now more often than not that of a mobile phone. In the cultural imaginary, the two practices are separated by far more than just media technology. The girl in Delevingne's picture, in choosing to read a book rather than participate in the social media arena, opts (as the black-and-white blocking of the caption neatly reflects) for a commendable type of media use: She sharpens her intellect and exercises her imagination, she digs deep rather than staying on the surface, and she engages – in a seemingly disinterested manner – with valuable content rather than obsessing over how to present herself in the best light. Her absorption is a badge of honor, much different from the 'bad' absorption of digital media users, a recurring trope that is artistically represented, for example, in the much-acclaimed surrealist photo series "SURFAKE" by the French photographer Antoine Geiger, which represents mobile phone users whose faces are sucked into their devices.