Body Language

How are we to understand digital objects? How are we to relate ‘cyberspace’ to physical space? This chapter attempts to provide a set of theoretical tools to understand ‘spaces’ of online interaction and what happens within them without resorting to filamentous constructions of ‘disembodied’ online interaction or to the underlying idealistic Cartesian dualism that pervades many of the theoretical positions that ostensibly refute it. To do so, I make connections between cognitive processes of human subjectivity, the embodied, gestural enactments of physical social spaces, and the social interactions that take place in online environments. The crux of the argument is that like identity, meaning and subjectivity are social phenomena: individual cognition requires social interaction. Similarly, social interaction, mediated or immediate, defines our spaces of subjectivity. This connecting of online ‘spaces’ to embodied cognition may provide a way to understand digital objects and the online interactions they enable through a reconsideration of the concept of space.

Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember our personal past through sensory imagery, through concepts, propositions and language, but not through the body. In this article, I defend the idea that the body constitutes a genuine means of representing past personal experiences. For this purpose, I focus on the analysis of bodily movements associated with the retrieval of a personal memory, which have certain features that make them different from procedural memories, pragmatic actions and common gestures, as well as other forms of embodied memories found in recent literature. I refer to these as “kinetic memories” and analyse their representative nature as well as their adaptive functions. Kinetic memories are bodily movements in which some event or action that took place in the past can be seen, because they are an externalisation of the subject’s inner intention of representing a past personal experience. Kinetic memories represent a past experience sometimes by imitation of a past movement, and other times through embodied symbols and metaphors. Furthermore, although sometimes they present direct pragmatic benefits, such as communicative benefits, they seem to enhance the whole reexperience of the past event and memory recall, which I argue is one important adaptive value.

This is the brochure for the April 2018 conference “Corporeal Restrictions, Embodied Freedoms: Italian Interventions on the Body” organized by the John D. Calandra Italian American Institute, Queens College, City University of New York.  The final program will be posted closer to the conference date.

This book explores how digital technology is altering the relationships between people and how the very nature of interface itself needs to be reconsidered to reflect this – how
we can make sense of each other, handle ambiguities, negotiate differences, empathise and collectively make skilled judgments in our modern society. The author presents new directions for research at the relational-transactional intersection of contrasting disciplines of arts, science and technology,and in so doing, presents philosophical and artistic questions for future research on human connectivity in our digital age.

▶ Introduces the relational interface, which questions the historical idea of the interface as a conduit of the transactional and addresses an aesthetic and ethical balance
▶ Formulates tacit engagement as an emerging concept for the study of human relations
▶ Proposes a fundamental framework of mediation for expertise and decision making in complex human systems
▶ Critiques the concept of data and what makes for the success of knowledge transfer

De la naissance à la mort, nous habitons notre corps, qui est un révélateur de ce que nous sommes. Dans nos sociétés développées, et surtout depuis la libération sexuelle, il est devenu pour beaucoup d’entre nous une préoccupation quotidienne.
D’« accouchement » à « yoga », en passant par « body-building », « ivrogne », « lesbianisme » ou « jeux vidéo », plus de deux cents
articles cernent le corps, et donnent à voir ses diverses pratiques et ses représentations.
Cette troisième édition permet d’ouvrir ce dictionnaire à des problématiques actuelles, mais aussi à l’analyse renouvelée des objets, techniques et expériences du corps.

Why are people loyal? How do groups form and how do they create incentives for their members to abide by group norms? Until now, economics has only been able to partially answer these questions. In this groundbreaking work, Paul Frijters presents a new unified theory of human behavior. To do so, he incorporates comprehensive yet tractable definitions of love and power, and the dynamics of groups and networks, into the traditional mainstream economic view. The result is an enhanced view of human societies that nevertheless retains the pursuit of self-interest at its core. This book provides a digestible but comprehensive theory of our socioeconomic system, which condenses its immense complexity into simplified representations. The result both illuminates humanity's history and suggests ways forward for policies today, in areas as diverse as poverty reduction and tax compliance. professor paul frijters is a professor of Economics at the University of Queensland. He was elected "Best Economist under 40 in Australia" by the Economic Society of Australia for 2009-2011, and his work consistently ranks in the top 4 percent of downloaded and cited economic research in the world. Professor Frijters has undertaken research in a wide variety of fields, including happiness and well-being, migration in China, behavioral economics, and health economics. The findings of his research feature regularly in the global media. gigi foster is a senior lecturer in the School of Economics within the Australian School of Business at the University of New South Wales. Her research focuses primarily on decisions related to human capital, with a particular emphasis on social influence and behavioral economics.

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In this paper, we propose a Six Channel Analysis System (SCAnS) for the (semi-)automatic investigation of potential deception across all communication channels. SCAnS builds on our current system: Six Channel Analysis in Realtime (SCAnR). SCAnR users are trained to code – as Points of Interest (PIns) – relevant occurrences of twenty-seven criteria relating to the six channels, when they appear to point to inconsistencies with respect to the speaker's account (the story they are trying to convey), their apparent baseline and the context. Our experiences to date confirm the view that multi-channel approaches have the potential to lead to higher accuracy rates of deception detection than is possible when using individual methods of detection and/or when focussing on one communication channel independently (Vrij et al., 2000: 257), especially when combined with cognitive elicitation strategies. However, we recognise the importance of (in)validating the relevance of the twenty-seven criteria through ongoing research. SCAnS will provide a (semi-)automated means of achieving this. Given our audience, we focus on the usefulness of content-analysis tools like Wmatrix (Rayson, 2008) for this purpose. More broadly, our research has implications for the analysis of data in forensic contexts, across all available channels of communication, and for the coding of (para)linguistic features.

The study investigated the effect of emblematic gestures on the development and access of mental representations of French expressions. The major hypothesis of the study was that learning emblematic gestures with simultaneously presented French expressions would cause an increased depth of processing as measured by greater retention. The second hypothesis was that recall would persist over time. A pretest posttest repeated measures design was used. Three groups consisting of 112 first-semester university French students participated in the study. The experimental group learned the gestures and used them to recall the expressions in the posttest. The no-treatment group did not see the gestures at any time. The comparison group did not learn the gestures, but did see them in the posttest. Results of analysis of variance (ANOVA) performed on the posttest scores revealed that learning emblematic gestures simultaneously with French expressions does lead to greater recall. Secondly, although all groups experienced a decay in recall, the groups that saw the emblematic gestures forgot significantly fewer sentences than the group that did not see the gestures.

The cultivation of the body ideal and promotion of thinness values in fashion, media and the diet industry have been repeatedly shown to account for the increased prevalence of eating disorders. It is evident in women in certain sub-cultures where the demand for thinness for career advancement is endemic. There is also a correlation between eating disorders and the level of modernization and urbanization characteristic of western industrialized societies, linking it to increased social mobility, dietary changes as well as changes within family structures. Eating disorders were, therefore, thought to be unique to the 'western culture', an impression that was initially substantiated by the apparent absence of these disorders in non-western societies. However, the notion of the culture specificity of eating disorders began to be challenged following reports from different parts of the world when eating disorders emerged in non-western societies. This was believed at first to be a product of a simple identification with western cultural norms in this respect. However, 'westernization' was too simplistic and needed to be broken down to see the forces that may lie behind it. These included increased consumerism, shift from collectivist to individualist patterns, changing gender roles and increased alienation of the individual. Subsequently, the individual was forced to resort to the 'body' as a new medium for expressing this cultural confusion and distress. Eating disorders are an example of such socio-pathology and needs to be seen now as a marker of 'transition' and symptomatic of cultures caught in a process of change.

Que se passe-t-il quand je suis en train d'écouter autrui ? En particulier, lorsque je suis dans la posture d'écoute active telle que l'a décrite Carl Rogers, laquelle favorise compréhension et empathie ? Cette question inclut d'autres questions fondamentales telles que : « Comment estce que je saisis ce qui se passe chez autrui sous l'effet de mes mots ? » ou « Comment sais-je, dans l'instant, que je pose la parole juste ou le geste juste ? » ou encore : « Que se passe-t-il, en moi ou dans ce que je saisis, qui me permette de savoir cela ? ». Ces questions qui jalonnent mon parcours de chercheur trouvent des réponses édifiantes grâce à l'entretien d'explicitation (Vermersch, 2012). Cette méthodologie permet de documenter la richesse de l'instant vécu du point de vue de la personne et d'accéder à des micro-informations d'une grande finesse. Cet article relate mon cheminement et partage la réflexion que j'ai menée dans le cadre de ma certification en explicitation. En effet, lorsqu'il s'est agi de mener un entretien d'explicitation et de l'analyser, rien ne pouvait m'éloigner de ces questions récurrentes que sont le geste et la parole justes dans le cadre d'une interaction. Pas question pour moi de passer à côté de l'occasion d'explorer une question que je juge essentielle, tant pour la recherche que pour le monde éducatif : « Qu'est-ce que l'écoute ? » Un acte aussi quotidien et aussi fondamental pour la Personne mérite d'être étudié et documenté avec finesse ? Pour cet entretien de certification (Qu'est-ce qu'écouter l'Autre ? publié sur : GREX2), j'ai donc choisi d'explorer la posture d'écoute d'une personne ayant une longue expérience de l'entretien. Je lui ai demandé de revenir en évocation sur un moment d'entretien important pour elle. La première partie de cet article démonte les pièces du puzzle qui ont guidé mon parcours de chercheure et de praticienne. Tout en posant des jalons théoriques, elle me permet de dégager la cohérence qui est la mienne (totalement unique et subjective pour chaque personne). La deuxième partie pose des questions méthodologiques sur la manière dont j'ai mené cet entretien, les relations qui m'unissent à l'interviewée, les strates attentionnelles que j'ai mobilisées pendant que je menais l'entretien, ainsi que les questions qui me sont apparues à la transcription et à l'analyse. La troisième partie est l'analyse de cet entretien. Après avoir dégagé plusieurs manières d'analyser un entretien d'explicitation, je choisis de dégager une structure et de la croiser avec une analyse lexicale, complétée par une prise en compte de la courbe mélodique et du rythme de parole. Ceci permet de dégager comment se construit la relation entre les deux personnes,

Safe interaction with non-expert users is increasingly important in the development of robotic assistants. Ethical “codes” can serve as a guide as to how this interaction should take place with lay users in non-structured environments. Such codes suggest that robots should behave in a way that is intuitive to users. Previous research has demonstrated that the implicit channel is useful for intuitive human-robot interaction. Our work described in this position paper investigates how a robot should behave when it is uncertain of its human partner’s intentions. In this context, uncertainties arising in human-robot shared-tasks should be made transparent to a human user. We posit that hesitant hand motion used by people and animals is a natural modality for a robot to communicate uncertainty. To test our hypothesis we propose to characterize and implement human hesitation gestures onto a robot, and investigate its ability to communicate uncertainty.

Sono molto abituato a libri strani e persone speciali,  ma Hawkins si distingue per il suo uso di una semplice tecnica per testare la tensione muscolare come chiave per la "verità" di qualsiasi tipo di affermazione di sorta, cioè, non solo per se la persona che viene testata ci crede, ma se è davvero vero! Ciò che è ben noto è che le persone mostreranno risposte fisiologiche e psicologiche automatiche, inconscie, a qualsiasi cosa siano esposte: immagini, suoni, tatto, odori, idee, persone. Quindi, la lettura muscolare per scoprire i loro veri sentimenti non è affatto radicale, a differenza di usarlo come un bastone dousing (più lettura muscolare) per fare "scienza paranormale".

Hawkins descrive l'uso di diminuire la tensione nei muscoli di un braccio in risposta ad aumenti del carico cognitivo causando così il braccio a cadere in risposta alla pressione costante delle dita di qualcuno. Sembra inconsapevole che c'è un vasto e vasto sforzo di ricerca in psicologia sociale a cui si fa riferimento come "cognizione implicita", "automaticità" ecc., e che il suo uso della "cinesiologia" è una piccola sezione. Oltre al tono muscolare (usato raramente) gli psicologi sociali misurano l'EEG, la risposta galvanica della pelle e più frequentemente le risposte verbali a parole, frasi, immagini o situazioni che variano da secondi a mesi dopo lo stimolo. Molti, come Bargh e Wegner, prendono i risultati per significare che siamo automi che imparano e agiscono in gran parte senza consapevolezza tramite S1 (sistema automatizzato 1) e molti altri come Kihlstrom e Shanks dicono che questi studi sono imperfetti e siamo creature di S2 (sistema deliberativo 2). Anche se Hawkins sembra non avere idea, come in altre aree della psicologia descrittiva del pensiero di ordine superiore, la situazione per quanto riguarda l'"automaticità" è ancora caotica come lo era quando Wittgenstein descrisse le ragioni della sterilità e della sterilità della psicologia negli anni '30. Tuttavia, questo libro è di facile lettura e alcuni terapisti e insegnanti spirituali possono trovarlo utile.

Coloro che desiderano un quadro aggiornato completo per il comportamento umano dalla moderna vista a due systems possono consultare il mio libro 'La struttura logica dellafilosofia, psicologia, Mind e il linguaggio  in  Ludwig  Wittgenstein e John Searle' 2nd ed (2019). Coloro che sono interessati a più dei miei scritti possono vedere 'TalkingMonkeys--Filosofia, Psicologia, Scienza, Religione e Politica su un Pianeta Condannato--Articoli e Recensioni 2006-2019 3rd ed (2019) e Suicidal Utopian Delusions in the 21st  Century 4th  ed (2019)

The sophistication of the human being has engendered the loss of his original purity along with the propensity to put on `masks` in order to survive or just manage complex situations. The endless interaction of all these `living masks` on the stage of life has required a `trump card` meant to help people probe into their inner world and comprehend their real character and personality. This `trump card` has come in the form of useful information provided by two controversial fields-face-reading and body language. Being the two sides of the same coin-as they both analyze the human body but in a different manner-either of them claims its importance in revealing the true nature of man from his outward appearance. Regardless of their contribution to the psychological portrait of man, the two fields remain an extremely useful and reliable tool within everyone`s grasp.

Sixteen subjects with autism and 16 with Down Syndrome (aged 5 to 27), matched on verbal mental age, watched a short puppet show or video skit and were then asked to tell the story to a listener and answer follow-up questions. The majority of both groups were able to produce recognizable, though primitive, narratives. The groups did not differ in general story characteristics, and Mth groups exhibited errors in language use. Subjects with autism hau a greater tendency to produce bizarre language and adapt an "externalized" point of view in which the puppets/actors were seen as objects rather than characters. Down syndrome subjects produced significantly more communicative gesture. Although the groups were about equally able to supply information for follow-up questions, autistic subjects produced a higher proportion of bizarre responses. These responses were considered to be a manifestation of the pragmatic deficits exhibited by autistic subjects. Results indicate that the story recall ability of autistic subjects resembles that of language-matched mentally retarded persons. However, autistic subjects had more difficulty grasping the storyas a representation of meaningful events. Resu1; are discussed in relation to the autistic person's awareness of listener's needs and aspects of the social environment. (Author/JDD)

The City of Cali, Colombia, has been renowned internationally, particularly in the last decade, for the attractiveness and energy of its salsa performers. Although it is well known and often emphasised that these dancers come from poor backgrounds, little is mentioned about how much this background implies a level of involvement in gangs. Such involvement includes suffering violence in their daily lives to direct participation in illicit activities, the latter particularly in the case of men. Furthermore, by an ethnographical exploration of their situation in 2010, I found that most of the dance companies correlated to a non-negligible extent with former gangs, in some cases even each one of their male members. What I argue here is that, although this change from gangs to dance companies allowed moving from a damaging form of sustenance to a more legitimate one, the conflict inherent within the gangs is still present in salsa dance, only in a more ritualised way. Hence, I present how this conflict appears in performances and, particularly, competitions in the form of an aggressive body language that – curiously in the context of dance – is often perceived by the audience as ‘energetic’ rather than ‘violent’. I propose that this aggressive masculinity of bodies in both gang and dance performance is a negotiation of tensions through  the expectations and expressions of male demeanour. (Full article available in URL above)

La communication non verbale désigne tout mode de communication n'ayant aucun recours aux mots pour être véhiculé et est l'un des nombreux domaines d'intérêt de la psychologie. Elle étudie le fonctionnement de l'esprit humain à partir, en partie, de ses émotions. Les recherches menées par des universités américaines ont démontré que la communication humaine est principalement non-verbale et que les comportements non verbaux occuperaient une part importante dans les interactions sociales. Plus précisément, les études menées par le professeur Albert Mehrabian ont établi la règle suivante : 7 % de la communication est verbale, 38 % de la communication est vocale et 55 % de la communication est non verbale. Il est de notre nature de juger rapidement les autres par leur attitude, leur niveau de dominance sociale, leur gentillesse, leur beauté physique et leur intelligence, etc. Notre langage non verbal est un reflet fidèle de notre état affectif et il permet aux autres de voir comment la personne a tendance à gérer ce qu'elle vit intérieurement sans avoir recours au langage verbal. N'importe qui peut s'entraîner à lire le non verbal et maitriser cet art de la communication. Par contre, l'évolution a fait que les femmes ont une plus grande capacité cérébrale au langage non verbal. Cela serait inné afin de pouvoir décoder plus facilement les signaux de communication de leur bébé. Elles auraient une meilleure organisation synaptique visible au MRI constituée de 14 à 16 sections du cerveau activé pour la lecture des comportements non verbaux (évaluation) tandis que les hommes en auraient seulement entre 4 et 6. Les femmes sont donc plus spécialisées de nature dans la lecture des émotions des autres et reconnaissent plus facilement certains signaux universels comme les expressions du visage. Pour les autres, moins spécialisés dans cet art, il est quand même possible d'apprendre à le lire et à en développer une expertise. Voici un exemple simple de comment s'entraîner pour devenir un maître en communication non verbale :  15 minutes par jour de lecture non verbale des autres;  Lire un livre spécialisé en communication non verbale; Silence ! Moteur ! Action ! INITIATION AU CINÉMA pour le primaire auteur : Yannick Gervais en contrôle de l'extérieur, vous avez tendance à être inquiet et concerné de l'intérieur et par moment, vous vous demandez si vous avez pris la bonne décision ou fait le bon choix. » Ce texte est précis à 80% pour la majorité des gens qui le lise. La personne qui fera cette lecture donnera l'impression d'être un devin aux yeux des non initiés. En général, les enfants sont plus faciles à lire que les adultes. Ils sont plus lents et explicites dans leur non verbal. Par exemple : un enfant qui ment met ses deux mains devant sa bouche, un ado, lui, mettra un seul doigt en frottant ses lèvres et l'adulte se frottera les lèvres ou passera sa main devant sa bouche rapidement et subtilement. Le fait d'être découvert durant l'enfance fait que l'on développe des stratégies plus subtiles d'expression non verbale pour camoufler nos mensonges. Par contre, plusieurs signes non verbaux ne peuvent être simulés comme: la dilatation et la constriction des pupilles; la sudation; le rougissement; et les micros expressions faciales. Ces manifestations sont automatiques et s'activent sans notre consentement conscient. Dans de tel cas, quand le verbal contredit les signes non verbaux impossible à simuler, le verbal doit être ignoré. On peut feindre de la soumission ou de la dominance par la posture du corps, mais certains signes contradictoires et inconscients finiront par émerger et seront détectés. Pour les autres manifestations non verbales possibles à contrefaire comme se croiser les bras ou les jambes, il est beaucoup plus efficace dans la vie de les éviter afin d'adopter un langage non verbal positif plutôt que négatif. Avant d'aller plus loin, il est important de bien comprendre comment lire le langage non verbal, car, comme pour le langage verbal et écrit, le non verbal a aussi ses règles et ses méthodes d'analyse : 1) Lire les gestes en grappe et non en les isolant. Chaque geste est comme un mot et il en faut plus d'un pour former une phrase. Tout comme dans le langage verbal, un mot peut avoir plusieurs sens. Dans le non verbal, un geste peut aussi avoir plusieurs sens. C'est en les mettant en grappe qu'il est possible de pouvoir trouver un sens à ce que le corps dit. Il faut au moins 3 gestes pour qu'une lecture soit valide et il faut ensuite les mettre en lien avec ce qui est dit verbalement pour conclure s'il y a congruence entre les deux messages. Ex : croise ses jambes, croise ses bras partiellement et met sa main en position d'évaluation index vers le haut avec le menton et la tête penchée vers le bas = n'aime pas ce qui est dit, n'est pas d'accord avec l'orateur et a une attitude négative. L'apparition en grappe peut être parallèle

Personnel representatives (N = 52) were shown one of four videotaped job interviews in which the verbal content of the l6-min interview was identical, but the interviewee's nonverbal behavior was manipulated. A "low nonverbal" interviewee was defined by minimal eye contact, low energy level, lack of affect and voice modulation, and a lack of speech fluency. The "high nonverbal" interviewee demonstrated the opposite behavior on each of these components. The subjects were asked to rate the videotaped candidates on dimensions previously identified as critical in influencing a job interviewer's decisions. Nonverbal behavior was found to have a significant effect on almost every rating made by subjects in this study. After reviewing the entire l6-min interview, 23 of the 26 subjects who saw the "high nonverbal" candidate would have invited him/her for a second interview. All 26 of the subjects who saw the "low nonverbal" candidate would not have recommended a second interview. Since the important research of Webster (1964) and his associates, the investigation of job interview variables has been pursued in several ways. A number of authors (Downs, 1969; Drake, Kaplan, & Stone, 1972; Tschirgi, 1973) have attempted to identify critical interviewee characteristics by asking professional recruiters to list or to rank order important qualities which are used to evaluate candidates during a selection interview. This methodology has provided some consensus regarding global interviewee characteristics such as "ability to communicate," "enthusiasm, " "motivation," and "self-confidence."

This essay extends and critiques Esther Gordon Dotson’s analysis linking Michelangelo’s Sistine Ceiling to an Augustinian world view by focusing on the iconography and formal language of the three first compartments with Creation scenes. Aiming to keep the interpretation on a level as simple as possible, this analysis also strives to clarify the interpretative character of the framework, supposing that all the different parts of the Ceiling decoration are entangled and relate to the Genesis series, which is the core of the decoration and the beginning of a comprehensive narration of Augustine’s two cities – the City of God on its pilgrimage in a world of sin.

This article is part of the continuous effort to understand human emotions and its replication in animated characters. Previous contributions to this matter concluded many interesting aspects like the power of non-verbal communication, the existence of some universal facial expressions, the facial communication choice of many investigators as opposed to the lack of universal body language studies, the need for minimum body gestures to help universal communication, the existence of cliché silhouette body poses, etc. The present article pretends to be a facial and body study about one of Inside-Out's main characters: Fear. The main objective is to understand what kinds of combinations were used to communicate this emotion. This way we pretend to study universal communication details and add valuable information to previous studies, including statistic data.

While the digital era has provided us with an incredible amount of accessibility, availability, and speedy tools, it has also made us lose that sense of critical awareness that was once considered a rare and precious gift. The marking feature of the present is ubiquity, as in the loss of spatial and temporal coordinates and the gain of a presence-absence that new technologies allow us to live – both positively and negatively. The body is the core of this electronic, virtual, and increased involvement. In this phase we’re living in, the author suggests we introduce the neologism “metrobody” to identify this new hybrid condition undertaken by the body. This expression allows the author to reconfigure and hypothesize a different level and a different meaning of corporeality.

Nonverbal communication has been a focus of consideration for some time in areas such as corporate performance skills and individual societal skills. However, it has received little consideration, in language teaching as an accompaniment to spoken language, though recent drifts in neuro-linguistic programming concerning reflecting and corresponding body language have sieved into current research and practice. Comparatively very few techniques have been proposed for teaching nonverbal communication compared to its importance. This paper discusses components and tips of non-verbal communication and how to improve them.

The thumb-the digitus pollex or most often simply pollex-comes up across Roman culture in familiar contexts. It can be used to wish someone good luck, or it can possess an apotropaic function, as in the well-known "fig" gesture. And of course, in the Roman manifestation most familiar to the twentieth century, the thumb was employed by the crowd at the gladiatorial games to indicate whether a defeated fighter should be killed or spared. But despite what most people would suppose from later artistic renditions or from any of a number of Hollywood films, scholarly reference works offer either conflicting assertions or candid uncertainty regarding both the appearance and significance of the thumb in this gesture. It has been lifted up, pointed down, hidden in the hand, directed at the chest, and squeezed between the middle and index finger.1 I would like to resolve this uncertainty, or at least try to systematize it, by foregrounding the thumb's role in the symbolic system of bodily gesture, by isolating it as a thing in itself with independent properties and qualities. Latin texts repeatedly acknowledge the thumb's significance as an independent entity, and the digit's I must express my gratitude to a number of individuals and institutions. Andrew Riggsby and Jacqueline Sadashige invited me to present an earlier version of this argument in San Diego at a joint panel of the American Institute of Archeology/American Philological Association entitled "The Social Life of Roman Things." Brian Krostenko offered sage advice on both linguistics and physiology, and Riudiger Niehl provided an inaccessible German article. In Munich, the Thesaurus Linguae Latinae allowed access to its archives and Drs. Cornelis van Leijenhorst answered subsequent queries; in Nimes, Dominique Darde and the staff at the Musee Archeologique permitted me to examine the "medaillon de Cavillargues," photocopied rare bibliographical items, and generously made and provided photographs; in Lawrence, the Hall Center for the Humanities at the University of Kansas provided much-needed travel funding for research in southern France and Rome. His omnibus pollices premo utrosque. I Only Echtermeyer and Post offer extended discussions of the sign from the arena and, except for Post's discussion of the "m6daillon de Cavillargues" (see section 2 below), both scholars restrict themselves to textual sources. Elsewhere, a wide variety of possible interpretations are found confidently expressed in such standard works of classical studies as A. Forcellini, Totius latinitatis lexicon, rev. J. Bailey, 2 vols. (London 1828), s.v. premere (spare = thumb in fist; death = thumb up); A. Otto, Die Sprichworter und sprichwortlichen Redensarten der Romer (Leipzig 1890) 283 (spare = "fig"); Friedlander, 2:61, 4:520 (spare = thumb up; death = thumb down); W. Smith et al., eds., A Dictionary of Greek and Roman Antiquities, 3rd ed. (London 1914) 1:917 (spare = waving handkerchiefs; death = thumb up); E. Courtney, A Commentary on the Satires of Juvenal (London 1980) 161-62 ("the actual gesture is hard to establish"); L. Rohrich, Das grosse Lexikon der sprichwortlichen Redensarten (Freiburg 1991) 1:305 assumes the sign for sparing must have been equivalent to the German Daumenhalten (thumb enclosed in fist). The only discussion I have found that corresponds with my own conclusions is, if I interpret him correctly, that of Montaigne (spare = "de comprimer et baisser les pouces"; death = "de les hausser et contourner au-dehors," from "Des pouces" [Essai 2.26] in Oeuvres completes, ed. R. Barral and P. Michel [Paris 1967] 284).

Navigating the global business environment successfully requires specific skills that are often underestimated. Cultural awareness is one of the most important and lack of intercultural sensitivity can cause companies severe damage. The purpose of this paper is to call attention to the importance of language and culture in international business negotiations and give a general overview of specialist topics like anthropology, linguistic relativity and applied linguistics studies to a non-specialised audience. Valuable information regarding the most substantial theories in the field will be provided in the first part. The cultural dimensions theory of Hofstede, the model of Lewis and Boroditsky’s theory of the influence of language on thought will also be addressed. Practical hints for negotiations with German partners will be given in the second part.

Although verbal communication is what we say to each other, nonverbal communication makes up 93% of our communication package. Emotions, gestures, body language, space, and time are used extensively through sheer amounts of verbal communication. Furthermore, when we know that it is easy to lie, it is more difficult to show lies; thus, nonverbal communication is more reliable than verbal.
Nonverbal communication is an important and powerful part of communication. It is a large, all-encompassing area, and according to it – the definition of nonverbal is quite broad. Any nonlinguistic variable in nonverbal communication receiver has a stimulating meaning. Any communicative component other than language, stimulating some sort of message in the receiver's mind is part of nonverbal communication.
This research also deals with the meaning, definition, types, functions, components communication and furthermore, detailed information about non-verbal communication as well. This research has been done keeping in mind that every section of society from all over the world can get information by reading it.

The principal purpose of this paper is to study, confer and make thought provoking discussion about the practices of Teaching English Language in India and the role of body language in it. As far as non-native language is concerned, it looks quite impossible to convey thoughts originally to others without proper gestures and body movements. The same happens when the teacher of English uses his /her facial expressions, gestures and hands movements upward and downward. The understanding of a language lies more in the body movements of the speaker. The methods of nonverbal communication are fruitful and more beneficial for verbal communication particularly if English is taught as non-native language. As Albert Meherebian observes that "The communication with non-verbal methods, like symbol, signs and gestures squeezes more into the mind of receiver than the communication with spoken words."(1). The teacher of English uses words, phrases and sentences in class but due to mother tongue influence intonation of his own language is exercised by him and consequently the students can't get the meaning fully of what the teacher teaching in the class. Considering one aspect of Indian English there are two ways of framing Interrogative sentence.-1. As per English grammar 2. Non-acceptable according to English Grammar but acceptable in Indian context E.g. 1. Are you going there? (English Grammar is followed here) 2.

German film director Charlotte “Lotte” Reiniger (June 2, 1899 – June 19, 1981) is one of the most influential women directors because of her contributions to silhouette ani- mation as well as to silent film. One of Reiniger’s favourite activities in her childhood was to perform shadow plays for her family and friends. Back then she did not realize that this art would lead her to the theatre of Max Reinhardt, who collaborated with the famous German dramatist Paul Wegener.
From the time Reiniger was fifteen years old, she aspired to be an actress, as she admired theatre performances directed by Paul Wegener. The famous artist was intrigued by Reiniger’s silhouette paper cut-outs of the performers from the theatre of Max Reinhardt. The actors from Paul Wegener’s play received them as free gifts, and this led to the foundation of Wegener and Reiniger’s future cooperation; mainly she did set design and acted as an extra. In the fifty films Reiniger produced throughout her life, her paper-cut characters fulfilled her dream of being more than a supporting actress. By cutting paper into pieces and reconstructing them, Reiniger acted as a variety of characters, from a Prince (The Adventures of Prince Achmed/ Die Abenteur des Prinzen Achmed, 1926) to a Doctor (Dr. Dolittle and his Animals/ Dr. Dolittle und seine Tiere, 1928); from a magician boy (Ten Minutes of Mozart/ Zehn Minuten Mozart, 1930) to a bird hunter (Papageno, 1935). Even if these characters were male figures, they trans- mitted the reflection of a pioneer actress and artist.
Reiniger’s second silent feature film Dr. Dolittle and his Animals was not appreciated by the public, as it ignored the oncoming tide of sound film, but this animated work, inspired by Hugh Lofting’s novel of the same title, used gestures of animated characters to vividly speak with another kind of “sound”. While the first
several of Reiniger’s films were lost or damaged in World War II, The Adventures of Prince Achmed and Dr. Dolittle and his Animals were restored by the British Film Institute in accordance with Reiniger’s handbook from 1925. The pace and the running time differ from the originals though. Most of her work that we are discussing has actually lost much of the finer details, especially in the backgrounds. In the words of film historian William Moritz: let’s hope that a more authentic restoration becomes available soon1.
The Adventures of Prince Achmed is thought to be one of the oldest surviving feature-length animated films and is also considered to be the first avant-garde full- length animated feature. In fact, the first feature-length animated film was created by Argentinean artist Quirino Cristiani, but unfortunately, his works are lost. A similar debate is conducted in regard to the question of the first animated documentary, con- sidering The Sinking of the Lusitania (dir. Winsor McCay, 1918, USA) which was a work of anti-war propaganda2. The Adventures of Prince Achmed paved the way for usage of a multiplane camera, ten years earlier than its use in Snow White and the Seven Dwarfs (1937, dir. David Hand, USA), produced by Walt Disney. The entire film is animated in the silhouette technique which employs movable cardboard and metal cut-outs posed in front of illuminated sheets of glass. This special form glorifies the romantic fantasy of Prince Achmed who sets off on an adventure with a magical flying horse, and falls in love with Princess Peri Banu, becoming a new sparkling “star” in the mysterious sky of “The Arabian Nights”.

In this article, I draw on the theories of three scholars whose works have not typically been part of the negotiation and conflict resolution canon (Arthur Koestler, Edward T. Hall, and Gregory Bateson) to develop the beginnings of a new model for creative and constructive conflict transformation that features playfulness and humor as its key components. I explore the connections between Koestler’s theory of bisociation in the act of creation, Hall’s ideas about the cultural construction of emotional responses, and Bateson’s theories about the role of play and humor in human communication. All three authors focused particularly on body language and on the cognitive impact of emotions. Drawing on their theories and the connections between them, I suggest the theoretical underpinnings of a model for approaching conflict in which displacements and surprises, playfulness, humor, and “punch lines” can serve to reframe issues and open up new avenues for consensus building and resolution.

The purpose of this review article is to provide a comprehensive description of research on homesign systems. Homesign refers to the gestural communication of deaf individuals who do not learn a spoken language and who are not exposed to a signed language. The phenomenon of homesign provides psycholinguists with the opportunity to investigate language structure, acquisition and processing under circumstances that cannot be experimentally induced; essentially, homesign emerges only in situations where there is not sufficient language stimulation in an individual's environment to permit typical language development. Thus, studies of homesign are necessarily rare, but potentially very important for our understanding of the human capacity for language generation, acquisition and processing. This article will describe homesign research in the context of three theoretical issues that can be informed by investigations of homesign: (1) how iconicity affects language structure and use, (2) the role of input in language development, and (3) the nature of the critical period for language acquisition.

Why are so many Hellenistic kings shown with one arm in the air? Could posture distinguish the slave from the citizen? Was there a Hellenistic etiquette of sitting down? How did Hellenistic Greeks feel about the bodies of the disabled and the elderly? And what did it mean to Tuck-for-Luck?

This richly-illustrated book brings together a wide range of Hellenistic art objects, and reveals how ancient social attitudes were encoded in the body language of their subjects. Incorporating approaches from anthropology and archaeology, it considers a wide range of social groups, from the elite to slaves, and examines the postures, gestures, and body actions which were considered appropriate to each.

By examining Hellenistic kings, queens, public intellectuals, citizen men and women, Africans, servants, paidagogoi, fishermen, peasants, old women, dwarfs, and the disabled, this study provides important new insights into what is 'Hellenistic' about Hellenistic Art, and into the anxieties of Hellenistic society. In doing so, it not only reconsiders familiar concepts such as the 'individuality' of the civic elite and the apparent passivity of women, but also reveals Hellenistic attitudes towards issues such as old age, race, and child abuse, and explores power, prejudice, and the role of art in both reflecting and enforcing social stereotypes.

Preface
List of Figures
Abbreviations
Introduction
Part I: Kings and the Civic Elite
1: The Body Language of Hellenistic Kings
2: The Body Language of the Civic Elite: Men
3: The Body Language of the Civic Elite: Women
Part II: Lower Status Groups
4: The Body Language of 'Genre' Figures
5: The Body Language of 'Grotesques'
Part III: Synthesis
6: Body Language in Hellenistic Art and Society
Appendix 1: The Mime 'problem'
Appendix 2: The Body Language of Sitting
Bibliography
Index

Taking the general definition of intersubjectivity in terms of a mutual sharing of experiences as its startingpoint, the present inquiry aims to give an account of intersubjectivity that will detail its role for the development of intentional communication. This requires, however, an account of intentional communication that permits identifying those of its constitutive behaviours that are as well intersubjective; behaviours that do not involve intersubjectivity will not be vulnerable open to its influence. Section 2 provides such an account, and then establishes that types of referential behaviour and of such that indicates communicative intent are intersubjective. Section 3 brings up some data on pointing, visual attention contact, and gaze following -behaviours that in the preceding section have been identified as intersubjective. The data shows that these behaviours may appear well ahead of the time at which intentional communication normally is held to emerge. A few general suggestions as to why they nevertheless do not result in the onset of intentional communication are discussed and found wanting. Instead a search is launched for individual factors that might explain the contradictory data on intersubjective behaviour and intentional communication, while still being general enough to be useful for the inquiry concerning the global relation between intentional communication and intersubjectivity. In sections 4 and 5, three factors are discerned that fit the desired profile, pertaining to, respectively, the relation of intersubjectivity; the various forms that intersubjectivity may take in contexts of use as determined by the kind(s) of sharing between sender and observer which occurs in that context; and finally, the processing modes and processing levels of intersubjective behaviour. These factors all have varieties, making it possible to, by changing either the strength and form of individual factors or exchanging factors for each other, experimentally as well as conceptually (in theory construction) test the over-all relevance of each factor for specific elements of intentionally communicative behaviour. Finally, in section 6, a general perspective is taken on the relation between sender and observer, criticising attempts to model it in terms of, first, instrumental action, then, co-operation. The discussion pinpoints yet some intersubjective aspects of intentional communication, and ends in the claim that a primordial self-other equivalence constitutes the source of intersubjectivity.

The last two decades have seen the emergence of a significant subgenre called neuronovels or neurofictions (Roth 2009). An outstanding common feature of these novels is the presence of a character suffering from an injury or illness affecting his or her sense of personhood or self, such as autism (Mark Haddon's The Curious Incident of the Dog in the Nighttime), Alzheimer's and dementia (Alice LaPlante's Turn of Mind, Lisa Genova's Still Alice, and Emma Healey's Elizabeth is Missing), or trauma (Jonathan Safran Foer's Extremely Loud and Incredibly Close).