Have Hand Gestures Become Globalized?
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Human Hand Function This Page Intentionally Left Blank Human Hand Function
Human Hand Function This page intentionally left blank Human Hand Function Lynette A. Jones Susan J. Lederman 2006 Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dares Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2006 by Lynette A. Jones and Susan J. Lederman Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrievalsystem, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Jones, Lynette A. Human hand function / Lynette A. Jones and Susan J. Lederman. p. cm. Includes bibliographical references and index. ISBN-13 978–0–19–517315–4 ISBN 0–19–517315–5 1. Hand—Physiology. 2. Hand—Anatomy. 3. Hand—Movements. I. Lederman, Susan J. II. Title. [DNLM: 1. Hand—physiology. 2. Hand—anatomy & history. WE 830J775h 2006] QP334.J66 2006 611'.97—dc22 2005018742 987654321 To all those who have worked to unravel the mysteries of the human hand This page intentionally left blank ACKNOWLEDGMENTS The ideas and initialplanning for this book began in September 2001 during Susan Lederman's sabbaticalin the Department of Mechanical Engineering at the Massachusetts Institute of Technology. -
Gestural Ekphrasis: Toward a Phenomenology of the Moving Body in Joyce and Woolf
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2018 Gestural Ekphrasis: Toward a Phenomenology of the Moving Body in Joyce and Woolf Lauren Nicole Benke University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Literature in English, British Isles Commons Recommended Citation Benke, Lauren Nicole, "Gestural Ekphrasis: Toward a Phenomenology of the Moving Body in Joyce and Woolf" (2018). Electronic Theses and Dissertations. 1401. https://digitalcommons.du.edu/etd/1401 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Gestural Ekphrasis: Toward a Phenomenology of the Moving Body in Joyce and Woolf __________ A Dissertation Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Lauren N. Benke March 2018 Advisor: Eleanor McNees © Lauren N. Benke 2018 All Rights Reserved Author: Lauren N. Benke Title: Gestural Ekphrasis: Toward a Phenomenology of the Moving Body in Joyce and Woolf Advisor: Eleanor McNees Degree Date: March 2018 ABSTRACT This theoretical project seeks to introduce a new critical methodology for evaluating gesture—both represented in text and paratextual—in the works of Virginia Woolf—specifically The Voyage Out (1915), Orlando (1928), The Waves (1931), and Between the Acts (1941)—and James Joyce—particularly Ulysses (1922) and Finnegans Wake (1939). -
Neural Systems of Visual Attention Responding to Emotional Gestures
Neural systems of visual attention responding to emotional gestures Tobias Flaisch a,⁎, Harald T. Schupp a, Britta Renner a, Markus Junghöfer b a Department of Psychology, University of Konstanz, P.O. Box D 36, 78457 Konstanz, Germany b Institute for Biomagnetism and Biosignalanalysis, Münster University Hospital, Malmedyweg 1, 48149 Münster, Germany abstract Humans are the only species known to use symbolic gestures for communication. This affords a unique medium for nonverbal emotional communication with a distinct theoretical status compared to facial expressions and other biologically evolved nonverbal emotion signals. While a frown is a frown all around the world, the relation of emotional gestures to their referents is arbitrary and varies from culture to culture. The present studies examined whether such culturally based emotion displays guide visual attention processes. In two experiments, participants passively viewed symbolic hand gestures with positive, negative and neutral emotional meaning. In Experiment 1, functional magnetic resonance imaging (fMRI) measurements showed that gestures of insult and approval enhance activity in selected bilateral visual associative brain regions devoted to object perception. In Experiment 2, dense sensor event related brain potential recordings (ERP) revealed that emotional hand gestures are differentially processed already 150 ms poststimulus. Thus, the present studies provide converging neuroscientific evidence that emotional gestures provoke the cardinal signatures of selective visual attention regarding brain structures and temporal dynamics previously shown for emotional face and body expressions. It is concluded that emotionally charged gestures are efficient in shaping selective attention processes already at the level of stimulus perception. Introduction their referents is arbitrary, builds upon shared meaning and convention, and consequently varies from culture to culture (Archer, In natural environments, emotional cues guide visual attention 1997). -
Teaching Standards- Based Creativity in the Arts
Teaching Standards-based Creativity in the Arts Issued by Office of Academic Standards South Carolina Department of Education Jim Rex State Superintendent of Education 2007 1 Table of Contents CONTRIBUTORS ................................................................................. 3 WHY CREATIVITY? ............................................................................. 5 CULTIVATING CREATIVITY IN ARTS EDUCATION: MYTHS, MISCONCEPTIONS, AND PRACTICAL PROCEDURES………………………..7 DANCE: .......................................................................................... 100 GRADES PREK-K ............................................................................... 101 GRADES 1-2 .................................................................................... 111 GRADES 3-5 .................................................................................... 122 GRADES 6-8 .................................................................................... 139 GRADES 9-12 .................................................................................. 162 GRADES 9-12 ADVANCED .................................................................... 186 DANCE CREATIVITY RESOURCE LIST ........................................................ 208 MUSIC ............................................................................................ 213 MUSIC: GENERAL ............................................................................. 214 GRADES PREK-K .............................................................................. -
The Protrepticus of Clement of Alexandria: a Commentary
Miguel Herrero de Jáuregui THE PROTREPTICUS OF CLEMENT OF ALEXANDRIA: A COMMENTARY to; ga;r yeu'do" ouj yilh'/ th'/ paraqevsei tajlhqou'" diaskedavnnutai, th'/ de; crhvsei th'" ajlhqeiva" ejkbiazovmenon fugadeuvetai. La falsedad no se dispersa por la simple comparación con la verdad, sino que la práctica de la verdad la fuerza a huir. Protréptico 8.77.3 PREFACIO Una tesis doctoral debe tratar de contribuir al avance del conocimiento humano en su disciplina, y la pretensión de que este comentario al Protréptico tenga la máxima utilidad posible me obliga a escribirla en inglés porque es la única lengua que hoy casi todos los interesados pueden leer. Pero no deja de ser extraño que en la casa de Nebrija se deje de lado la lengua castellana. La deuda que contraigo ahora con el español sólo se paliará si en el futuro puedo, en compensación, “dar a los hombres de mi lengua obras en que mejor puedan emplear su ocio”. Empiezo ahora a saldarla, empleándola para estos agradecimientos, breves en extensión pero no en sinceridad. Mi gratitud va, en primer lugar, al Cardenal Don Gil Álvarez de Albornoz, fundador del Real Colegio de España, a cuya generosidad y previsión debo dos años provechosos y felices en Bolonia. Al Rector, José Guillermo García-Valdecasas, que administra la herencia de Albornoz con ejemplar dedicación, eficacia y amor a la casa. A todas las personas que trabajan en el Colegio y hacen que cumpla con creces los objetivos para los que se fundó. Y a mis compañeros bolonios durante estos dos años. Ha sido un honor muy grato disfrutar con todos ellos de la herencia albornociana. -
Dzhokhar Tsarnaev Had Murdered Krystle Marie Campbell, Lingzi Lu, Martin Richard, and Officer Sean Collier, He Was Here in This Courthouse
United States Court of Appeals For the First Circuit No. 16-6001 UNITED STATES OF AMERICA, Appellee, v. DZHOKHAR A. TSARNAEV, Defendant, Appellant. APPEAL FROM THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF MASSACHUSETTS [Hon. George A. O'Toole, Jr., U.S. District Judge] Before Torruella, Thompson, and Kayatta, Circuit Judges. Daniel Habib, with whom Deirdre D. von Dornum, David Patton, Mia Eisner-Grynberg, Anthony O'Rourke, Federal Defenders of New York, Inc., Clifford Gardner, Law Offices of Cliff Gardner, Gail K. Johnson, and Johnson & Klein, PLLC were on brief, for appellant. John Remington Graham on brief for James Feltzer, Ph.D., Mary Maxwell, Ph.D., LL.B., and Cesar Baruja, M.D., amici curiae. George H. Kendall, Squire Patton Boggs (US) LLP, Timothy P. O'Toole, and Miller & Chevalier on brief for Eight Distinguished Local Citizens, amici curiae. David A. Ruhnke, Ruhnke & Barrett, Megan Wall-Wolff, Wall- Wolff LLC, Michael J. Iacopino, Brennan Lenehan Iacopino & Hickey, Benjamin Silverman, and Law Office of Benjamin Silverman PLLC on brief for National Association of Criminal Defense Lawyers, amicus curiae. William A. Glaser, Attorney, Appellate Section, Criminal Division, U.S. Department of Justice, with whom Andrew E. Lelling, United States Attorney, Nadine Pellegrini, Assistant United States Attorney, John C. Demers, Assistant Attorney General, National Security Division, John F. Palmer, Attorney, National Security Division, Brian A. Benczkowski, Assistant Attorney General, and Matthew S. Miner, Deputy Assistant Attorney General, were on brief, for appellee. July 31, 2020 THOMPSON, Circuit Judge. OVERVIEW Together with his older brother Tamerlan, Dzhokhar Tsarnaev detonated two homemade bombs at the 2013 Boston Marathon, thus committing one of the worst domestic terrorist attacks since the 9/11 atrocities.1 Radical jihadists bent on killing Americans, the duo caused battlefield-like carnage. -
This List of Gestures Represents Broad Categories of Emotion: Openness
This list of gestures represents broad categories of emotion: openness, defensiveness, expectancy, suspicion, readiness, cooperation, frustration, confidence, nervousness, boredom, and acceptance. By visualizing the movement of these gestures, you can raise your awareness of the many emotions the body expresses without words. Openness Aggressiveness Smiling Hand on hips Open hands Sitting on edge of chair Unbuttoning coats Moving in closer Defensiveness Cooperation Arms crossed on chest Sitting on edge of chair Locked ankles & clenched fists Hand on the face gestures Chair back as a shield Unbuttoned coat Crossing legs Head titled Expectancy Frustration Hand rubbing Short breaths Crossed fingers “Tsk!” Tightly clenched hands Evaluation Wringing hands Hand to cheek gestures Fist like gestures Head tilted Pointing index finger Stroking chins Palm to back of neck Gestures with glasses Kicking at ground or an imaginary object Pacing Confidence Suspicion & Secretiveness Steepling Sideways glance Hands joined at back Feet or body pointing towards the door Feet on desk Rubbing nose Elevating oneself Rubbing the eye “Cluck” sound Leaning back with hands supporting head Nervousness Clearing throat Boredom “Whew” sound Drumming on table Whistling Head in hand Fidget in chair Blank stare Tugging at ear Hands over mouth while speaking Acceptance Tugging at pants while sitting Hand to chest Jingling money in pocket Touching Moving in closer Dangerous Body Language Abroad by Matthew Link Posted Jul 26th 2010 01:00 PMUpdated Aug 10th 2010 01:17 PM at http://news.travel.aol.com/2010/07/26/dangerous-body-language-abroad/?ncid=AOLCOMMtravsharartl0001&sms_ss=digg You are in a foreign country, and don't speak the language. -
Hand Gestures
L2/16-308 More hand gestures To: UTC From: Peter Edberg, Emoji Subcommittee Date: 2016-10-31 Proposed characters Tier 1: Two often-requested signs (ILY, Shaka, ILY), and three to complete the finger-counting sets for 1-3 (North American and European system). None of these are known to have offensive connotations. HAND SIGN SHAKA ● Shaka sign ● ASL sign for letter ‘Y’ ● Can signify “Aloha spirit”, surfing, “hang loose” ● On Emojipedia top requests list, but requests have dropped off ● 90°-rotated version of CALL ME HAND, but EmojiXpress has received requests for SHAKA specifically, noting that CALL ME HAND does not fulfill need HAND SIGN ILY ● ASL sign for “I love you” (combines signs for I, L, Y), has moved into mainstream use ● On Emojipedia top requests list HAND WITH THUMB AND INDEX FINGER EXTENDED ● Finger-counting 2, European style ● ASL sign for letter ‘L’ ● Sign for “loser” ● In Montenegro, sign for the Liberal party ● In Philippines, sign used by supporters of Corazon Aquino ● See Wikipedia entry HAND WITH THUMB AND FIRST TWO FINGERS EXTENDED ● Finger-counting 3, European style ● UAE: Win, victory, love = work ethic, success, love of nation (see separate proposal L2/16-071, which is the source of the information below about this gesture, and also the source of the images at left) ● Representation for Ctrl-Alt-Del on Windows systems ● Serbian “три прста” (tri prsta), symbol of Serbian identity ● Germanic “Schwurhand”, sign for swearing an oath ● Indication in sports of successful 3-point shot (basketball), 3 successive goals (soccer), etc. HAND WITH FIRST THREE FINGERS EXTENDED ● Finger-counting 3, North American style ● ASL sign for letter ‘W’ ● Scout sign (Boy/Girl Scouts) is similar, has fingers together Tier 2: Complete the finger-counting sets for 4-5, plus some less-requested hand signs. -
Improving Communication Based on Cultural
IMPROVING COMMUNICATION BASED ON CULTURAL COMPETENCY IN THE BUSINESS ENVIRONMENT by Walter N. Burton III A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida May 2011 IMPROVING COMMUNICATION BASED ON CULTURAL COMPETENCY IN THE BUSINESS ENVIRONMENT by Walter N. Burton III This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Patricia Darlington, School of Communication and Multimedia Studies, and has been approved by the members ofhis supervisory committee. It was submitted to the faculty of The Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment ofthe requirements for the degree ofDoctor ofPhilosophy. SUPERVISORY COMMITTEE: ~o--b Patricia Darlington, Ph.D. ~.:J~~ Nannetta Durnell-Uwechue, Ph.D. ~~C-~ Arthur S. E ans, J. Ph.D. c~~~Q,IL---_ Emily~ard, Ph.D. Director, Comparative Studies Program ~~~ M~,Ph.D. Dean, The Dorothy F. Schmidt College ofArts & Letters ~~~~ Dean, Graduate College ii ACKNOWLEDGEMENTS I would like to thank the members of my committee Prof. Patricia Darlington, Prof. Nennetta Durnell-Uwechue, Prof. Arthur Evans, and Prof. Angela Rhone for your diligent readings of my work as well as your limitless dedication to the art of teaching. I would like to offer a special thanks to my Chair Prof. Patricia Darlington for your counsel in guiding me through this extensive and arduous project. I speak for countless students when I say that over the past eight years your inspiration, guidance, patience, and encouragement has been a constant beacon guiding my way through many perils and tribulations, along with countless achievements and accomplishments. -
The Three Most Common Cross-Cultural Gestures Allan and Barbara Pease
The Three Most Common Cross-Cultural Gestures Allan and Barbara Pease 1.The Ring This gesture was popularised in the USA during the early nineteenth century by the newspapers that were starting a craze or using initials to shorten common phrases. There are any different views about what the initials 'OK' originally stood for, some believing it stood or 'all correct' which was regularly misspelled as 'oil korrect', while others say that it means the opposite of 'knock-out' that is, KO. 'OK' to a Westerner, 'money' to a Japanese, 'zero' to the French insulting to the Turks and Brazilians Another popular theory is that it is an abbreviation of 'Old Kinderhook', from the birthplace of a nineteenth-century American president who used the initials as a campaign slogan. It's obvious that the ring itself represents the letter 'O'in the 'OK' signal. The 'OK' meaning is common to all English-speaking countries and its meaning is fast spreading everywhere due to American television and movies, but it has other origins and meanings in certain places. For example, in France and Belgium it also means 'zero' or 'nothing'. In a Paris restaurant one evening, the waiter showed us to our table and asked, 'Is the table OK?' We flashed him the OK signal and he responded, 'Well, if you don't like it here we'll find you another table...' He had interpreted the OK signal as meaning 'zero' or 'worthless' - in other words, he thought we had communicated that we didn't like the table. Use the 'OK' gesture to tell a French person their cooking is wonderful and they'll probably throw you out. -
How the Black Power Protest at the 1968 Olympics Killed Careers
https://www.history.com/news/1968-mexico-city-olympics-black-power-protest-backlash UPDATED: OCT 19, 2018 ORIGINAL: FEB 22, 2018 How the Black Power Protest at the 1968 Olympics Killed Careers ERIN BLAKEMORE It’s an iconic image: Two athletes raise their fists on the Olympic podium. The photograph, taken after the 200 meter race at the 1968 Summer Olympics in Mexico City, turned African-American athletes Tommie Smith and John Carlos from track-and-field stars into the center of a roiling controversy over their raised-fist salute, a symbol of black power and the human rights movement at large. But look in the photo and you’ll see another man as well: silver medalist Peter Norman, a white Australian runner. Norman didn’t raise his fist that day, but he stood with Smith and Carlos. Though his show of solidarity ended up destroying Norman’s career, the three athletes’ actions that day would be just one in a line of protests on the athletic stage. 2 U.S. athletes Tommie Smith, center, and John Carlos raise gloved hands skyward during the playing of the Star Spangled Banner after Smith reCeived the gold and Carlos the bronze for the 200 meter run at the Summer Olympic Games in MexiCo City, 1968. AP Photo Smith and Carlos, who had won gold and bronze, respectively, agreed to use their medal wins as an opportunity to highlight the social issues roiling the United States at the time. Racial tensions were at a height, and the Civil Rights movement had given way to the Black Power movement. -
Essential Things to Know About Gestures and Body Language
c01.qxp 7/16/07 9:21 AM Page 7 1 Essential Things to Know about Gestures and Body Language Sixty percent of our daily communication is nonverbal. —Edward T. Hall Are simple hand gestures and body movements important? Here are some answers: It’s inaugural day in the United States, 2005. Presi- dent George W. Bush is in the reviewing stand on Washington, D.C.’s Pennsylvania Avenue as the UniversityCOPYRIGHTED of Texas marching band MATERIAL passes by. He raises his hand to salute his alma mater with the time-honored “hook ’em horns” sign—fist raised upright, index finger and pinkie sticking up, the sign of the horns of a Texas longhorn steer, the mascot and symbol of the University of Texas. Bush’s picture appears on TV screens around the globe . and many people in countries around the world are immediately insulted! 7 c01.qxp 7/16/07 9:21 AM Page 8 8 ESSENTIAL DO’S AND TABOOS That very same gesture—fist upraised, index and little fingers extended upward—is considered rude in certain other countries. • In Italy, it means “Your wife is cheating on you!” “You are being cuckolded.” • In some parts of Africa, you are issuing a curse. • In Norway, the Internet newspaper Nettavisen expressed outrage that not only Bush, but his wife and two daughters, would issue such an insult. • Yet the gesture can also have positive meanings. In the Mediterranean Sea, fishing boats may have this symbol painted on their bows to ward off evil, and in Brazil, women often wear gold or silver lockets with this sign as a good luck amulet.