Dissertations / Theses: 'Body language'

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Kim, Lynn. "Body Language." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587494555861933.

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Гладченко, Оксана Робертівна, Оксана Робертовна Гладченко, Oksana Robertivna Hladchenko, and I. Golysheva. "Body language in business." Thesis, Вид-во СумДУ, 2009. http://essuir.sumdu.edu.ua/handle/123456789/17152.

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Shan, Caifeng. "Inferring facial and body language." Thesis, Queen Mary, University of London, 2008. http://qmro.qmul.ac.uk/xmlui/handle/123456789/15020.

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Machine analysis of human facial and body language is a challenging topic in computer vision, impacting on important applications such as human-computer interaction and visual surveillance. In this thesis, we present research building towards computational frameworks capable of automatically understanding facial expression and behavioural body language. The thesis work commences with a thorough examination in issues surrounding facial representation based on Local Binary Patterns (LBP). Extensive experiments with different machine learning techniques demonstrate that LBP features are efficient and effective for person-independent facial expression recognition, even in low-resolution settings. We then present and evaluate a conditional mutual information based algorithm to efficiently learn the most discriminative LBP features, and show the best recognition performance is obtained by using SVM classifiers with the selected LBP features. However, the recognition is performed on static images without exploiting temporal behaviors of facial expression. Subsequently we present a method to capture and represent temporal dynamics of facial expression by discovering the underlying low-dimensional manifold. Locality Preserving Projections (LPP) is exploited to learn the expression manifold in the LBP based appearance feature space. By deriving a universal discriminant expression subspace using a supervised LPP, we can effectively align manifolds of different subjects on a generalised expression manifold. Different linear subspace methods are comprehensively evaluated in expression subspace learning. We formulate and evaluate a Bayesian framework for dynamic facial expression recognition employing the derived manifold representation. However, the manifold representation only addresses temporal correlations of the whole face image, does not consider spatial-temporal correlations among different facial regions. We then employ Canonical Correlation Analysis (CCA) to capture correlations among face parts. To overcome the inherent limitations of classical CCA for image data, we introduce and formalise a novel Matrix-based CCA (MCCA), which can better measure correlations in 2D image data. We show this technique can provide superior performance in regression and recognition tasks, whilst requiring significantly fewer canonical factors. All the above work focuses on facial expressions. However, the face is usually perceived not as an isolated object but as an integrated part of the whole body, and the visual channel combining facial and bodily expressions is most informative. Finally we investigate two understudied problems in body language analysis, gait-based gender discrimination and affective body gesture recognition. To effectively combine face and body cues, CCA is adopted to establish the relationship between the two modalities, and derive a semantic joint feature space for the feature-level fusion. Experiments on large data sets demonstrate that our multimodal systems achieve the superior performance in gender discrimination and affective state analysis.

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Vermeer, Leslie Anne. "Mina Loy, the language of the body, the language of attack." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22560.pdf.

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Wilson, Conor J. R. "Writing_making : object as body, language and material." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1764/.

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A turn away from language and the human mind as the dominant (or only) determinants of reality can be identified within many disciplines, including anthropology, philosophy and literature, reflecting a growing acceptance of human and non-human, living and non-living entities as real, complex and partially withdrawn agents in the world. In Object Oriented Ontology the definition of object is extended to include humans, who have no special ontological status. Timothy Morton proposes rhetoric as a means of drawing closer to other objects, of contacting the ‘strange stranger’; objects cannot be known directly, or fully, but can be explored through imaginative speculation. Drawing on Object Oriented Ontology, my project explores making - an intimate engagement between body and material - as a means of thinking the body as a (strange) object within a mesh of strange objects. Facture is documented as image and language, prompting a series of shifting, speculative questions: • Can writing be brought to making to generate new new approaches to craft production? • How might writing in response to making, or objects, be reintroduced into a making process as a form of feedback? • Can writing_making methods generate new approaches to writing (about) making and materials? • How might a combination of production, documentation and reflection be displayed as artwork/research? • Can making be seen as a means for contacting the ‘strange stranger’?

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Hetherington, F. M. L. "Language and the body : Merleau-Ponty's critique of the philosophy of language." Thesis, University of Essex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371176.

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Tiljander, Cristina. "Social gender norms in body language : The construction of stereotyped gender differences in body language in the American sitcom Friends." Thesis, Karlstad University, Karlstad University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1599.

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Nonverbal communication such as body language is a vital component of our communication, and since scholars agree that there are some notable differences in the way men and women use body language, the study of gendered nonverbal communication as a social construction is vital to our understanding of how we create gendered identities. The aim of this paper is to investigate how social gender norms concerning body language appear in constructed communication. By studying the body language of the characters in the American sitcom Friends, and with focus on leg postures, I examine how the show Friends enacts and represents stereotyped sex differences in body language. The study encompasses both the distribution of leg positions between the genders, and what these postures seem to accomplish in interaction. As for the relationship between gender and leg postures, I observed the sitting positions of the characters Chandler, Ross, Joey, Monica and Rachel in six episodes from the 1999/2000 season of Friends for the first study. For the analysis of leg postures in relation to the communicative situation, the entire corpus of ten episode recordings was used. Based on repeated inspection of scenes where leg positions could be studied in relation to gender and communication, systematic patterns were identified.

The results of the study are consistent with the findings of scholars like Vrugt and Luyerink (2000); women tend to sit in closed postures or with their legs crossed, which is regarded feminine, while men sit in wide positions with their legs spread, which is regarded masculine. Furthermore, the characters/actors in Friends seem to perform their gender roles partly by using different leg positions and wideness of postures. However, leg positions alone were not found to be decisive in the messages communicated, and emotions and stance were communicated using verbal and other non-verbal channels and cues. Instead, leg positions remained gender-stereotypical regardless of the message communicated, and men and women seem to communicate the same message using different leg positions. It is therefore concluded that leg positions are an inherent part of “doing gender”, but that leg positions as such are not necessarily related to the type of message or emotional stance that is communicated.

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Shi, Wenhua. "Paul's message of the cross as body language /." Tübingen : Mohr Siebeck, 2008. http://d-nb.info/988962217/04.

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Nicholls, B. L. "Languages of the body and the body of language : a comparative analysis of two beat writers and two Southern African writers." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343547.

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Kenner, Andrew N. "Consistencies in body-focused hand movements /." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phk358.pdf.

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Bandelin, Jakob. "Avatar Body Language : Supporting Emotive Communication in Virtual Environments." Thesis, Linköping University, Department of Computer and Information Science, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-57541.

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This thesis tells the story of a design case creating an user interface for a MMORPG where the player are able control the body language of the avatar. By this the game can achieve a gameplay about drama and strong characterization. The thesis addresses considerations on what aspects of body language that can be important for computer games and other virtual environments. It also offers design considerations when designing interfaces for using gestures and other body signals to communicate emotions in virtual environments such as computer games. The main design consideration when creating the interface was to treat the player as an actor and the game world as a stage. The player needs to be in control of combinations of facial expressions, body posture and gestures as well as relative avatar positioning to other characters and objects. The interface was first tested as a paper prototype, re-designed, re-tested and then implemented into a computer prototype.

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Beck, Aryel. "Perception of emotional body language displayed by animated characters." Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/perception-of-emotional-body-language-displayed-by-animated-characters(1e1ab3cb-a5eb-453a-8ee4-d432997aeb93).html.

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Virtual Environments have demonstrated effectiveness for social task training such as medical training (Anolli, Vescovo, Agliati, Mantovani, & Zurloni, 2006). These types of Virtual Environments have used emotional animated characters. Even though emotions have a strong influence on human-human interactions (Gratch, Mao, & Marsella, 2006), typical system evaluation does not assess whether human and animated emotional displays are perceived similarly by observers. Moreover, the Uncanny Valley, which is a drop in believability as characters become more realistic, threatens the assumption that emotions displayed by an animated character and a human would be interpreted similarly. Thus, it is not known how appropriate the perception to a realistic emotional animated character is. This issue is especially important for social task training which require animated characters to be perceived as social and emotional partners so that trainees would be confronted with situations comparable to real life ones. Using an approach similar to the one proposed by Nass & Moon (2000) in their work on the Media Equation, this thesis investigates how emotional body language displayed by animated characters is interpreted. A psychological experiment was conducted to investigate if emotional body language would be an appropriate way for animated characters to display emotion. This was done by comparing the interpretation of emotional body language displayed by animated characters with that by real actors. The results showed that animated body language can be accurately interpreted. However, the videos of the actor were found to be more emotional, more believable and more natural than the animated characters, whilst displaying the same emotional body language. Moreover, there was a significant difference in the number of correctly interpreted negative emotions displayed. Although, there was not a difference for positive emotions. This could be due to the physical appearance of the animated character or to the loss of micro-gestures inherent to Motion Capture technology. Thus, a second comparative study was conducted to investigate the potential causes for this drop in believability and recognition. It investigated the effect of changing the level of physical realism of the animation as well as deteriorating the quality of the emotional body language itself. Whilst no effect was found regarding the deterioration of the emotional body language, the results show that the videos of the Actor were found to be more emotional, more believable and more natural than the two animated characters. These findings have strong implications for the use of Virtual Environments for social task training.

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Kansa, Metee. "Body part-related metaphors in Thai and English." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259310.

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The study of body part metaphors provides a convenient way to examine human conceptual structuring because we start from what we as humans share. This study collected and compared Thai and English body part metaphors: one hundred and eighty-four English body part expressions and four hundred and eighty-eight Thai body part expressions were considered.The data are discussed in terms of the body part involved, the underlying conceptual metaphors, and syntactic and morphological form. The data show that basically, Thai and English share many conceptual metaphors, and there are a number of equivalent expressions in both languages, such as hua-hoog [head-spear] `spearhead', and waan-caj [sweet-heart] `sweetheart.' Furthermore, it was found that most body part metaphors are built on three different aspects of body parts: physical constitution, location and nature of involvement. In some contexts, more than one of these bases is involved in the same expression.Other similarities include sharing some of the same morphological and syntactic forms, using the same body parts; relative frequency of individual body parts; having completely equivalent expressions, and having pairs of opposite expressions. Differences involve having some different morphological and syntactic forms; the number of conventional body part metaphors found in translation-equivalent texts, with Thai having many more than English; a difference between the two languages in distribution across written vs. spoken texts; having similarly glossed expressions with different metaphorical meanings; level of markedness for an otherwise equivalent expression; and degree of explicitness in the components of an expression.Finally, applications of the findings to the teaching of English to Thai speakers and vice versa are discussed. I conclude that systematic attention to the bases of metaphorical expressions to facilitate learning is to follow the time-proven practice of linking the old to the new.
Department of English

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Fredal, James. "Beyond the fifth canon : body rhetoric in Ancient Greece /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204280387.

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Anderson, Kathryn. "Body language : ballet as form in literary modernism, 1915-1935." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/59609/.

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This dissertation undertakes an examination of the evolving relationship between text and dance via the ballet texts of literary modernism. My selected texts illuminate a spectrum of performativity, ranging from the blueprints for performance used in the collaborative enterprises of European ballet companies like the Ballets Russes and the Ballets Suédois to later unperformed works by canonical writers. Some texts serve the utilitarian purpose of instructing production, but others independently claim their own aesthetic importance. My study reveals how text infiltrated ballet in the 20th century, and, in turn, how ballet came to serve new expressive purposes on the page. As most of these texts have never been performed, a new question arises: what does it mean to read a ballet? Ballet texts invite a method of reading unique to their own formal experiment: the stylistic range of these texts invites a study of the borders between types of language in a given piece, the materiality of dance, and the word-play that implicated the human body into the space of poetry and prose so intricately in the modernist period. In the contexts of literary modernism and dance and performance studies, I propose my project as a unique and useful tool with which to appreciate and interrogate historical and continuing relationships between text and performance. Critics, scholars, and dance and theatre practitioners have avoided confronting these works, but I propose that it is precisely through their challenging nature that they are essential to a more comprehensive study of individual careers and an expansion of the boundaries of modernism. From Jean Cocteau in 1915 to E. E. Cummings in 1935, the climate that turned writers to ballet demonstrates the value of tradition in a specifically nuanced modernist project that negotiated a concrete cultural past in the context of artistic revolution.

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Botre, Shrikant. "The body language of caste : Marathi sexual modernity (1920-1950)." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/110543/.

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Late colonial Maharashtra witnessed a proliferation of sex literature that claimed to be scientific. Sexual-health journals and books on sexual science and eugenics, as well as marriage manuals insisting on sex reforms, were produced in Marathi in considerable numbers between 1920 and 1950. Why did sex reformism blossom in Maharashtra? What was reformed in the name of sex and science? What larger purpose did this writing serve in late colonial times? The present research work answers these questions while problematising the Marathi sexual modernity articulated through this literature. In critically assessing sex reforms, my argument highlights the rearrangement of an inextricable nexus between caste and sexuality that shaped late colonial Marathi expressions of modernity. The proliferation of scientific sexuality in this process, I argue, was an upper-caste resolution of the Brahminical crisis over dominating reformism in Maharashtra. To demonstrate this, my work situates sex literature in the context of Marathi caste politics. While explaining the Brahminical crisis and its resolution through analysing sexual discourses of brahmacharya (celibacy), marriage, and obscenity, this work unpacks the making of sex reforms as a journey to create a caste-sexual subject of Marathi modernity—the respectable upper-caste man.

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Aoki, Hiromi. "Hearership as interactive practice a multi-modal analysis of the response token Nn and head nods in Japanese casual conversation /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1568188241&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Watkins, Megan. "Discipline and learn : theorising the pedagogic body /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031001.154138/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis submitted to the University of Western Sydney in fulfilment of the requirements for the degree of Doctor of Philosophy" Bibliography : leaves 314-323.

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Videtto, Aubrey. "The Underground House: A Body Memoir." TopSCHOLAR®, 2005. http://digitalcommons.wku.edu/theses/485.

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The creative non-fiction genre, in particular memoir and travel writing, is in a state of constant evolution. Furthermore, as we progress further into postmodern times, writing (both fiction and non-fiction, as well as poetry and drama) becomes more and more confessional and fragmented. These two facts make it difficult to classify the following memoir. It is both travel narrative and memoir on the body, but perhaps none of the traditional writers in either of these camps would claim my piece. Nevertheless, I call it a body memoir, and under essay it should be filed. In three sections (plus an introduction and afterward), "The Underground House: A Body Memoir" follows the preparation for and attempt of a long trip into the Middle East and Africa. The preparation involves the excavation of breast tumors. Post trip, the piece turns to the beginnings of the memoir's persona, in a rural county south of Louisville, Kentucky. The trip itself is played out in an Arabian airport and the capitol of Egypt. The piece draws no conclusions as to the forming of identity (including the neurotic, gender, or philosophical identities of a young woman in early twenty-first century United States of America), though these becomings are certainly taken as the primary subject of the piece. Conclusions are far less important than beginnings, which occur again and again as the piece continues to start afresh - in location, in water, and in reflection.

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O'Loughlin, Antoinette, of Western Sydney Nepean University, and of Performance Fine Arts and Design Faculty. "The ambivalent skin of language." THESIS_FPFAD_XXX_OLoughlin_A.xml, 1993. http://handle.uws.edu.au:8081/1959.7/208.

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The position of the maternal body within patriarchy is the topic of this discussion where, rather than looking at a linear sequence of events, various aspects of this position are explored. On an individual level, the intrusion of the father into the dyadic, and potentially incestuous mother-child relationship, marks the entry of the child into the Symbolic Order, and this reflects the mythical account of creation in the Old Testament, where actual maternity is repressed in favour of a paternal monopoly in creation. Just as monotheism both represses and appropriates many aspects of the goddess cult which preceded it and which it replaces, the maternal body is repressed and appropriated within patriarchy. The acquisition of language and awareness of sexual difference marking entry into the 'Law of the Father,' are constructed on a duality of self and other, a dichotomy of inside and outside with a border, represented by the skin, separating the two. This border, separating the symbolic from its other is tenuous and ambiguous, for it is not entirely impermeable barrier. What seeps across this border, what transgresses the barrier between inside and outside, is considered by Kristeva to be abject. Positioned at the threshold separating inside and outside, abjection is the threat of the ever present, but submerged mother crossing the threshold and disrupting social order. Throughout the paper are images selected from an entire body of related visual research which is closely linked to the ideas contemplated here.
Master of Arts (Hons)

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Hyon, Katherine Sungwon. "In the Body." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/english_diss/34.

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This dissertation is comprised of a collection of nine short stories concerning two young women raised in the same Korean American church environment. In their adolescence, both women are exposed to the influence of a religious cult; one joins, the other does not. This dissertation explores the crises that occur in the wake of a collision between culture and religion as each character seeks to find redemption and renewed faith in God, in family, and in herself.

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Montani, Alessandro. "Mystical language and the problem of the body Jacopone da Todi." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273903.

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Mui, Sian. "Dead body language : deciphering corpse positions in early Anglo-Saxon England." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12829/.

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This work provides a study of corpse positioning as an aspect of mortuary practice. The positional representation of the dead body is fundamental to the perception of death and the deceased, but this aspect of burial treatment has been overlooked and under-theorised in archaeological and anthropological scholarship. With an aim to explore the significance of the positioning of the corpse and its place within wider debates surrounding dying and death, this research examines burial positioning in inhumation graves in early Anglo-Saxon England, c AD 400–750. Bringing together 3,053 graves from 32 cemeteries, this thesis combines statistical methods, artistic reconstructions, typological analysis, grave artefacts, osteological data, literary sources, and representational art to produce a new and challenging examination of funerary remains. This work has identified a positional norm of supine deposition, extended legs, and arms positioned according to one of seven ‘main types’. Patterns and variations in burial positions were manifested as an interplay between conformity to this positional norm and variations beyond it: from the individual level to regional practices, and in relation to long-term changes through the early Anglo-Saxon period. The arrangement of the cadaver was intimately linked with the deceased’s social identity and relationship with other people, mediated by the bodily engagements that took place between the living and the dead in the mortuary performances. The positions of corpses can be argued through this new evidence to be comparable as a source to human representations in art, revealing a wider gestural repertoire in the early medieval world. This work has offered new and exciting insights into living and dying in early medieval England, and has set new agendas for studying body positions from archaeological contexts. This has far-reaching methodological and interpretive implications for the study of death and burial, in the past as well as the present.

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Barclay, Gedney Harrison. "A shape is a sound : reflections on the body and language." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106366.

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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2016.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
"June 2016." Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 51-52).
This thesis examines the practice and projects of the author as both an actor and an artist as an ongoing investigation into the relationship between the body and language, between movement, line, shape, and voice. By weaving together diverse projects from my graduate career that explore voice and language as physical, material processes with episodes from my work as an actor, it investigates translation -- between forms, bodies, languages, and materials -- as a method of creation, a path of invention.
by Gedney Harrison Barclay.
S.M. in Art, Culture and Technology

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Ali, Ahmad, and Svensson Marcus. "Animation through Body Language : A study using the fictional character Mokhtar." Thesis, Uppsala universitet, Institutionen för speldesign, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297660.

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Learning to read body language is something we do throughout our whole life. It is a complex non-verbal language that can express more than words. In this study we investigate the possibility to use only body language to portray emotions to the viewer. In a background of a game project we have used a character that has his face covered, therefore, facial expression is not visible during the online survey, which we used as a method for our investigation. As a foundation we have created four character animations to portray anger, frustration, exhaustion and hurt. To find the answer if it is possible to recognize those five emotions in the character animations survey, participants were obligated to name the emotion expressed on each of the video clips. The results of this study show that the characters body language could be sufficient to portray those five emotions. However, it was concluded that body language could be enough to represent the character's emotional state to the viewer; but by including facial expressions we could help to portray the emotion even further.

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Slaney, Helen. "Language and the body in the performance reception of Senecan tragedy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:72f9cf38-6e9c-40a1-b387-12a754e4d0ea.

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Seneca’s contribution to the development of Western European theatre and conceptions of theatricality has been underestimated in comparison to that of Greek tragedy. This thesis argues for the continuous importance of Senecan drama in theatrical theory and practice from the sixteenth century until the present day. It examines significant instances of Seneca in performance, and shows how these draw on particular aspects of Seneca’s style and dramaturgical technique to coalesce into a sub-genre of tragedy termed here ‘hypertragedy’ or the ‘senecan aesthetic’. The underlying premise of this representational mode is that verbal (vocal) performance is a physical act and induces physical responses. This entails the consequential inference that Senecan theatre is not mimetic – that is, based on an isomorphic identification of character with performer – but rather affective; like oratory, it functions through direct, quasi-musical manipulation of the auditor’s senses. The goal of this theatrical form is to articulate extreme states of mind or experiences which cannot be conveyed via conventional mimetic means: pain, frenzy, dissolution of the self. In tracing the theories of tragedy which comprise a narrative contrapuntal to the reception of Seneca onstage, it is possible to identify the factors which have successively constructed, promoted, suppressed, reviled and finally reinstated the senecan aesthetic as philhellenism’s other.

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Slagle, Judith Bailey. "Performance Review of The Busy Body, by Susanna Centlivre." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3213.

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Review of Susanna Centlivre’s The Busy Body: A Comedy, directed by John Sipes, adapted by Misty Anderson and John Sipes, Clarence Brown Theatre at The University of Tennessee, Knoxville, February 22-March 12, 2017.

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Watkins, Megan. "Discipline and learn : theorising the pedagogic body." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/23481.

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This thesis, grounded in an empirically-based study of pedagogic practice in primary school classrooms, examines the corporeality of learning and its role in the process of learning how to write. The central concern in the formation of scholarly habits in the primary years and the degree to which the embodiment of specific dispositions is fundamental in students acquiring the ability and desire to write. This thesis explores the enabling dimensions of embodiment and how these can be generated through the pedagogic practices of schooling. The body is not simply perceived as being shaped by the external, nor capacitated by its ability to retain affects, but rather as mindful, where these affects form the basis of consciousness with embodied understanding being integral to how we learn. This thesis asserts the inseparability of body and mind. Different conceptualisations of the body are examined, and assessed in terms of their usefulness in understanding the role of the body in learning and the need within education to posit an ontology that embraces both the body and the mind. A genealogy of the educative body is provided through an analysis of English syllabus documents within the New South Wales education system. An empirically-based study is conducted examining the pedagogies employed by six teachers and the ways in which disciplinary techniques they employ can contribute to their students’ acquisition of a scholarly habitus and their ability and desire to write.

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Benson, Elizabeth M. "Disordered: A Tale of the Body." DigitalCommons@USU, 2009. https://digitalcommons.usu.edu/etd/373.

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While a body of creative nonfiction writing exists regarding experiences with various psychological disorders, few personal accounts have been written about the physical complications of Generalized Anxiety Disorder. Some memoirs tell a tale of serious illness in a straightforward narrative line. On the opposite end of this spectrum, other memoirs intentionally blur the lines of truth and heighten the confusion of a disorder. This thesis is as much a narrative of my experience with Generalized Anxiety Disorder as it is a response to the void in creative nonfiction surrounding this specific disorder and the narrative forms others have chosen to utilize while writing about the body. In this thesis, I manipulate traditional narrative forms to expose the truth of my experience. The first chapter contains a straightforward narrative of my experience in the Pioneer Tunnel Coal Mine in Ashland, Pennsylvania, to provide a framework for a thesis regarding the redemption of a ruined landscape, or an ill body. The second section follows the guidelines of a psychosocial interview and intake form used by therapists and reveals the particular physical manifestations of Generalized Anxiety Disorder. The third and final section is fragmented into fiction, drama and memoir. The combination of my personal story with illness and the geological, social and industrial history of central Pennsylvania coal mining and the mutation of form used to convey it permits a deeper level of understanding for the complexities surrounding collapsed bodies, landscapes and narratives.

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Tico, Jenna N. "Body Language: Representations of Dis/Ability in Life Writing and Improvisational Dance." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/87.

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This thesis looks into autobiographical representations of disability and illness in life writing, a flexible form of creative nonfiction, and Contact Improvisation, a postmodern dance form, to argue how the structure of representation must incorporate the physical and emotional/intellectual in order to convey the necessary overlap between the mind and body. Chapter One looks at Plaintext, by Nancy Mairs, to analyze the way her sporadic writing style mirrors the unpredictability of her multiple sclerosis. Chapter Two focuses on Autobiography of a Face, by Lucy Grealy, and examines how the irregularity of the author's face--and the various roles that she takes on throughout her life--undermine the idea of any singular self in life-writing and otherwise. Analysis of Grealy's text is paired with Truth and Beauty, a memoir written by the author's best friend, Ann Patchett, in order to demonstrate the linguistic/cultural distinction--but significant overlap--between dependency and independence. Chapter Three expands upon this idea in relation to disabled dance companies, and highlights Contact Improvisation--a dance form based on the transfer of weight--as a revolutionary forum that incorporates mind and body in an "intratext" of representation. Because it is based on exchange of impulse and a blurring of bodies, CI allows for a fluid negotiation between multiple identities, accommodating the moment-to-moment nature of living with or without a disability.

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Collins, Shane Maurice. "The language of the body : an analysis of Chaucer, Dunbar and Henryson." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5902/.

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The role of the body in social life is a problem that occupies much of medieval thought. This thesis considers the poetic use of the language of the body to convey contemporary concerns and to explore the paradigms of the body that constituted medieval social normality. Each poet considered is deeply influenced by the dominant modes of bodily discourse in medieval life; medicine, religion and natural philosophy. This thesis examines each of these modes of discourse and demonstrates their prevalence in the poetry of Geoffrey Chaucer, Robert Henryson and William Dunbar. It is argued that each poet, while writing under the influence of his predecessors, displays characteristic attitudes to the body and to the social and political concerns that arise around it. It is shown that both of the Scottish poets owe a debt to Chaucer, but that they also develop ways of speaking of the body that are distinctive from him and from each other. This thesis shows three poets negotiating the problematic issue of the body in social life and illustrates their general conformity to social norms, but more importantly their occasional attempts to interrogate and uncover those ideas about the body that were broadly accepted by society.

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Phillips, Louise. "A language of its own? : approaches to the body and mental illness." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270817.

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Gunter, Elizabeth. "The mark of a silent language : the way the body-mind draws." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6656.

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Thesis (PhD)--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: The thesis deals with the notion that individuation in drawing provides visible evidence of experiential cognition as embodied action. It asserts that trait as enaction signifies constructive and inventive processes that involve the body-mind. Trait emerges as nonrepresentationist, non-expressive component of drawing that marks the pre-conceptual as conceptual. Therefore, drawing functions as a complex interface between drafter and world that unifies antimonies such as inside and outside; convention and invention; remoteness and intimacy; body and mind; and subject and object. The thesis outlines drawing as a self-reflexive research process that constructs and invents. An understanding of trait as invention, the thesis proposes, can aid the drawing facilitator at higher education level to develop individual student drafters’ creativity. The thesis therefore argues for a form of drawing facilitation that is responsive to the complex interaction between the self and the world. Responsive mediation develops and celebrates diversity in socio-cultural heritage, personal history, and individual differences.
AFRIKAANSE OPSOMMING: Die idee dat verpersoonlikte trekke in tekenkuns sigbare aanduiding van enaktiewe vergestalting van kognisie is, vorm die onderwerp van hierdie tesis. Die tesis stel dit dat vergestaltende ervaringskognisie, as die tekenaar se ervaringsbetrokkenheid, geïndividueerde begrip, vaardigheid, sintese en betekenisvorming moontlik maak en ontwikkel. Verpersoonlikte trekke in tekenkuns blyk van non-representatiewe en non-ekspressiewe oorsprong te wees aldaar dit die prekonseptuele as die konseptuele merk. Dit ondersteun die gedagte dat tekenkuns as ’n komplekse koppelvlak tussen tekenaar en omwêreld funksioneer. As koppelvlak word die tekenkuns verwesenlik as ’n sigbare samevloeiing van dualiteite soos binne en buite, die gewone en verdigting, afstand en intimiteit, subjek en objek, liggaam en gees. Ingevolge ’n enaktiewe beskouing van die tekenkuns kan die tekenhandeling beskryf word as ’n selfrefleksiewe navorsingsproses wat kreatiwiteit ondersteun. Sodanige beskouing van die tekenkuns, lui die argument, kan die fasiliteerder op ’n hoër onderwysvlak help om individuele tekenstudente se kreatiwiteit te bevorder. Daaruit vloei die voorstel vir ’n vorm van fasilitering wat gevoelig is vir die ingewikkelde interaksie tussen die self en die omgewing. ’n Vorm van mediasie wat dit in ag neem, skep nie alleen ruimte vir diversiteit wat betref sosio-kulturele herkoms, persoonlike geskiedenis en individuele verskille nie, maar ontwikkel en vier ook dié soort diversiteit.

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Massoura, Kiriaki. "The politics of body and language in the writing of Margaret Atwood." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/10907/.

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Alexander, Robyn Gaye. "Body/sexuality/control : female identity in four Fay Weldon novels." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/20451.

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Bibliography: pages 154-163.
This thesis explores the manner in which female identity is depicted and the concept itself deployed in four novels by Fay Weldon (1931- ), a contemporary English writer. The novels examined are Puffball (1980), The President's Child (1982), The Cloning of Joanna May (1989) and Growing Rich (1992). The thesis's· theoretical focus is feminist, and it makes use of terms, arguments and insights provided by contemporary feminist literary and cultural theory. It thus in part also explores the usefulness of insights provided by recent feminist poststructuralist theory, with particular reference to psychoanalytic theory. On the whole, these insights are found to be useful, even though they do not entirely answer some of the questions generated by the possibilities which are shown to exist for female subjects within western culture. The thesis's conclusion suggests ways in which this lack of definitive answers might in its turn be interpreted. The first chapter, dealing with Puffball, examines the novel's depiction of the effects of pregnancy on a woman's body and in turn on her sense of her own identity. This is followed by a chapter on The Cloning of Joanna May, which also takes female experience of the maternal as its central focus. This chapter shows how Weldon investigates current meanings of birth, children, identity and the natural via a plot concerned with the uses and abuses of contemporary reproductive technologies. A short chapter on Weldon's prose style, which is seen to manipulate aspects of form in order to generate particular effects, follows. In it, the current reception of Weldon's work and her use of humour in her writing is commented upon. This chapter also anticipates the question of the use of narrative voice, which is crucial to the novels dealt with in the final two chapters. In the first of these, which explores Growing Rich, the manner in which masculine power is shown to impact on the bodies of the two central female characters is central. Like the final chapter on The President's Child, this chapter also deals with the narrator's use of narrative as vehicle for both the stories of the female characters which she relates and for her own story. The final chapter focuses on the increasingly open conflict which Weldon depicts between male and female power, and also explores how the public/private division central to western culture is disrupted in this novel. Throughout the thesis, an attempt is made to show how female identity is at present constructed for and by western women: via their own and others' representations of their bodies and their sexuality, and as a concept over which they have varying degrees of control. It concludes that the often contradictory fictional representations of female subjectivity in the four novels under discussion suggest the constraints and difficulties involved in attempts to create new visions of female bodies, sexualities and identities. However, these depictions of such experiences are in addition shown to suggest the possibility of new and different representations.

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Black, Fiona Catherine. "The grotesque body in the Song of Songs." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311696.

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Xia, Li. "Exploring the understanding of culture specific body language among Chinese learners of English." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1205.

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Larsson, Pernilla. "Discerning Emotion Through Movement : A study of body language in portraying emotion in animation." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-16807.

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Animators are so often taught more about how to perfect their animations than toconsider what it is that makes the animation come alive. They work away withprinciples and physics, sometimes completely overlooking a characterscommunication tools. The following thesis is a study of emotive expressive bodylanguage and its purpose in animation. The project studies various angles of bodylanguage, in an attempt at summarizing key features that could work as guidelinesfor animators in the future. It deals with the role of body language in animation andwhy it is necessary for a more realistic feel in the animation. As well as the brieflymentioning the 12 animation principles, on their necessity and faults in the matter.The thesis is divided into a theoretical investigation and a practical experiment. Theintention was to create a set of key features for the use of as tools and guides forfresh animators to understand and translate emotion into their animations. Theresults indicate the power of body language and its versatility as a tool, puttingemphasis on why it ought not to be neglected.

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Shoemaker, Ryan Craig. ""The Memory of the Body" and other stories /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1464.pdf.

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Yung, Hiu-yu. "Theorizing the translation of body language a study of nonverbal behaviors in literature /." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44051785.

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Grechuta, Klaudia. "Grounding body ownership and language in action: evidence from healthy and damaged brains." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667128.

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Contrary to the classical theory of mind, largely inspired by dualism, the theoretical framework of embodiment emphasizes the constitutive role of the body in the process of cognition. This view also referred to as the sensorimotor approach has been supported by a number of clinical and empirical studies suggesting that at the basis of both lower-level processes and higher-level functions is the coupling between the body, brain, and environment through action. Critically, these results challenge the traditional theories which view both the experience of the body and the conceptualization of the world through language as isolated and decoupled from action. These two abilities, in turn, seem functionally grounded in experience and essential to successfully act in the world by defining the boundaries of an embodied self, on the one hand, and enabling verbal communication, on the other. In an interdisciplinary effort which integrates methods such as bodily illusions and clinical trials, this dissertation comprises a series of experiments which aim at advancing our knowledge about the principles of body ownership and language (re)learning grounded in sensorimotor interactions of an individual with the world. In the first part of the dissertation, we present a set of four behavioral experiments that extend the classical multisensory theory of body ownership (i.e., based on the Rubber Hand Illusion). This approach indeed only accounts for externally-generated stimuli (i.e., tactile strokes) and neglects the integration of the efferent signals which are necessarily present during goal-oriented behavior. To bridge this gap, we asked whether body ownership is coupled to the motor system such that it depends on the congruency of sensory consequences of goal-oriented actions. Our results suggest that the mechanisms which underlie body ownership go beyond the mere integration of passively received multi-sensory signals and support the role of action, goals, and environment in building the minimal representation of the embodied self. In the second part of the dissertation, we tested the premises of the embodiment thesis in the context of language (re)learning. In particular, we designed a virtual reality-based contextualized multimodal therapy for the rehabilitation of language in post-stroke patients with nonfluent aphasia which capitalizes on the sensory-motor grounding of linguistic functions predicted by the empirical framework of embodiment. We tested, in a longitudinal clinical trial, the benefits of this approach compared to the standard therapy and showed that behaviorally relevant training of language in the context of action indeed promotes the recovery and retention of linguistic functions. Moreover, we demonstrated that the sensorimotor cueing embedded in our approach facilitates word retrieval. Altogether, the results of this dissertation contribute to the understanding of how both lower- and higher-level cognitive functions, such as body-ownership and language, are tightly coupled to the motor system, goals at hand, and the dynamics of the surrounding environment. These findings can contribute to the basic research as well as applied sciences with an emphasis on learning and rehabilitation.
Contràriament a la teoria clàssica de la ment fonamentalment inspirada pel dualisme, el marc teòric d'"embodiment" emfatitza el rol constitutiu del cos en els processos cognitius. Aquesta perspectiva, també referida com a aproximació sensoriomotora, ha rebut suport per part de nombrosos estudis empírics, suggerint que a la base dels processos cognitius tant de baix com d'alt nivell s'hi situa la interacció entre el cos, el cervell i l'entorn, mitjançant l'acció. Críticament, aquests resultats desafien les teories tradicionals sobre la mateixa experiència del cos com a procés de baix nivell, així com les aproximacions a l'adquisició del llenguatge com a procés d'alt nivell. Ambdues funcions, alhora, semblen essencials per, d'una banda, poder actuar al món satisfactòriament, definint el mínim sentit de "self", i d'altra banda, per habilitar la comunicació verbal. En un esforç interdisciplinari que integra mètodes tals com il·lusions corporals i assajos clínics aleatoritzats, aquesta dissertació es presenta com a una sèrie d'experiments amb l'objectiu de millorar el nostre coneixement sobre els principis de "body ownership" i del (re)aprenentatge del llenguatge basats en les interaccions sensoriomotores d'un invididu amb el món. Amb aquesta finalitat, en un conjunt de quatre experiments de comportament amb persones sanes, hem intentat estendre la teoria clàssica multisensorial de "body ownership", la qual es basa en paradigmes que no tenen en compte la integració de cap senyal eferent. Específicament, hem provat si el "body ownership" interacciona amb el sistema motor en el sentit de si depèn de senyals sensorials (incloent-hi les externes al cos) pertanyents a una tasca orientada a objectius. En un estudi posterior, vam posar a prova les nocions de connectivitat, espai peripersonal, i plausibilitat física com a condicions necessàries per "body ownership" en el context de l'acció. Finalment, ens vam preguntar quin és el rol del model intern que tenim de l'entorn en l'experiència del "self". Paral·lelament, inspirats per descobriments recents, vam posar a prova les premisses de la tesi d'"embodiment" en el context de (re)aprenentatge del llenguatge. En particular, vam dissenyar una teràpia comportamental, orientada a objectius, i multimodal, per pacients amb afàsia no fluent. Vam provar si aquesta aproximació és beneficiosa per a la recuperació i retenció de les funcions de llenguatge, en comparació amb la teràpia estàndard basada en la visió proposicional. Conjuntament, els nostres resultats contribueixen a l'enteniment de com processos de baix nivell, com l'experiència que el cos ens pertany, i les funcions cognitives de baix nivell, com el (re)aprenentatge del llenguatge, estan íntimament lligats al sistema motor, els objectius, i les dinàmiques de l'entorn. Més enllà de la seva rellevància per a la recerca en neurociència, aquests resultats poden tenir aplicacions en l'àmbit de la rehabilitació de desordres del "body-self" i del llenguatge.

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Stoddard, Christine. "The fall into woman, female body/language in the drama of medieval York." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/MQ36535.pdf.

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Zhao, Yisu. "Human Emotion Recognition from Body Language of the Head using Soft Computing Techniques." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23468.

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When people interact with each other, they not only listen to what the other says, they react to facial expressions, gaze direction, and head movement. Human-computer interaction would be enhanced in a friendly and non-intrusive way if computers could understand and respond to users’ body language in the same way. This thesis aims to investigate new methods for human computer interaction by combining information from the body language of the head to recognize the emotional and cognitive states. We concentrated on the integration of facial expression, eye gaze and head movement using soft computing techniques. The whole procedure is done in two-stage. The first stage focuses on the extraction of explicit information from the modalities of facial expression, head movement, and eye gaze. In the second stage, all these information are fused by soft computing techniques to infer the implicit emotional states. In this thesis, the frequency of head movement (high frequency movement or low frequency movement) is taken into consideration as well as head nods and head shakes. A very high frequency head movement may show much more arousal and active property than the low frequency head movement which differs on the emotion dimensional space. The head movement frequency is acquired by analyzing the tracking results of the coordinates from the detected nostril points. Eye gaze also plays an important role in emotion detection. An eye gaze detector was proposed to analyze whether the subject's gaze direction was direct or averted. We proposed a geometrical relationship of human organs between nostrils and two pupils to achieve this task. Four parameters are defined according to the changes in angles and the changes in the proportion of length of the four feature points to distinguish avert gaze from direct gaze. The sum of these parameters is considered as an evaluation parameter that can be analyzed to quantify gaze level. The multimodal fusion is done by hybridizing the decision level fusion and the soft computing techniques for classification. This could avoid the disadvantages of the decision level fusion technique, while retaining its advantages of adaptation and flexibility. We introduced fuzzification strategies which can successfully quantify the extracted parameters of each modality into a fuzzified value between 0 and 1. These fuzzified values are the inputs for the fuzzy inference systems which map the fuzzy values into emotional states.

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Yung, Hiu-yu, and 翁曉羽. "Theorizing the translation of body language: a study of nonverbal behaviors in literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44051785.

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CRUZ, ANDRE LUIZ BENTES FERREIRA DA. "THE INDIVIDUATION AS AESTHETIC PHENOMENON: ART, BODY AND LANGUAGE IN THE YOUNG NIETZSCHE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15617@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
O presente estudo tem como foco o pensamento de juventude de Nietzsche, bem como o contexto em que se insere. Nosso objetivo geral consiste em apontar os pontos fundamentais para a compreensão de O nascimento da tragédia, sua primeira obra publicada, bem como as influências filosóficas que giram em torno desse período, na Alemanha. O objetivo específico consiste em compreender como sua teoria da arte pôde ser apresentada por intermédio de uma tradução de estados fisiológicos, a ponto dos próprios indivíduos serem considerados as atualizações desses estados. Ao priorizar o uso de figuras de deuses para tornar seus pensamentos intuíveis, ao invés de ater-se à elaboração de conceitos, Nietzsche faz uso de um método alegórico de análise das características fisiológicas que giram em torno da criação artística, que culmina no que mais tarde ele veio a chamar de metafísica de artista, que tendemos a examinar como um uso da linguagem que enaltece as perspectivas, na medida em que a metáfora é colocada ao lado da metafísica.
This study focuses on Nietzsche`s thinking of youth and the context in which it is inserted. Our general aim consists in indicating the fundamental points to The birth of tragedy`s comprehension, his very first published work, as well as the philosophical influences of that time in Germany. The specific aim consists in understanding how his theory could be presented through a translation of the physiological states, on the threshold of being considered, the individuals themselves, the updating of these states. By giving priority to the gods figures usage so as to become his thoughts intuitible, in stead of abiding by elaborations of concepts, Nietzsche utilizes an allegoric method to analyze the physiological characteristics which go around the artistic creation, by culminating in what he would call later the artist metaphysics that we are prone to examine as a language usage to enhance the perspectives in the sense that metaphor and metaphysics are put together.

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Collard, Teresa Y. "Facial nonverbal communication and deception detection /." View online, 1986. http://repository.eiu.edu/theses/docs/32211998880495.pdf.

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Stevenson, Dustin. "The Speculative Trunk." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1891.

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The Speculative Trunk is concerned with the body. Where poems are ideas they are also things always. The physical body of a poem receives certain treatment by the human body engaged in consuming it. But, speaking generally, the bodies of poems have tended to be dictated, not by play within a vital contextual space, but by tradition and the limitations of material means of replication. The Speculative Trunk is an adventure; a mess; a re-fleshing of the body of the poem. This concern extends beyond to text to the human bodies that handle a work, or your hand. These poems speak of and circulate around the anxieties of the human body - its dangers, its pleasures, and its frailties - often in the same instance. Here again the poem's essential parts - its ingredients and its heat - intertwine, engage, and mingle - to be handled, to be made of.

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Leverton, Tara Juliette Corinna. "A rotten and dead body : disabled villainy on the early modern stage." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13118.

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Includes bibliographical references.
Analysing the different ways in which the persistent trope of the disabled villain manifests on the early modern stage is, I believe, necessary work. There has been no extended scholarly account of this phenomenon; analyses of the fictional disabled villain have generally served as side arguments to larger discussions regarding the placement of disability in cultural consciousness.

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Sime, Daniela. "Learners' perceptions of teachers' non-verbal behaviours in the foreign language class." Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/3465.

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This study explores the meanings that participants in a British ELT setting give to teachers' non-verbal behaviours. It is a qualitative, descriptive study of the perceived functions that gestures and other non-verbal behaviours perform in the foreign language classroom, viewed mainly from the language learners' perspective. The thesis presents the stages of the research process, from the initial development of the research questions to the discussion of the research findings that summarise and discuss the participants' views. There are two distinct research phases presented in the thesis. The pilot study explores the perceptions of 18 experienced language learners of teachers' non-verbal behaviours. The data is collected in interviews based on videotaped extracts of classroom interaction, presented to the participants in two experimental conditions, with and without sound. The findings of this initial study justify the later change of method from the experimental design to a more exploratory framework. In the main study, 22 learners explain, in interviews based on stimulated recall, their perceptions on their teachers' verbal and non-verbal behaviours as occurring within the immediate classroom context. Finally, learners' views are complemented by 20 trainee teachers' written reports of classroom observation and their opinions expressed in focus group interviews. The data for the main study were thus collected through a combination of methods, ranging from classroom direct observations and videotaped recordings, to semi-structured interviews with language learners. The research findings indicate that participants generally believe that gestures and other non-verbal behaviours playa key role in the language learning and teaching process. Learners identify three types of functions that non-verbal behaviours play in the classroom interaction: (i) cognitive, i.e. non-verbal behaviours which work as enhancers of the learning processes, (ii) emotional, i.e. non-verbal behaviours that function as reliable communicative devices of teachers' emotions and attitudes and (iii) organisational, i.e. non-verbal behaviours which serve as tools of classroom management and control. The findings suggest that learners interpret teachers' non-verbal behaviours in a functional manner and use these messages and cues in their learning and social interaction with the teacher. The trainee teachers value in a similar manner the roles that non-verbal behaviours play in the language teaching and learning. However, they seem to prioritise the cognitive and managerial functions of teachers' non-verbal behaviours over the emotional ones and do not consider the latter as important as the learners did. This study is original in relation to previous studies of language classroom interaction in that it: • describes the kinds of teachers' behaviours which all teachers and learners are familiar with, but which have seldom been foregrounded in classroom-based research; • unlike previous studies of non-verbal behaviour, investigates the perceiver's view of the others' non-verbal behaviour rather than its production; • documents these processes of perception through an innovative methodology of data collection and analysis; • explores the teachers' non-verbal behaviours as perceived by the learners themselves, suggesting that their viewpoint can be one window on the reality of language classrooms; • provides explanations and functional interpretations for the many spontaneous and apparently unimportant actions that teachers use on a routine basis; • identifies a new area which needs consideration in any future research and pedagogy of language teaching and learning.

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Achmed, Imran. "Upper body pose recognition and estimation towards the translation of South African sign language." Thesis, University of the Western Cape, 2011. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_2493_1304504127.

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Recognising and estimating gestures is a fundamental aspect towards translating from a sign language to a spoken language. It is a challenging problem and at the same time, a growing phenomenon in Computer Vision. This thesis presents two approaches, an example-based and a learning-based approach, for performing integrated detection, segmentation and 3D estimation of the human upper body from a single camera view. It investigates whether an upper body pose can be estimated from a database of exemplars with labelled poses. It also investigates whether an upper body pose can be estimated using skin feature extraction, Support Vector Machines (SVM) and a 3D human body model. The example-based and learning-based approaches obtained success rates of 64% and 88%, respectively. An analysis of the two approaches have shown that, although the learning-based system generally performs better than the example-based system, both approaches are suitable to recognise and estimate upper body poses in a South African sign language recognition and translation system.

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Dissertations / Theses on the topic 'Body language'

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