This thesis challenges dualistic human and animal ontologies by interpreting science fiction (sf) literature, and argues that whereas words can equivocate and obscure meaning, bodies do not lie. Linguistics and semiology extend the definition of "language" to include human and nonhuman gestures and movement, and posthumanist theory expands definitions of "human" and "animal" to explore species boundaries. Scrutinizing opposing dualisms ultimately questions Western epistemology and authority, allowing for an exploration of embodied animal communications within the larger discourse on species and speciesism. This perspective results in a more comprehensive understanding of the interdependence of all species: human, animal, and "other." Although the fictional texts I employ use fantastic elements to posit hypothetical realities, current scientific research reveals that communication with nonhuman animals is indeed possible. / by Jennifer K. Cox. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

The development of sensor-based technologies has opened up avenues for a dialogue between the body and digital spaces, uncovering new possibilities for cross-disciplinary projects and engagements that demand new methods compatible with the ethos of embodied practices, which, in turn, require new approaches and tools. This research seeks to address this need by examining the quantifiability and visual properties of embodied emotion through a multi-layered study of human movement and gesture. It is an elaboration of scientific and artistic research methods, intended to answer the following principal question and related sub-questions: How can emotions, expressed via whole-body movement be visually documented and archived as a reference framework to stimulate the use and studies of expressive gesture in digital environments? As a consequence the following sub-questions become relevant for this research: The first, ontological in its nature; what is expressed emotion? And the second, methodological; how can bodily expressed emotions be visualised and quantified? To answer these questions, the research is divided into three parts. Drawing on phenomenological interpretative inquiry and heuristic methodology, whole-body emotive expressions are documented and analysed from multiple perspectives: body, expressiveness, time, space volume and their correlations. The first part contains information related to video data collection and the database design. The second part describes silhouette extractions of whole body emotive expressions and an online survey where the visual perception of visual data is measured. The third part of the research contains visual and quantitative data analysis providing the basis for visualisation of the four archetypal emotions: anger, fear, joy and sadness and their relationships. In this process, a multi-method approach was adopted combining both qualitative and quantitative methods adopted from sociology and cognitive science. The contextual review, where virtual embodiment and interactivity are explored build on the aesthetics of performance within new technology, highlighting the adaptability of the methods used in performance art to the field of game design. The results of this research and contribution to knowledge reside within both the ontological and methodological approaches used within this study. The ontological resides within the development of two reference frameworks: a correlation table defined as the Periodic Table of Movements (PTM) and a PTM database. The PTM database is a synthesis of embodied emotion data derived from multiple visual representations such as colour, shape, space, volume, time and intensity, whereas the relationship between expressions is visualised in the PTM correlation table. Within the context of an educational framework, the database also provides visual concepts of emotion as epistemic objects for analysis and experimentation. It is a starting point for future cross-disciplinary studies and research on emotions in the context of embodiment and digital technology. The novel methodology of this research contributes to a number of fields with new methods and models of enquiry, grounded within a hermeneutical interpretation driven by artistic development. This exploration opens up a holistic approach to future studies and research grounded in a multimodal attitude to knowledge acquisition.

Thesis (M.A. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2008.

Thesis (M.A. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2008.

Thesis (M.A. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2008.

Training can enable performers to express music in a personal and emotional way while communicating aesthetic impressions to an audience. Little research has been done on the emotive experiences of performing musicians listening to their own performances. The main goal of this study was to develop a reliable way to investigate emotive content of such experiences through a combination of listening profiles and continuous measurement. This empirical, methodological study used a mixed-method design. Responses from formally and informally trained musicians were tested. The methodology consists of two parts: listening profiles (Part I), and the continuous measurement of self-reported emotional response to music (Part II), supported by interviews. Part I consists of a demographic questionnaire, a listening test and a personality test. Part II consists of a computerised questionnaire with four questions: 1) word sorting, 2) word, colours, and facial expressions checklists, which participants use to indicate their emotional responses while the music plays, 3) free description, and 4) rating scales. Data was obtained during three test periods. Part I results revealed that personality, illness, preferences, and psychological factors influence the emotive content of listening experiences. Participants’ response time and manner of word sorting was also supportive of their profiles. Part II results revealed that listeners pay attention to both structural and performance elements as well as emotive content in both prescribed and personal musical tracks. Only a few participants were able to identify the predetermined emotion of the prescribed musical tracks. Participants’ experiences seemed to be influenced by training and personal preferences. Listening to their own recorded performances, informally trained participants were able to focus progressively less on performance elements and more on emotive content, while formally trained participants seemed to focus progressively more on performance elements, and less on emotive content. / Thesis (MMus)--North-West University, Potchefstroom Campus, 2012

Thesis (M.S.W.) - Carleton University, 2007. / Includes bibliographical references (p. 133-146). Also available in electronic format on the Internet.

As consumers or customers, when we go into a shop and buy a product or, these days, when we buy something online, we expect not only the product itself to be fit for purpose but we also expect that we, the customers, get good customer service. If we get good or excellent customer service, we leave the shop feeling satisfied and positive in some way. How do shops, online or otherwise, or any other organisations, such as banks, hospitals or universities help to ensure that their employees deliver the appropriate customer service? It is still the main challenge. Thus, there are instances when a customer does not get the service that they deserve, or believe that they deserve. A happy, satisfied customer may perhaps tell others and thus encourage others to buy or go to that particular shop or organisation thus benefiting the business (new customers, who will spend money). However, there is evidence that an angry, upset dissatisfied customer will almost certainly tell five, or perhaps more, people of their bad experience. This is, clearly, bad for the business in question. No wonder, then, that businesses want, and need, to ensure that they have happy, satisfied customers and not dissatisfied or grudgeholders. Given the importance of customer satisfaction to businesses/organisations, the literature in this area demonstrates that there is still much to further understand about not only customer satisfaction but, importantly, customer dissatisfaction. Dissatisfaction can be short and easily forgotten and it might be argued that this might not negatively affect a business/organisation too much in terms of future business. However, if a customer experiences or believes that they have suffered a great deal of negative emotions such as anger, fear, disappointment, betrayal and/or disgust, as well as perhaps telling many people, potential future customers about their bad experience they may well, also, take more direct action in the form of either making a formal complaint to the business/organisation, or perhaps retaliating in some way either immediately or at the nearest opportunity. Such a customer may hold a grudge against the business/organisation which is not only bad for the customer for their mental health (holding a grudge is negative) but is also bad for the business/organisation, too. Unfortunately, despite vital advances in dissatisfaction and complaining behaviour research, the psychological cognitive-emotive process underlying consumers’ coping behaviour have been neglected in the literature, as major work on this issue did not take into account the different negative emotions responsible for grudge and their impact on the grudgeholding coping responses. Dealing with those customers who are more than dissatisfied is time consuming for a business/organisation. Time is money. It is therefore important that, if businesses/organisations are to better understand their customers’ feeling and thinking to be able to predict their behaviours in order to make them happy returners instead of angry revengers. Therefore, it is essential to understand the experiences of grudgeholding customers through a process model and to look closely at issues related to grudgeholding, including the wide range of retaliatory behaviours. These might well vary according to factors such as the cost of the product (dissatisfaction might be greater for a goods or service costing a lot of money compared to something costing very little) but it may also vary according to individual characteristics of the customers themselves. Gender also plays its part, perhaps, that is, men and women may possibly think, feel and behave differently when it comes to holding grudge or retaliating as always controversial disputes exist in terms of gender differences. For example, females complain and spread the word more aligning with their communal stereotypical nature, and males like bargains and shop to win according to their agentic stereotypical nature. There is a need to further explore the consumer grudgeholding behaviour and why emotion is an important factor when talking about grudgeholding, the behaviours undertaken by those who hold a grudge and the impact of grudges on businesses/organisations if businesses/organisations are to better deal with their customers. Therefore, a cognitive-emotive process model is developed based mainly on cognitive appraisal theory to better understand consumers grudgeholding through deeper insight on their cognitions and emotions. The model is designed due to the lack of attention to the role of emotion in the dissatisfying marketplace experience. The model presents cognitive appraisal as the key element in the evaluation of grudgeholding consumer stress and aggression. Stressful appraisal outcomes are posited to elicit emotive reactions that, in combination with cognitive appraisal, impact the type of coping strategy used by the grudgeholder. Two coping strategies (problem focused and emotion focused) are recognized and discussed. Key propositions are presented to answer some questions about consumer grudgeholding behaviours such as (causes of grudge, product or service involved, the cost, the emotions generated, the coping behaviours like complaining and word-of-mouth, the corrective actions, the current emotions, the purchase intentions and future behaviours). To achieve the aims of this study, the research described in this thesis adopts the positivist research, quantitative research approach. According to the exploratory nature of this research, self-administered questionnaires are used for data generation. Closed and open-ended questions (specifically propping questions) were both used in the research as a way of motivating the respondent’s memory to retrieve a previous experience and recall actions and behaviours. Using both closed and open-ended questions provides the research with expected and unexpected answers. The research used non-probability sampling; namely, convenience sampling consisted of 786 responses to undergraduates and postgraduates British students whose age groups range from 18 to 39.The survey data were subsequently edited, coded and entered in SPSS 20 for analysis. The ultimate contribution of this study stems from explaining the consumer grudgeholding phenomenon by designing a cognitive-emotive process model that takes the role of consumer’s emotion into account. The findings revealed that emotion made a critical difference, especially anger. Gender gap was relatively small between the young British males and females. Angry females shared their negative experiences with others more than angry males. Besides, females shop to love and males shop to win.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-21T16:15:17Z No. of bitstreams: 2 Dissertação - Adailson Costa dos Santos - 2016.pdf: 2240371 bytes, checksum: 26681af0c3644ad8f8a4138b7fabb75d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:51:46Z (GMT) No. of bitstreams: 2 Dissertação - Adailson Costa dos Santos - 2016.pdf: 2240371 bytes, checksum: 26681af0c3644ad8f8a4138b7fabb75d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-12-26T12:51:46Z (GMT). No. of bitstreams: 2 Dissertação - Adailson Costa dos Santos - 2016.pdf: 2240371 bytes, checksum: 26681af0c3644ad8f8a4138b7fabb75d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-10 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This research analyzes the perspectives of Stanislavski’ system as proposed by the Russian director Constantin Stanislavski (1863 – 1938) in dialogue with recent proposals of the neurobiology of emotions. It begins with the main definitions about emotions in western history, starting with Plato and reaching conceptions posed by the Portuguese neuroscientist Antonio Damásio (1944) who investigate the production and interpretations of the human emotions. The work focuses on the proposals of the “organic” interpretation by Stanislavski, mainly on the concept and procedures of what has been called emotive memory. This discussion is based on the findings of the French psychologist Théodule-Armand Ribot (1839- 1916), and his concept of affective memory (in French, la memoire affective; In Russian, Affectivnaia pamiat’) that underpinned the concept used by Stanislavski. At the end, the thesis establishes the neurobiological construction that pervade the Stanislavski’ system. / Este trabalho analisa as perspectivas do sistema Stanislávski propostas pelo encenador russo Constantin Stanislávski (1863-1938), estabelecendo-se um diálogo com as recentes pesquisas da neurobiologia das emoções. Faz-se um estudo do percurso histórico sobre as emoções na história do pensamento ocidental, partindo de Platão na história antiga e culminando na compreensão das concepções do neurocientista português Antônio Damásio (1944) sobre a produção e interpretação das emoções humanas. Em seguida, investiga-se as propostas de interpretação “orgânica” de Stanislávski, focando principalmente no conceito e procedimentos da chamada memória emotiva. Realiza-se um estudo das concepções do psicólogo francês Théodule-Armand Ribot (1839-1916) sobre o conceito de memória afetiva (em francês, la memoire affective; em russo, Affectivnaia pamiat’) que dá suporte ao conceito utilizado por Stanislávski. Ao final, traça-se um diálogo dos conhecimentos apresentados onde se compreendem as construções biológicas que permeiam o sistema.

Voyage au bout de la nuit, do escritor francês Louis-Ferdinand Céline, obteve uma grande repercussão nos círculos literários e junto ao público em 1932, ano de seu lançamento. Por uma linguagem popular e virulenta até então ausente da literatura francesa e pela violência com que seu herói Ferdinand Bardamu denunciava as injustiças da sociedade, o livro de estréia de Céline causou um forte impacto e, até hoje possui um lugar à parte no cenário literário. Um dos fatores responsáveis por esse impacto seria sem dúvida, a inovação perpetrada à língua francesa uma vez que seu autor pretendia renová-la a partir da linguagem oral e popular. O romance apresenta um duplo movimento de protesto: a denúncia virulenta de seu protagonista e o golpe desferido no âmago da língua literária acadêmica. Grande parte de sua repercussão, deveu-se em larga escala a essa escolha lingüística considerada inovadora e revolucionária para os padrões da época. A invenção de Céline de escrever como se fala seria uma espontaneidade aparente, pois, seu estilo nada tem de natural, ao contrário, é artifício, resultado de um longo trabalho. Se a escolha de uma língua criada a partir de tal registro escandalizou os leitores de sua época, hoje em dia, o impacto do romance decorre nem tanto da linguagem e mais da violência com que Bardamu se refere a seus semelhantes. Gostaríamos no presente trabalho de esboçar uma análise das duas forças do texto - o estudo da escritura e do universo criados por Céline. A abordagem de sua viagem nos conduziria à percepção de um mundo criado a partir de uma dimensão onírica, pois uma viagem imaginária é anunciada desde a epígrafe do romance: Nossa viagem, a nossa, é inteiramente imaginária. A viagem ao fim, ao fundo da noite empreendida por Céline teria a acepção do caminho lento e gradual para a morte. O mergulho dentro de tal universo nos remeteria também à porção autobiográfica sugerida na obra celiniana, visto que os itinerários de Bardamu e de Céline seriam convergentes. Enfim, esse estudo nos permitiria refletir sobre o uso de uma língua construída sobre um código oral-popular dispositivo utilizado pelo autor para introduzir na linguagem escrita a emoção do falado. / Journey to the end of the night (Voyage au bout de la nuit), by the French author, Louis- Ferdinand Celine, caused a stir in literary circles and the public at large when it was launched in 1932. Its vitriolic tone and the popular idiom in which it was written were quite unprecedented, as was the vehemence with which Ferdinand Bardamu decried social injustice. This, the first book written by Celine, created a huge impact and until today continues to occupy an important place in the world of literature. The authors intention to breathe new life into the French literary canon by introducing the popular idiom into the written language was, without doubt, one of the factors behind this impact.The form of protest adopted by the novel is two-pronged: alongside the vehement denunciation of an absurd world, was the blow which was aimed at the very heart of academic literary language. There can be no doubt that the vast resonance created by the work is the result of this choice of language, which was considered to be both innovative and revolutionary when judged by the standards of its time.Today, Celines invention of writing the way we speak, has a particular air of spontaneity, which would have been lost, had the author instead resorted to the artifice of a more elaborate style. If the choice of language set off a wave of resounding scandals at the time, nowadays it is not the language, but rather the violent manner in which Bardamu refers to his peers that creates a similar impact upon contemporary readership. The purpose of this study is therefore to examine the two driving forces behind the text: the writing and Celines universe. The manner in which the voyage is approached leads to the perception of a world wrought from a dreamstate dimension, since it is an imaginary voyage which is announced in the foreword of the novel. This journey of ours is entirely imaginary. The journey to the nights end, undertaken by Celine has the sense of a slow and deliberate journey towards death. Once immersed in this universe, we are led to a place where the itineraries of Bardamu and Celine converge, suggesting strong autobiographical associations. Finally, this analysis allows us to reflect on the usage of a language constructed upon the code of a popular idiom, a mechanism used by its creator to introduce the paradox of emotive reasoning expressed in the popular idiom, into the written language.