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Emotions are an essential part of development. There is evidence that young children understand and express emotions through facial expressions. Correct identification and recognition of facial expressions is important to facilitate communication and social interaction. Emotions are represented in a wide variety of symbol sets and systems in Alternative and Augmentative Communication (AAC) to enable a person with little or no functional speech to express emotion. These symbols consist of a facial expression with facial features to distinguish between emotions. In spite of the importance of expressing and understanding emotions to facilitate communication, there is limited research on young children’s ability to recognize emotions represented by graphic symbols. The purpose of this study was to investigate the ability of typically developing fouryearold children to recognize basic emotions as represented by graphic symbols. In order to determine their ability to recognize emotions on graphic symbols, their ability to understand emotions had to be determined. Participants were then required to recognize four basic emotions (happy, sad, afraid, angry) represented by various graphic symbols, taken from PCS (Johnson, 1981), PICSYMS (Carlson, 1985) and Makaton (Grove&Walker, 1990). The purpose was to determine which graphic symbol the children recognized as representation of an emotion. Results showed that the emotion of happy was easier to recognize, which might be because it was the only emotion in the pleasure dimension of emotions. Sad, afraid and angry were more difficult to recognize which might be because they fall in the displeasure dimension. It is also evident from the findings that the facial features in the graphic symbol play an important part in conveying a specific emotion. The results that were obtained are discussed in relation to previous findings. Finally, recommendations for future use are made. / Dissertation (MA (Augumentative and Alternative Communication))--University of Pretoria, 2008. / Centre for Augmentative and Alternative Communication (CAAC) / MA / unrestricted

This thesis outlines the structure and functionality of a selection of webseries, webshows, and eSports casting examples, in order to add to the discourse on online video. Webtelevision, or Web TV production, distribution, and financing systems will be detailed in the case studies made; and industry actors such as entrepreneurs, independents, corporations and conglomerates will be discussed and identified. Who are the producers, the advertisers, the distribution platforms, the sponsors, the rights holders, and how do they interact? In exploring the structure of some examples of Web TV, I wish to debunk the online-amateur association as an inaccurate or insufficient description which permeates much prior academic study on online video. Webshow content, business strategies, legal and copyright issues, as well as fan culture aspects will also be investigated; and in regards to eSports, the question of televised as opposed to streamcast tournaments will be examined.

Hansen and Hansen (1988) found that angry targets in happy crowds were found more quickly and accurately than happy targets in angry crowds. This finding, they dubbed the Face-in-the-Crowd effect. Gilboa-Schechtman and colleagues (1999) found that high anxious participants show a greater enhancement of detecting angry versus happy targets. The purpose of the current studies was to replicate these findings, and to determine whether Rational and Experiential decision-making styles play a role in target detection (Study One) and crowd searching (Study Two), and if these decision-making styles interact with affective predisposition for both reaction time and galvanic skin response in the face-in-the-crowd task. In Study One, I replicated the anger superiority effect and the Anxiety x Target interaction. I also found that the Rational Group tended to be faster than the Experiential Group overall. I found that the High Trait Anxious group had higher GSR than the Low Trait Anxious group averaged over both target conditions. The Rational group had higher GSR when presented with happy targets than when presented with angry targets whereas the Experiential group did not show this difference. In Study Two, I failed to replicate the anger inferiority effect of crowd searching, but I did find that the Rational group tended to be faster than the Experiential group, especially for angry crowd searching. I also found that the Low-State-Anxious-Rational group had lower galvanic skin responses than all other groups across all analyses. The most exciting finding of these two studies was that he Rational Group demonstrated a facility for the face-in-the-crowd task, validating decision-making style as an important dimension to be considered in future face-in-the-crowd research. The research also provided support for network theories and it is hoped that future studies might endeavor to explore facial processing with this theoretical framework in mind.

Hansen and Hansen (1988) found that angry targets in happy crowds were found more quickly and accurately than happy targets in angry crowds. This finding, they dubbed the Face-in-the-Crowd effect. Gilboa-Schechtman and colleagues (1999) found that high anxious participants show a greater enhancement of detecting angry versus happy targets. The purpose of the current studies was to replicate these findings, and to determine whether Rational and Experiential decision-making styles play a role in target detection (Study One) and crowd searching (Study Two), and if these decision-making styles interact with affective predisposition for both reaction time and galvanic skin response in the face-in-the-crowd task. In Study One, I replicated the anger superiority effect and the Anxiety x Target interaction. I also found that the Rational Group tended to be faster than the Experiential Group overall. I found that the High Trait Anxious group had higher GSR than the Low Trait Anxious group averaged over both target conditions. The Rational group had higher GSR when presented with happy targets than when presented with angry targets whereas the Experiential group did not show this difference. In Study Two, I failed to replicate the anger inferiority effect of crowd searching, but I did find that the Rational group tended to be faster than the Experiential group, especially for angry crowd searching. I also found that the Low-State-Anxious-Rational group had lower galvanic skin responses than all other groups across all analyses. The most exciting finding of these two studies was that he Rational Group demonstrated a facility for the face-in-the-crowd task, validating decision-making style as an important dimension to be considered in future face-in-the-crowd research. The research also provided support for network theories and it is hoped that future studies might endeavor to explore facial processing with this theoretical framework in mind.

The thesis consists of the novel The Fox and the Mirror and an accompanying exegesis. The novel is an historical fantasy set in a world based on early medieval (12-13th century) Japan. The main characters are a young female shaman, Hatsu, and a young warrior’s assistant, Sada, who is a Buddhist believer. When Hatsu’s village and shrine are destroyed by warriors and her summoning mirror is stolen, she is abandoned by her kami . To experience the kami’s presence again, she must follow the thief and retrieve the mirror before it can be used to resurrect an ancient evil. Sada must capture Hatsu and bring her back to his lord, or his family will suffer. Yet he is entranced by Hatsu and feels guilt at the destruction of her village. He must choose whether to abandon his former life and stay with Hatsu, or betray her. In the novel I have tried to invoke the feel of a place and time where the supernatural is as real as the physical world; I also try to imagine how a religion as alien to Japanese native beliefs as Buddhism became a part of that country’s spiritual culture. In the exegesis I reflect upon how I used various kinds of history, both written and unwritten, to build the world, characters and narratives of The Fox and the Mirror, and thereby explore some ways in which historical fantasy, as a sub-genre of historical fiction, is capable of presenting an ‘authentic’ view of the past, in spite of its non-realistic nature. I identify three main ways historical fantasy writers can provide an authentic view of the past: by using telling details from an historical era; by incorporating documented events and persons into the story; and by portraying the world as people in the past believed it to be. Historical fantasy is different from realistic historical fiction in that it can more easily incorporate elements belonging to shared cultural heritage, such as beliefs regarding the dead and the supernatural. This characteristic involves writers in research using material that involves other ways of knowing the past—in particular the expressions of belief such as religion, popular customs, folk tales, and oral history. With the broadening of our historiological perspectives in the postmodern climate, historical fantasy based on non-documentary forms of history may come to be seen as another way of knowing the past.

Cette étude cherche à mettre en lumière un moment décisif dans l’élaboration du genre picaresque espagnol, à travers l’écriture du corps malade et la réflexion anthropologique sur le modèle masculin du gueux colérique. Notre corpus se compose de cinq textes : les deux parties de Guzmán de Alfarache de Mateo Alemán, la suite apocryphe de Mateo Luján de Sayavedra, El Guitón Onofre de Gregorio González et El Buscón de Francisco de Quevedo. Il s’agira de montrer la nouveauté du regard alémanien sur le corps : le gueux de l’autobiographie fictive évoque de nombreuses pathologies spécifiques dans une double dimension descriptive et introspective, littérale et morale. L’écriture médicale fait des émules et les auteurs suivants, quoiqu’ils s’inscrivent en rupture avec la dimension morale de la démonstration alémanienne, s’évertuent à reproduire l’imaginaire médical construit autour de l’anthropologie masculine du colérique. La cohérence de ce système fondé sur la pensée humorale et la notion de microcosme, s’organise autour d’une représentation plus complexe de l’homme dans l’univers : par son tempérament, l’homme subit physiologiquement et psychologiquement des influences astrales et cosmiques. Francisco de Quevedo qui annule toute dimension psychologique dans son récit, remet en question le fondement de l’écriture nosologique à laquelle il adhère par ailleurs. Nous avançons l’idée que l’adhésion à l’imaginaire médical alémanien est paradoxalement le moyen par lequel les auteurs de récits picaresques de première génération font imploser le modèle de l’écriture morale de leur prédécesseur, condamnant le reste de la production à évoluer vers une littérature de divertissement. / The purpose of this thesis is to shed light on a decisive moment in the development of the Spanish picaresque genre, through the writing about the sick body and anthropological reflection on the masculine model of the angry picaro. Our corpus consists of five texts: the two parts of Guzmán Alfarache by Mateo Alemán, the apocryphal second part by Mateo Luján de Sayavedra, El Guitón Onofre by Gregorio González and El Buscón by Francisco de Quevedo. It demonstrates the new approach of the body proposed by Mateo Alemán: the picaro of the fictional autobiography mentiones many specific diseases in a descriptive and introspective, literal and moral, double dimension. The medical writing is emulated and although the following authors depart from the moral dimension of Mateo Alemán’s demonstration, they strive to reproduce the medical imaginary built around the male anthropology of the angry. The coherence of this system based on the humoralthought and the concept of microcosm, is organized around a more complex representation of man in the universe: by his temperament, the man undergoes physiologically and psychologically astral and cosmic influences. Francisco de Quevedo, negating any psychological dimension in his narrative, calls into question the basis of nosological writing to which he adheres elsewhere. We put forward the idea that joining the medical imaginary proposed by Mateo Alemán is paradoxically the means by which the authors of picaresque first generation narratives are imploding the model of moral writing of their predecessor, condemning the rest of the production to evolve into entertainment literature.

Bakalauro darbo pirmame skyriuje išanalizuoti neigiami žmonių jausmai, išnagrinėti įvairių autorių (medikų, sociologų, mokslininkų) publikuojami straipsniai pykčio ir agresijos tema. Išanalizuotos neigiamų emocijų kilimo priežastys, jų išreiškimas ir valdymas. Antrajame skyriuje pateikta įvairių dizainerių kūrybos pavyzdžių, interpretuojančių neigiamas emocijas. Išanalizuoti seserų Mulleavy (Rodarte) sukurti darbai, kuriuose atsispindi pyktis ir agresija. Menininkės sukurtuose modeliuose tiesiogiai agresijos ir pykčio neinterpretuoja, jos pasitelkia šiuos jausmus tik kaip pagalbinę priemonę, suteikiant kolekcijai savitumo. Kaip analogas kuriamai kolekcijai pasirinkta seserų Mulleavy kolekcija „NYC mados savaitė - 2010 vasara. Rodarte“. Eskizuota, siekiant, kad modeliai būtų išraiškingi, atspindėtų pykčio emocijas, tačiau patys savaime nebūtų agresyvūs. Trečiame skyriuje aiškinama kolekcijos idėja, pateikiami modelių eskizų ieškojimai, technologiniai mėginiai, dekoro detalės. Atsižvelgiant į modelius, parinkti audiniai, audinių struktūra ir atspalviai. Norint geriau perteikti kolekcijos idėją, drabužių demonstravimui numatytos skirtingo ūgio manekenės. Pristatomą kolekciją sudaro 14 suprojektuotų modelių, iš jų – pasiūti keturi. Modeliams parinkti tamsių atspalvių, blizgūs audiniai. Kampuotos formas ir aštrūs kampai, suteikia modeliams piktų žodžių ir grėsmingų žvilgsnių nuotaiką. Spiralės ir atsišakojimai - tarsi įsiliepsnojęs kivirčas ir besistengiančios lauk išsiveržti... [toliau žr. visą tekstą] / First section of bachelor's work analysis negative people emotions, explores various articles and books from all kind of specialists in subject of anger and aggression ( doctors, scientists, socialists ). It also searches for sources of anger and for ways to deal with them. The second section provides examples of the works taken from designers, whom art are filled with anger and emotions. Works of sisters Mulleavy (Rodarte) were analyzed. Artists never intended to show anger and aggression directly, they only used those feelings as an alternative tool in order to create original collection. As an analog for collection, which is under creation, sisters Mulleavy collection “NYC fashion week - 2010 summer. Rodarte“ was chosen. The sketches was created in order for models to be expressive , to reflect the emotions of anger, but still not to be aggressive within. The third section explains the idea of collection, the search for models, sketches, technological samples and elements of decor. Fabrics, theirs structure and tone was chosen according to sketches. In order to better convey the idea of collection, different height models was chosen. 14 models was designed for collection , however only 4 sew .Dark colors, shiny fabrics was chosen for models. Square shapes and sharp corners, gives models angry words and aggressive gazes mood. Spirals and ramifications is like everyday quarrels and negative emotions trying to escape from them. In order to show that several types of... [to full text]

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Text in German with summaries in German and English / Includes bibliographical references (leaves 350-377) / Die Doktorarbeit hat die Absicht herauszufinden, was Jonathan Edwards unter dem Begriff „Sündenerkenntnis“ verstanden hat und dabei die Frage nach der Bedeutung dieses Verständnisses für die Erweckungsbewegung zu beantworten. Während Jonathan Edwardsʼ Theologie und Philosophie im Allgemeinen gut erforscht ist, wurde dieser Aspekt noch nicht genauer untersucht. Zunächst wird auf der Grundlage einer chronologischen Einordnung seiner Werke Jonathan Edwardsʼ Verständnis von Sündenerkenntnis aus seinen wichtigsten Schriften erarbeitet, wobei eine Entwicklung in seinem Gedankengut deutlich wird (Qualitative Inhaltsanalyse). In einem zweiten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis mit der Theologie seiner Vorläufer, Zeitgenossen sowie Nachfolger und Gegner verglichen, wobei sich die Untersuchung auf die Bewegung des Puritanismus, die Epochen des „Great Awakening“ und des „Second Great Awakening“ beschränkt (Diachronischer Vergleich). In einem dritten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis systematischtheologisch und theologiegeschichtlich eingeordnet. Mit dieser Studie soll ein weiterer deutscher Beitrag zur internationalen Jonathan Edwards-Forschung geleistet werden. Der Ansatz dieser Forschung ist dabei historisch ausgerichtet, da er den systematisch-theologischen Begriff „Sündenerkenntnis“ auf der Grundlage der Biografie Edwardsʼ und einer chronologischen Einordnung seiner Werke zu ermitteln sucht, um ihn dann in einem diachronischen Vergleich mit Verständnissen aus verschiedenen zeitlichen Epochen zu vergleichen und so den Begriff „Sündenerkenntnis“ in einem theologiegeschichtlichen Kontext einordnet und versteht. / The thesis tries to answer the question, how Jonathan Edwards understood the term “conviction of sin”. The intention is to find out the significance of his understanding of this term for the revivalmovement of his time. While numerous studies have been done on his theology and philosophy, this aspect has not been thoroughly examined yet. Based on a chronological assessment of his works Jonathan Edwardsʼ understanding of conviction of sin is established from his major works (qualitative content analysis). This reveals a development in his thought-system. In a second part Jonathan Edwardsʼ understanding of conviction of sin is compared with the theology of his predecessors, contemporaries and opponents. This examination is limited to the time of the Puritans, the “Great Awakening” and the “Second Great Awakening” (diachronic comparative analysis). In a third part Jonathan Edwardsʼ understanding of conviction of sin is assessed in a systematictheological way and classified historically. The author intends to make another German contribution to international Jonathan Edwards Studies. This research is historically focused, because of the fact, that the term “conviction of sin” is analysed by means of the biography of Edwards and a chronological classification of his works to compare it with meanings of different historical epoches and classify it in its theological historical context by that approach. / Christian Spirituality, Church History and Missiology / D. Th. (Church history)