Imitation of facial gestures by an infant chimpanzee

Masako Myowa

doi:10.1007/bf02381408

Looking compensates for the distance between mother and infant chimpanzee

PsycEXTRA Dataset ◽

10.1037/e603992013-127 ◽

2006 ◽

Author(s):

Sanae Okamoto-Barth ◽

Nobuyuki Kawai ◽

Masayuki Tanaka ◽

Masaki Tomonaga

Keyword(s):

Infant Chimpanzee

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3D Facial Gestures in Biometrics: from Feasibility Study to Application

2008 IEEE Second International Conference on Biometrics: Theory, Applications and Systems ◽

10.1109/btas.2008.4699351 ◽

2008 ◽

Cited By ~ 5

Author(s):

Lanthao Benedikt ◽

Darren Cosker ◽

Paul L. Rosin ◽

David Marshall

Keyword(s):

Feasibility Study ◽

Facial Gestures

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A Cognitive Linguistic Study of Silence/Pause-Based Incongruities in Selected Instances from Mind Your Language's Sitcom Series

Journal of Education College Wasit University ◽

10.31185/eduj.vol1.iss30.334 ◽

2018 ◽

Vol 1 (30) ◽

pp. 795-829

Author(s):

Rana H. Al-Bahrani

Keyword(s):

Facial Expressions ◽

The Other ◽

Linguistic Study ◽

Other Hand ◽

Cognitive Linguistic ◽

Facial Gestures

The present research aims at: First, to examine the reasons behind using silence/pause-based unintentional incongruities in selected instances from the British Sitcom Mind Your Language; second, to explore specifically the types of silence/pause-based unintentional incongruities and the different facial gestures that accompany each of these types. To meet these two objectives, the analysis will be theoretically and conceptually-based, respectively. Conclusions, as far as the first objective is concerned, have shown that silence can be used to reflect: the sense of being inattentive; lack of understanding; being unfamiliar with what one hears; the time needed for thinking and associating, and the act of hiding one's nervousness, etc. As for pause, it is used for reflecting the sense of being confused; indicating that there is an interrupting event; and giving time to oneself to comprehend, re-consider, and correct what one has said, etc. As for the second objective, it has been concluded that silence appears to have the four categories cited by Kostiuk (2012); these included the structural, reflexive, tactical, and ignorant types of silence. Pauses, on the other hand, have only three categories: tactical, structural, and reflexive. Speaking of the reactions and facial expressions that accompany silence when encountering unintentionally incongruous events, they include the following: closing one's eyes, and feeling amazed, proud, shocked, and speechless, etc. whereas those that accompany pause are: feeling confused, asking a question for clarification, and opening one's mouth, etc.

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Attachment behavior of an infant chimpanzee

Primate Research ◽

10.2354/psj.9.2_89 ◽

1993 ◽

Vol 9 (2) ◽

pp. 89-95

Author(s):

NORIKO INOUE ◽

KOUJI HIKAMI

Keyword(s):

Attachment Behavior ◽

Infant Chimpanzee

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The Sounds and Moves of ibtiẓāl in 20th-Century Iran

International Journal of Middle East Studies ◽

10.1017/s0020743815001579 ◽

2016 ◽

Vol 48 (1) ◽

pp. 151-155 ◽

Cited By ~ 11

Author(s):

Ida Meftahi

Keyword(s):

20Th Century ◽

Head Movements ◽

Center Stage ◽

Love Song ◽

Facial Gestures ◽

White Cotton ◽

Physical Features

The scene opens with the camera zooming in on a small raised stage where a group of muṭribs (minstrel performers) are enacting a rūḥawzī piece. At stage left, a young man is singing a love song that describes the physical features of his beloved, Chihilgis. He is accompanied by an ensemble that plays rhythmic music (in 6/8 meter) on traditional Iranian instruments—the tunbak, the tār, and the kamānchih. Standing next to the singer is Chihilgis, performed by a crossed-dressed performer (zanpūsh) who sports a long wig and moves flirtatiously to the song, making coquettish gestures with the eyes, lips, and shoulders. Chihilgis then joins the dance center stage with the two other main characters: the protagonist, enacted by the black-faced performer Mubarak, who has a tambourine (dāyirih) in hand; and Haji, Chihilgis’ old father, who sports a white cotton beard. With variations based on the characters, the dance consists of typical muṭribī moves, including exaggerated wrist and hip rotations, facial gestures such as blinking, and sliding head movements. This musical segment is followed by a witty, humorous dialogue between Mubarak and Haji with sexual undertones.

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