Role of Pictorial Cues in Young Children's Distinguishing Self-Performed from Self-Imagined Actions

1997 ◽  
Vol 84 (3_suppl) ◽  
pp. 1375-1378
Author(s):  
Maureen Vandermaas-Peeler

32 4– and 5–yr.-olds participated in a series of performed and imagined actions and a memory interview. Children in the Picture condition answered questions accompanied by pictures of actions whereas children in the Verbal condition received only the verbal cues. Children in the Picture condition performed as well as children in the Verbal condition when classifying performed and new actions but had more difficulty classifying imagined actions. Results suggest that retrieval cues (pictures) did not enhance children's discrimination of self-performed and self-imagined actions.

2021 ◽  
Vol 13 (2) ◽  
pp. 195-211
Author(s):  
Maja Nordtug ◽  
Jane Ege Møller ◽  
Signe Schlichting Matthiesen ◽  
Matilde Nisbeth Brøgger

It is well-known that non-verbal cues are essential in doctor–patient communication. As doctor–patient communication is turning increasingly digital and written, it becomes relevant to explore the role of non-verbal cues in such communication genres. One more recent genre is the doctor–patient e-mail consultation. Research has found that while patients like e-mail consultations, they also miss facial expressions, eye contact, etc. In this study, we explored the different ways in which Danish GPs use non-verbal cues in e-mail consultations. We analysed 633 e-mail consultations written by 22 GPs. We applied the concept of oralization, which includes the use of emoticons and non-standard use of grammar and spatial arrangement. We found that the dominant types of oralizations were non-corrected spelling errors and lack of attention to capitalization. Overall, GPs used a limited number of other non-verbal cues. We discuss how these findings relate to norms of formality and professional context.


2020 ◽  
Vol 54 (12) ◽  
pp. 3051-3076
Author(s):  
Jasmina Ilicic ◽  
Stacey M. Brennan

Purpose The purpose of this paper is to introduce and examine the effect of a celebrity’s eye gaze on self-celebrity connection. A celebrity’s direct (vs averted) eye gaze can be used as a tactic in social media posts to increase self-celebrity connection and behavioral intentions. Examining the effectiveness of a celebrity’s eye gaze is important, as celebrities regularly use social media to manage their brand image and to build a relationship with consumers. Design/methodology/approach Study 1 examines the effect of a celebrity’s eye gaze (direct vs averted) on self-celebrity connection. Study 2 investigates the role of celebrity authenticity in explaining the effect of a celebrity’s eye gaze on consumer–celebrity brand relationships. Study 3 examines the moderating role of a non-Duchenne smile (fake, social smile) in diluting the effect of a celebrity’s direct eye gaze on self-celebrity connection and the downstream consequences on behavioral intentions. Findings The findings from Study 1 indicate that a celebrity’s direct (averted) eye gaze strengthens (weakens) self-celebrity connection. Study 2 provides evidence of celebrity authenticity as the explanation for stronger consumer–celebrity connection when a celebrity is featured with a direct eye gaze. The results of Study 3 show that a fake smile in a celebrity’s social media posts can weaken relationships with and behavioral intentions toward celebrities with a direct eye gaze. Research limitations/implications This paper is limited, as it focuses only on eye gaze and smiles as non-verbal cues depicted in celebrity images on social media. Practical implications This paper has important implications for celebrities, celebrity brand managers (including digital/social media marketing managers and public relations professionals) and advertisers. Celebrities, celebrity brand managers and advertisers should develop social media posts that can strengthen consumer–celebrity relationships and positively influence behaviors toward the celebrity through: 1) ensuring that photographs are taken with the celebrity looking directly into the camera at the target (audience); and 2) avoiding posting images of a celebrity’s direct eye gaze with a non-Duchenne (fake) smile. Originality/value This paper introduces and provides evidence of a celebrity’s direct eye gaze–self-celebrity relationship effect. Tactics, such as eye gaze, can strengthen consumer–celebrity relationships, which is crucial in building brand equity and in increasing financial value for the celebrity.


Quest ◽  
1994 ◽  
Vol 46 (3) ◽  
pp. 299-313 ◽  
Author(s):  
Dennis Landin
Keyword(s):  

2020 ◽  
Vol 22 ◽  
Author(s):  
Emily Anne McHugh

           A majority of research on language development has focused on examining spoken word learning and its role in the development of language, but there has been more limited research investigating the role of gesture and signed words in language development. This study investigated the impact of modality of word presentation on the learning of an associated meaning, the impact of modality of meaning presentation on the learning of an associated word, as well as the impact of crossing modalities on the speed and accuracy of learned associations. Participants viewed short videos of a person saying a non-word or making a sign paired with either a picture or a written definition.  Outcome variables were accuracy and response times for recall of meanings.            The analysis of accuracy revealed a significant interaction between presentation modality and meaning modality. Accuracy in the nonword-picture condition was at ceiling and thus, significantly greater than accuracy in the nonword-definition condition and nonsign-picture condition. Analysis of response times found the main effect of meaning format to be statistically significant. Participants were significantly slower when meaning was presented as a definition compared to when it was presented as a picture. These results suggest that meaning associations with novel signs are learned equally fast and accurate as those associated with novel words. Additionally, they suggest that people recall imageable meanings faster than definitions. Finally, results also indicate that typically functioning adults maintain a robust ability for learning word-picture associations likely developed in childhood.


1990 ◽  
Vol 7 (1) ◽  
pp. 5-10 ◽  
Author(s):  
Alan Ralph

Several studies are reviewed which evaluate the efficacy of training social problem-solving. Most of these studies reported assessing whether transfer of training took place following training. The means by which these assessments were made are examined and conclusions drawn concerning their validity. Attention is also drawn to the findings reported from several recent studies that question the efficacy of the step-by-step process model of training and propose an alternative model based on content analysis. Finally, the role of verbal cues in training social problem-solving is examined and a call made for the empirical analysis of competent behaviour in natural settings prior to training.


2014 ◽  
Vol 43 (1) ◽  
Author(s):  
Marco Caracciolo

AbstractThis article explores the role of punctuation and typography in readers' engagement with literary narrative, and with fictional characters in particular. I argue that unconventional typography and punctuation marks can be used to convey the phenomenological ``feel'' of characters' (and narrators') experiences, thereby becoming a vehicle for consciousness representation in narrative. Aiming to contribute to the discussion on readers' responses to characters within cognitive narratology, I hypothesize that such responses can be guided by non-verbal cues as well as by the verbal strategies traditionally examined by narrative theorists. I explore two different dimensions of the nexus between punctuation, typography, and consciousness representation: firstly, because of their ``separating'' function graphic markers can render the temporal structuring of consciousness itself; secondly, unconventional graphic cues can exploit the ``evaluative'' function of punctuation and typography in order to convey altered states of consciousness such as dream experience, extreme emotions, and cognitive disorientation.


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