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Friday, May 8, 2020

Four tips to improve your communication in the age of face masks.

To be able to read people’s emotions, you generally need to be able to see their entire face. Are they laughing, frowning, bored, tired, or afraid? Their mouths will often give away their state of mind. However, in a time when nearly everyone is wearing some type of lower facial covering, you’re left with the need to determine how the people around you are feeling with very limited cues.

 

Perhaps you’re walking through the aisles at your local grocery store, rushing to grab some necessary supplies before they disappear from the shelves for the rest of the day. By mistake, you get within the 6-feet recommended sphere for social distancing as you pass another equally face masked and desperate individual. In ordinary circumstances, you might smile as you apologize, but with that mask on, all you can do is utter a muffled “I’m so sorry,” which of course, your fellow shopper can't hear. Equally frustrating, you can't tell whether your attempt at reconciliation even worked.

 

Everyone is operating under similarly strange scenarios as they venture outside their homes to complete their necessary tasks with their faces covered in various forms of protection. Front-line health care workers spend their entire time with patients and fellow staff members under similar constraints. At a time when people need to reassure themselves as much as possible by communicating and receiving empathy, the channel of communication provided by the face is now severely limited.

 

According to Yulia Roitblat and colleagues of the Belkind School for Special Education in Rishon-LeZion, Israel (2020), the “emotional gaze in a still-face setting” can still have power (p. 2). In the first of two studies by the same authors (2019), the majority (79%) of an international sample of participants (100 adolescents aged 14-18) viewers (10 judges ages 27 to 61 years) were able to  accurately recognize the emotions of happy, sad, and angry from photos of their eyes alone. Not everyone was equally good at judging emotions, though, as shown by the fact that 18% of judges made mistakes on every single emotion-judging trial.

 

Still, given that the majority of people and judgments were accurate in reading emotions from the still photos of the eyes, the findings of this first study suggested that, in the words of the authors, “the direct gaze, when we speak of emotions, is as informative as visible and well-detectable muscular facial expressions and eye movements such as gaze aversion” (pp. 5-6). However, how much better can emotion-reading become when the nose and mouth are added to the task?

 

In the second Roitblat et al. study (2020), the authors therefore contrasted the ability of judges to recognize emotions from the eyes, the middle region, and then the full photo of faces intended to communicate the three emotions of angry, happy, and sad. Two separate panels of 400 individuals each (ages 16-25) rated the emotions represented in the photos of full or partial facial expressions. In addition to the original three emotion ratings, the second panel was also asked to add surprised and frightened to the choices.

 

As it turned out, once again it seemed that “the eyes have it.” When given three choices (after correcting for chance), judges rated the three sets of photos with approximately equal accuracy; when the number of choices was expanded to five, the accuracy rate for eyes only was about 50%  compared to about two-thirds with middle and full facial regions.

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However, after correcting further for the fact that the same judges provided ratings within each panel of all facial stimuli, the differences among the three conditions leveled off, and the judging of emotions from eye gaze alone remained about as good as that from the entire face.

It seems, then, that although the eyes have the power to communicate emotions without any other facial cues present, some people are better at the task than others. Indeed, if you’re like one of those who failed utterly at the task of judging emotions from the eyes alone, the findings also suggest some hope for remediation in what the authors called “facial expression training." What's more, in real life, you've got additional cues that you can add to the ones presented by the eyes.

 

These four steps will help you take advantage of the power of the eyes and the other nonverbal channels you have at your disposal when your face, and that of those around you, are partially hidden:

1.  Use the automatic information contained in the eyes. Because the automatic features of someone’s gaze by definition can’t be controlled, they can be the most reliable of guides to use even if the person isn’t wearing a facial cover-up. For yourself, although you can’t control the width of your pupils or even the trickling down of a tear, the findings suggest that you dig into your inner feelings and allow your autonomic nervous system to take over control of the messages that your eyes signal.

 

2. Add eyebrows to the equation. Although Roitblat et al. didn’t discuss this, the photos they provided of eyes used in their studies changed not only in width of the eye opening (widest in angry and happy) but also the positioning of the eyebrows. When angry, your eyebrows form a “V” but when you’re happy, they bend upward toward the top of your head like an upside down “U.” Sad eyebrows form an upside down “V.” Your mouth, in other words, may be hidden by a face mask, but your eyebrows can still become responsive to your emotions and you can use this information in reading other people’s feelings.

 

3. Remember the power of body language. You’ve got more than your eyes available when you’re out and about interacting with others in the real world. Use yours to accentuate your emotions, all the way from your hands to your posture. Research on communication makes it clear that these “paralinguistic” elements of speech are important guides to gauging the feelings, sincerity, and intent of other people. Reading these cues in others will, similarly, help you figure out how they’re feeling.

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4. Give yourself a break if you get it wrong, and similarly, excuse others for their missteps. Everyone is trying to renegotiate their social world and it will take a while for all of this to settle down. As in ordinary face-to-face (without a mask) communication, it’s important to realize that you, or others, may flub an interaction. Getting angry will only make things worse.

 

To sum up, the world of emotional communication is certainly shifting as more and more people put their lower faces under wraps. If you put these simple steps into practice, even in those chance interactions with strangers, your emotional life can continue to thrive.

Thanks https://www.psychologytoday.com,Susan Krauss Whitbourne Ph.D.

 

References

Roitblat, Y., Cohensedgh, S., Frig-Levinson, E., Suman, E., & Shterenshis, M. (2019). Emotional expressions with minimal facial muscle actions Report 1: Cues and targets. Current Psychology: A Journal for Diverse Perspectives on Diverse Psychological Issues. http: 10.1007/s12144-019-0151-5

Roitblat, Y., Cohensedgh, S., Frig-Levinson, E., Cohen, M., Dadbin, K., Shohed, C., Shvartsman, D., & Shterenshis, M. (2020). Emotional expressions with minimal facial muscle actions Report 2: Recognition of emotions. Current Psychology: A Journal for Diverse Perspectives on Diverse Psychological Issues. doi: 10.1007/s12144-020-00691-7

Tuesday, May 5, 2020

Similarities Between Tamil and Korean


Syntactic Similarities between Tamil and Korean
                               By   N.Murugaiyan
                                      Professor of English (Retd.)
Introduction
There are three parts in this paper, namely,  Part I , Part II and Part III. In the first part is considered the question ‘where did the Koreans come from?’ with reference to the four principal directions and the languages that wielded some sort of influence on Korean. In the second part the syntactic similarities between Korean and Tamil are illustrated with suitable data relating to them. And in the third part  it will be pointed out that  language typology gives  no guarantee for genetic relationship among languages of the world in general Korean and Tamil in particular.
                                                      Part I
The answer to the question ‘Where did the Koreans come from?’ is not just one but it is fourfold.   As their origin is fixed to the four different directions, namely, the East, West, South and the North, we get four different answers. They are remembered as the  Eastern theory, Western Theory, Southern theory and Northern theory.
The Koreans came from the East
According to Kim Chin-u Koreans originated from Japan and this view is in consonance with the statement that the Koreans came from the East. Lee Kim Moon, Professor at the Department of Korean Linguistics in Seoul National University, speaks about ‘ lexical correspondences between Koguryo (an extinct language spoken in Manchuria and Northern Korea) language and Old Japanese’. Owing to this lexical correspondence and some archaeological findings, he observes, “It is safe to say that old Korean was not the Peninsular dialect of Old Japanese. If anything, Old Japanese was the insular dialect of Korean (1983, p.36)”. The statement made above means that Japanese came as a dialect of old Korean and not that Korean as a dialect of Japanese.
 The Koreans came from the West
The Western theory fixes the lineage  of Korean  to Dravidian, the chief language of the group being Tamil that has a continuity that goes to the beginning of the first millennium or even earlier.  Around the third millennium BC people living near the Altaic mountains in central Asia began to migrate eastward confirming the view that the Koreans came from the West. Homer B. Hulbert supports the west theory. His idea was popular when the field of linguistics was in its inception or beginning. The syntactic features that Hulbert saw between Korean and Dravidian Languages are called typological features in the present day linguistics.  According to the most popularly held view in the realm of modern linguistics typological similarities are not adequate enough to establish ‘the  genetic - relationship’ among languages. Analyzing this problem Kim Chin-U says,
It is an accepted view that two are more unrelated languages may nevertheless share typological similarities. Three quarters of a century ago linguistics was still in its infancy, and one can imagine how striking and suggestive the typological similarities between Korean and Dravidian must have been looked to Hulbert, especially when Indo-European  languages, about the well-established language family then, all shared a different typology (1983, p. 16)”
The Koreans came from the South
According to Southern theory Korean belongs to the Austronesian family, i.e., Korean is related to Austronesian languages such as languages of Indonesia, Malaysia, Singapore, Brunei, Sumatra, Java, Philippines, Papau New Guinea etc. Linguistic support for this argument includes open syllables, the honorific system, numerals and several body parts. On the other hand anthropological evidence includes rice cultivation, tattooing, and the myth of an egg as the birth place of royalty.        

The Koreans came from the North
According to the northern theory Korean is a member of the Altaic language family. It is in fact the descendent of the Eastern Altaic along with languages such as Tunguz (the Tungusic  language of the Evenki  in eastern Siberia), Japanese, Ainu( A language spoken on the northern Japanese island of Hokkaido), Kamchatkan (relating to Kamchatka, a peninsula in E Russia).  The Western Altaic consisting of languages such as Mongolian and Turkik (Turkish, Khazak, Uzbek, Tadjik etc.,). The parts of  the  Extinct Altaic,  namely , Sumerian ( a language of ancient Sumer, a language isolate which was spoken in Northern Mesopotamia (Modern Iraq)., Elamite, the primary language in the present day Iran from 2800 – 550  BC).,  Cretan, a language relating to one of the Islands of ancient Greece, Crete., Cyprian, a language associated with Cyprus.,  Etruscan, ( a language isolate spoken by close neighbors of the ancient Romans).,   Scythian  (old Iranian) etc.,  have a close link with Tamil in general , particularly the first two, Sumerian and Elamite.
                                                           Part  II
Syntax plays a vital or crucial or central part in the study of a language as it has interlinks on the one hand with phonology relating to speech or graphology connected with writing and on the other with lexis or vocabulary relating to the field of semantics or word meaning. Certain syntactic similarities between Tamil and Korean are presented with suitable illustrative sentences in the respective language script, namely, Tamil  Bhrami script  for Tamil and Hangul script for Korean along with transliteration using the Roman letters of the alphabet or Latin script. Following are some Korean words with their pronunciation indicated within square brackets, their lexical meaning in English and the sound values of the Hangul alphabet used in them are also presented for enabling the readers of this paper to have a clear idea about particular Hangul alphabet and some of the sound values associated with it :

[son]   Hand  ( = s, = o, = n)
  [him]  Effort or  strength (= h, l = i, = m)
[ton]  money ( = t, = o, = n)
  [ne ton]  my money  (= n, =e)
예름   [ ]This two-syllable Korean word means ‘summer’.
옐몌 [  ] This two syllabled Korean word means ‘fruit’.
Verb or  Predicate Final  Languages 
Korean sentences are predicate final – sharing the grammatical properties of other predicate final languages such as Japanese, Altaic, and Dravidian – and are very different from sentences of , for example, English, French, Chinese and Austronesian. Tamil, one of the most prominent among Dravidian languages shares this property, sometimes described as OV languages . In Korean  all modifiers such as adjectives , adverbs, numerals, relative clauses, subordinate or co-ordinate clauses, determiners or genitive constructions must precede the element they modify. The illustrative exampes given below and the explanations offered will make clear the predicate or verb final nature of both the languages namely Korean and Tamil . In these languages the relative and other clauses as well as the modifiers such as adjectives and adverbs appear before the verb i.e., they are found on the left of the verb. In the examples given below serve as illustration for the statement made above:
먀ㅏ매녀ㅣㅑㅔㄷㄴㄴㅅㅁ
ai ka  os ul  ip-ess-ta  (Transitive verb)
Child NM clothes AC  wear- (PST)—DC
The child put on the clothes.
குழந்தை  ஆடைகளை அணிந்து கொள்கிறது.
kuḻantai  āṭaikaḷai aṇintu koḷkiṟatu
Child  clothes  puts on
The child puts on the clothes.
Korean
지니 거  ㅐㅕㅈ  ㅈㅈ
Cini-ka  wus-  ss
Jinee –NOM  smile –PAST- INDIC
Jinee smiled.
The examples given below will illustrate the fact that Korean and Tamil are OV languages.
Peter H, Lee  (2003:  32) says,
Korean
메드류가  짐어ㅣ 저 짐을 며어요               
Andrew   home at  lunch    eats
Andrew eats lunch at home.
Tamil
ஆண்ட்ரு வீட்டில் மதிய உணவு சாப்பிடுகிறான்.
āṇṭru vīṭṭil matiya uṇavu cāppiṭukiṟāṉ
Andrew home at lunch eats
Andrew eats lunch at home.
Korean

조연이  점징을  먹어요
Joan         lunch   eats
Joan eats the lunch.

Tamil
ஜோன்  மதியவுணவை  சாப்பிடுகிறாள்.
jōṉ  matiyavuṇavai  cāppiṭukiṟāḷ.
Joan  the lunch eats
Joan eats the lunch.

The Korean sentence given below  will  further be an example for supporting the view that Korean is a verb final or  OV language.
ki sonyo nin wiyu- lil   masi –ass-ta
ki      sonyon-    nin    wiyu-     lil           masi -    ass-   ta
the  boy           subject  milk     object        drink        past    assertion 
                        marker              marker
The  boy drank milk





Agglutination                              
Tamil and Korean are agglutinating languages. What Fromkin / Rodman (1973:230) say about agglutinating languages is true of Korean, an isolate and Tamil, the most ancient representative of the Dravidian languages.  They describe agglutinating languages as follows:
In agglutinating languages, various morphemes are combined to form a single word, each element maintains a distinct and fixed meaning. In such languages, prefixes, suffixes and even infixes are used over and over again to build new words. They usually keep their same phonological shape, except for phonetic changes resulting from the regular phonological rules of the language.    
 Peter H. Lee ( 2003: 31) describes Korean as a typical agglutinative  language in that one or more affixes with constant form and meaning may be attached to various stems. In po-si-ot-kes-sum-ni-da  ( [a respectable person] may have been seen), for instance the passive verb stem  po-i: the subject honorific –si, the past tense – ot, the modal –kes (may), the addressee honorific – sum, the indicative –ni, and the declarative ending –da . He also observes, ‘Many Korean suffixes either do not have counterparts or correspond to independent words in non-agglutinative languages such as English and Chinese.’
The examples given below will serve as further illustrations:
Korean
Pusan kajji   aju   ppalli  talli-nun  kicha
Pusan  to    very    fast  run            train
The train which runs very fast to Pusan
Tamil
மதுரைக்கு அதி வேகமாக ஓடுகிற இரயில்
maturaikku ati vēkamāka ōṭukiṟa irayil

Madurai  to  very  fast    runs  train
The train that runs very fast to Madurai
aju  (Korean) and ati (Tamil) are adjectives that modify ppalli and vekamaka respectively.  As the adjectives in both the languages precede their modifiers, aju  comes before ppalli and ati comes before vekamaka. And also we can say that aju ppalli that precedes  talli modifies it and the Ati Vekamaka modifies the verbal form ōṭukiṟa.   In both the sentences the head word is found at the end of the clause while it is found at the beginning of the relative clause.
Kajji  and  kku are post-positions  in both the languages, Korean and Tamil. Korean and
Tamil make use of postpositions in the form of particles in Korean and as case markers in Tamil.
                                       Part III
 
The main argument in this section would be the presence of typological or structural features such as predicate final or verb final sentences, agglutination, presence of common items of vocabulary, the use of post-positions instead of  prepositions etc., do not guarantee that these two or more languages have genetic relationship. 
John Guy, Curator of South and South East Asian Arts at the Metropolitan Museum of Art , says,
India with its insatiable appetite for gold seems to have taken the lead in the search for the yellow metal. You just have to look at the ancient Sanskrit name for South East Asia – Suvarmabhoomi – which shows up in a whole variety of sources.
The principal reason for Indians migrating to south east Asia is made clear in the above extract. That lexical borrowing from people who come into contact with them is not uncommon even at earlier times is indicated in the passage quoted from Robert Blust.
Robert Blust (2013: 19) presenting facts about lexical borrowing from India says,
To show the extent of lexical borrowing from early Indian sources, about half of the more than 25000 base entries in the old Javanese dictionary of Zoetmulder (1982) are of Sanskrit origin. While this is an impressive record of contact, it must be kept in mind that the language of the old Javanese texts was that of courts, and hence reflects the linguistic world of the educated elite, not the peasantry. Moreover, despite a wealth of Sanskrit loan words relating to religion, government, trade and such material objects as pearls, silk, gemstones, glass and beads, the basic vocabulary of Javanese having only two known Sanskrit loans: geni (Skt. Agni) ‘fire’ and megha   (Skt. megha) cloud. 
The   syntactic features that Hulbert  deals with in his work  A Comparative Grammar of the Korean Language and the Dravidian Languages of India , 1905 were very well received when linguistics was at its infancy.  But the present–day – linguists would call them typological similarities and they are of the view that typological similarities are not enough to establish the genetic relationship among languages. The reason assigned by them for the similarities between languages like Korean and Tamil is not just  a genetic relationship that is to say that these two languages have the same origin  but cultural contacts, migration in search of wealth etc. 
                     
Bibliography
William Croft , Typology and Universals, Cambridge University Press, Cambridge, 1990 Second Edition 2003
Maggie Tallerman, Understanding Syntax, Understanding Language Series Editors: Bernard Comrie and Greville  Corbett, Hodder Education, London, First South Asian Edition 2011
Fromkin/ Rodman, An Introduction to Language, Holt, Rinehart and Winston, Inc., Newyork, 1974
Ki- Moon Lee, S. Robert Ramsey, A  History of Korean Language, Cambridge University Press, 2011  
Kim Chin U et al,  The Korean Language , Pace International Research, (Arch cape, OR), 1983
Peter H. Lee, Editor, A History of Korean Literature, Cambridge University Press, Cambridge, 2003
Robert Blust, The Austronesian Languages , Australian National University, Canberra, Acton, 2013   
*The writer of this paper can be contacted either by e-mail  <musanage @gmail.com>  or by Phone 9444277116  




Monday, May 4, 2020

The Grand Budapest Hotel Film



This is not surprising news, but The Grand Budapest Hotel director Wes Anderson’s highest-grossing film as well as the first to get him an Academy Award nomination. It combines many different aspects of his different films and brings them together into one incredible movie. The film is all about a hotel lobby boy, played by Tony Revolori, who starts a job at the Grand Budapest Hotel. Throughout the duration of the film, you are taken on an unpredictable roller coaster through Wes Anderson’s brain.




Ralph Fiennes is a phenomenon as M. Gustave. his interactions with every cast member and especially newcomer Tony Revolori are fantastic. The later holds his own weight beyond belief and the entire film is an amazing adventure with James Bond-style chases, a large murder mystery, the best-placed cussing and of course the sensational cinematography. The sets, models, angles and even the most nondescript characters come to life each on their own and together as a symphony of beauty. It's freaking brilliant; The Grand Budapest Hotel.