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Physiognomy (from Greek φύσις (physis) 'nature' and γνώμων (gnomon) 'judge, interpreter') or face reading is the practice of assessing a person's character or personality from their outer appearance—especially the face.
This finding has also been demonstrated in a study conducted by T. R. Alley in which he had 25 undergraduate students (consisting of 7 men and 18 women) rate the cuteness of infants depending on different characteristics such as age, behavioral traits, and physical characteristics such as head shape, and facial feature configuration. [14]
When participants learned that a person had positive personality characteristics (e.g., smart, funny, kind), that person was seen as more physically attractive. [345] Conversely, a person with negative personality characteristics (e.g., materialistic, rude, untrustworthy) was seen as less physically attractive.
Bruce & Young Model of Face Recognition, 1986. One of the most widely accepted theories of face perception argues that understanding faces involves several stages: [7] from basic perceptual manipulations on the sensory information to derive details about the person (such as age, gender or attractiveness), to being able to recall meaningful details such as their name and any relevant past ...
Authors set a tone in literature by conveying emotions/feelings through words. The way a person feels about an idea/concept, event, or another person can be quickly determined through facial expressions, gestures and in the tone of voice used. In literature an author sets the tone through words.
The face is the front of an animal's head that features the eyes, nose and mouth, and through which animals express many of their emotions. [1] [2] The face is crucial for human identity, and damage such as scarring or developmental deformities may affect the psyche adversely.
A definition of phrenology with chart from Webster's Academic Dictionary, c. 1895. Among the first to identify the brain as the major controlling center for the body were Hippocrates and his followers, inaugurating a major change in thinking from Egyptian, biblical and early Greek views, which based bodily primacy of control on the heart. [17]
By using restrained acting during facial close-ups and during shot/reverse shot sequences, Hitchcock designed his scenes in such a way that when the camera cut to what the character was looking at, "the viewer would experience the emotion directly, through identification, rather than by observing the actor's artifice of sentiment".