1. The Girl Who Played with Fire (by Stieg Larsson). Chapter 5, page 102.

«He paused to gather his courage. “It’s a divorce!”

Kim and Lola froze. She was advancing on him, her green eyes narrowed like a cat’s.

“How dare you say that.”

“ ’S true,” he mumbled and looked away. He knew that he was in trouble, that he deserved to be in trouble, and he was about to run for it when she seized him by an ear and put her face close to his.

“If you hit me,” he said quickly, “I’ll tell The Parents.” But he himself had made the invocation useless, a ruined totem of a lost golden age.

“You will never ever use that word again. D’you hear me?”

Full of shame, he nodded, and she let him go. »

Analysis: non-verbal cues presented in the author's framing. It is a vertical conflict. Participants Jackson and his elder sister Lola.

Type of a conflict: interindividual, social, open. Motivation: Jackson speaks about their parents getting divorced and taking into the account the time of the events in the book he is not allowed to do so in front of his elder sister. Prosodic code: 1) “It’s a divorce!” and – the rising tone indicates that Jackson is scared 2) How dare you say that, 3) You will never ever use that word again – the words «dare» and «ever» in italics indicate a stress put on this words during the speech which points at anger.

The core of the conflict is violation of the rules of social behavior.

Body code: 1) Pierrot and Lola froze; - indicates a state of shock and the beginning of a conflict 2)… her green eyes narrowed; - indicates the rising anger 3) he looked away; - indicates fear 4) she seized him by an ear; - indicates anger and the peak of the conflict 5) Full of shame, he nodded; - indicates agreement and submission, the end of the conflict. 6)

Proxemic codes: 1) she seized him by an ear and put her face close to his; - the distance is reduced, indicates anger and peak of the conflict 2) she let him go – the distance went back to normal, indication of an end of the conflict.

2. A Red Herring without Mustard (by Allen Bradley, chapter 2, p.26)

«- Gypsies! Gypsies! A large red-haired woman ran out ... waving her arms ... Sleeves were rolled up the dress, exposing her bony elbows, as if she was preparing for a fight.

«I know you! - She yelled.

 - You are these girls… de Luce of Bukshou, huh?” «I'm afraid you're wrong - I said, lifting the chin and half closing eyes to heighten the effect ... We are completely lost, you see». «Red-haired woman has already begun to smooth the wet strands of hair. - Idiots you, whoever you may be ...»

Analysis: Non-verbal cues presented in the authors framing. The conflict is horizontal. Participants are red-haired woman and a young girl Flavia and a gypsy. Red-haired woman hate gypsies.

The core of the conflict is the impact of prejudice.

The conflict is intragroup, social, open.

1)Body code: «ran out ... waving her arms ... Sleeves were rolled up the dress, exposing her bony elbows, as if she was preparing for a fight» - this also includes proxemics code of shortening the distance between participants.

The beginning of the conflict, nonverbal cues accompany and support the verbal statements. The woman is supporting her cries by waving her  hands, showing that she is hostile,

2) Prosodic code - «I know you! - She yelled» - yelling is the highest of the possible tones here denoting the peak of a conflict, the greatest degree of hostility.

3) Body language – «Red-haired woman has already begun to smooth the wet strands of hair. - Idiots you, whoever you may be ...». Non-verbal cues oppose the verbal manifestation. Though the connotation of her words is negative her gestures indicate shame and submission. The end of the conflict.

3. Harry Potter and the Half-Blood Prince (by J.K. Rowling Chapter 2: Spinner’s end, p.33-35.)

«Snape», she said curtly as she passed him. «Bellatrix», he replied, his thin mouth curling into a slightly mocking smile as he closed the door with a snap behind them.

… Bellatrix lowered her hood more slowly. Dark as her sister was fair, with heavily lidded eyes and a strong jaw, she did not take her gaze from Snape as she moved to stand behind Narcissa. Snape poured out three glasses of blood-red wine and handed two of them to the sisters. Narcissa murmured a word of thanks, whilst Bellatrix said nothing, but continued to glower at Snape. This did not seem to discompose him;

«Severus, I know I ought not to be here, I have been told to say nothing to anyone, but» «Then you ought to hold your tongue»! Snarled Bellatrix. «Particularly in present company!» «Present company?» repeated Snape sardonically. «And what am I to understand by that, Bellatrix?» «That I don't trust you, Snape, as you very well know!» Snape set his glass down upon the table and sat back again, his hands upon the arms of his chair, smiling into Bellatrix's glowering face. «Narcissa, I think we ought to hear what Bellatrix is bursting to say; it will save tedious interruptions. Well, continue, Bellatrix,» said Snape. «Why is it that you do not trust me?» «A hundred reasons!» she said loudly, striding out from behind the sofa to slam her glass upon the table. «Where to start! … She paused, her chest rising and falling rapidly, the color high in her cheeks. 

…Bellatrix's mouth twisted as though she had taken an unpleasant dose of medicine. … «Think!» said Snape, impatient again. He inclined his head and toasted her. 

Bellatrix still looked unhappy, though she appeared unsure how best to attack Snape next.

Analysis: Non-verbal cues presented in the author's framing. The conflict is horizontal. Participants are Bellatrix and Severus, both serving the Dark Lord. Bella don’t trust Snape. Type of conflict: It is an intraindividual conflicted, first closed then opened.

The core of the conflicts is the clash of ideologies.

The beginning of the conflict: 1) «Snape», she said curtly… - prosodic code, indicating dislike. 2) his thin mouth curling into a slightly mocking smile… the body code indicating the relation of the participant to another person. 3) she did not take her gaze from Snape as she moved to stand behind Narcissa… - both body code and proxemics code. Eye contact is not interrupted, indicates the awaiting of danger. Proxemic code indicate caution – Bella is creating an obstacle between her and Snape, a classic symptom of a closed conflict. 4) Narcissa murmured a word of thanks, whilst Bellatrix said nothing, but continued to glower at Snape – prosodic code of silence here indicates caution and hostility.

The development of the conflict 1) «snarled», «repeated Snape sardonically» - prosodic codes denote the development of the conflict. 2) Snape set his glass down upon the table and sat back again, his hands upon the arms of his chair, smiling into Bellatrix's glowering face. – body language, though all this gestures usually denote calmness and softness of situation – here it is clearly seen from the context that they intended to infuriate the opponent by not giving the expected reaction on his attacks. It’s a classic symbol of indifference.

The peak of the conflict: 1)… she said loudly, striding out from behind the sofa to slam her glass upon the table. … She paused, her chest rising and falling rapidly, the color high in her cheeks. – the proxemics code here is of the main importance. Bella is reducing the distance between them ready to attack any moment. This indicates anger, hostility, the climax of the conflict. After her speech we can see the results of the strong emotions of anger – the body language – color of her cheeks, rapid breath.

The end of the conflict: 1) Bellatrix's mouth twisted as though she had taken an unpleasant dose of medicine. – body code denoting the unsuccessfulness of the attack in the opponent. 2) He inclined his head and toasted her… - the conflict ends as one of the opponents restrains himself, preferring not to attack back.