- •Content
- •Introduction
- •In the process of implementation of these communication skills significant role plays non-verbal communication.
- •In many ways, expression of the eyes depends on the pupils. The pupils dilate if man is excited and a narrows angrily, gloomy, if a person is full of suspicion.
- •In the literature we come across classifications of gestures on various grounds. Here are some examples of some of them.
- •Section 1.1. Approaches to defining the non-verbal codes of communication
- •Section 1.2. Classification of non-verbal codes of communication
- •Illustrators - gestures, closely associated with speech and supplementing it in different forms. They are:
- •Verbal channel: «We have good relations».
- •Brief Summary of Chapter 1
- •Chapter 2. Non-verbal means of communication as symptoms of the conflict situation
- •Section 2.1. The notion of a conflict
- •Section 2.2. Types of a conflict
- •Vertical conflicts are those which happen between people subordinate to each other.
- •In terms of social interaction conflicts are classified into ethnic, intergroup, intragroup, interpersonal and intrapersonal. [Deutsch m, 2005, 54]
- •Section 2.3. The external manifestations of non-verbal codes in a conflict situation
- •Brief Summary of Chapter 2
- •Chapter 3 Verbal manifestations of non-verbal means
- •The Girl Who Played with Fire (by Stieg Larsson). Chapter 5, page 102.
- •A Red Herring without Mustard (by Allen Bradley, chapter 2, p.26)
- •On the corner of love (by Adam Moffat, chapter 14. P.178)
- •Harry Potter and the Deathly Hallows (by j.K. Rowling, chapter 12: Silver and Opals. P. 322)
- •Hp and the Goblet of Fire (by j.K. Rowling, Chapter 14: Felix Felicis, p. 213)
- •Brief summary of the Chapter 3
- •Conclusion
- •Список литературы
- •List of used fiction
- •List of lexicographic publications
On the corner of love (by Adam Moffat, chapter 14. P.178)
«- You think so? - Matilda leaned back in her chair and lit a cigarette. Jack pursed his lips and looked away. - Answer! - She cried, leaning forward, bringing her face to his. - It's my business and my father’s, not yours. One second had drown in the icy silence, and then... smack! Jack felt the burn on his cheek. She gave him a slap. She... - Jack ... I ... I did not want… But it was too late, advancing on her, like a huge beast, he blocked the whole space. - Never. Do you hear? Never again don’t you dare ... - He whispered, barely audible. But that whisper was like a thunder - rumbling in her head, scaring her, keeping her silent.»
Analysis: non-verbal cues are presented in the author's framing. The conflict is horizontal, intrapersonal, open. Participants are Jack and Matilda. Motivation is money that Jack’s father want to pass them to him. The conflict is horizontal thus very emotional.
The clash of the conflict is violation of norm of the relations. Physical contact aiming at hurting.
The beginning of the conflict: 1) Jack pursed his lips and looked away – body language, interruption of eye-contact denotes the try to avoid the conflict. Development of the conflict: 1) - She cried, leaning forward, bringing her face to his. – proxemic code denotes the hostility and anger, the distance is getting shorter pointing on dangerous situation.2) Prosodic code – is the high pitch of the voice.
Peak of the conflict: 1) She gave him a slap – the harsh contact denoting the climax of the conflict. 2) … advancing on her, like a huge beast, he blocked the whole space – again the proxemics. He is shortening the distance - a demonstration of his physical power. 3) He whispered, barely audible – although whisper is not often seen in the peak of the conflict situation here we can speak of the dependence of the pitch of the voice in the climax of the conflict depending on the character of the person included in the conflict. For some it is screaming, for some whispering – indicate the degree of fury, rage.
Harry Potter and the Deathly Hallows (by j.K. Rowling, chapter 12: Silver and Opals. P. 322)
Harry had pinned Mundungus against the wall of the pub by the throat. Holding him fast with one hand, he pulled out his wand. «Harry!» squealed Hermione. «You took that from Sinus's house,» said Harry, who was almost nose to nose with Mundungus and was breathing in an unpleasant smell of old tobacco and spirits. "That had the Black family crest on it." «I--no--what--?» spluttered Mundungus, who was slowly turning purple. «What did you do, go back the night he died and strip the place?» snarled Harry. «I...no…» «Give it to me!» «Harry, you mustn't!» shrieked Hermione, as Mundungus started to turn blue. There was a bang, and Harry felt his hands fly off Mundungus's throat. Gasping and spluttering, Mundungus seized his fallen case, then--CRACK-- he Disapparated. Harry swore at the top of his voice, spinning on the spot to see where Mundungus had gone. «COME BACK, YOU THIEVING -- !»
Analysis: Non-verbal cues are presented in the author's framing and in direct speech. Conflict is horizontal, emotional, intraindividual, open. Participants are Harry and Mundungus. Mundungus stole family silver from Harry uncle’s house.
The core of the conflict is the violation of the social position.
Beginning of the conflict: 1) Harry had pinned Mundungus against the wall of the pub by the throat. Holding him… - emotional and fast beginning of the conflict merged with it’s development. Proxemic code of shortening the distance between participants. Indicates anger.
Development/climax of the conflict: 1) Harry, who was almost nose to nose with Mundungus – proxemics code of nearly no distance between participants show the intention of one of them to hurt another.
Proxemic codes here go along with the prosodic codes like: spluttered, snarled, squealed, shrieked The climax and the end of the conflict ends with interaction of both proxemics code (disappearance of Mundungus) and prosodic code (Harry swore at the top of his voice).