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Laughing and Grinning through “Sonny’s Blues”
James Nikopoulos

The protagonists in James Baldwin’s 1957 short story “Sonny’s Blues” are constantly smiling and laughing. The story’s narrator notices these gestures and utilizes them to grasp at clarity when clarity seems out of reach. This article examines the narrator’s focus on this duo of facial expressions which reliably denote positive emotion. The relationship we maintain between our smiles and our laughter structures many of the narrator’s interactions with the story’s hero. More though, this relationship between smiles, laughter, and a kind of joy resembles the relationship Baldwin has described between the blues and the world this genre of music depicts.

James Baldwin Review
Catherine Spencer

that stands out. Project Other Ways, which Kaprow embarked on in the same year as Burnham’s ‘Systems Esthetics’, continued his earlier enthusiasm for sociology, particularly the writings of Erving Goffman, but developed this into an investigation of verbal and nonverbal communication through alternative pedagogy. 15 Tom Finkelpearl, tracing the antecedents of socially engaged art of the 1990s and 2000s, categorises Project Other Ways as an idiosyncratic outlier – an ‘uncharacteristic endeavour’ – in Kaprow’s practice. 16 Finkelpearl registers the venture

in Beyond the Happening
The expressive face of Criseyde/ Cressida
Stephanie Trigg

. 6 Mann, ‘Shakespeare and Chaucer’, p. 110. 7 J. A. Burrow, ‘Nonverbal communication in medieval England: some lexical problems’, in R. F. Green and L. R. Mooney (eds), Interstices: Studies in Late Middle English and Anglo-Latin Texts in Honour of A

in Love, history and emotion in Chaucer and Shakespeare
Abstract only
Brian D. Earp
Julian Savulescu

the future, it will likely only be so for some people under some conditions. The most famous study in this area is probably one by the Swiss neuroscientist Beate Ditzen. In 2008 Ditzen and her colleagues administered OT (versus a placebo) to nearly fifty heterosexual couples before having them engage in a conversation about a chronic source of conflict—basically, having them start an argument. Interactions were videotaped and then coded for verbal and nonverbal communication behaviors, and the researchers took salivary cortisol measures as well (cortisol is a stress

in Love is the Drug
The punk scene in Munich, 1979–82
Karl Siebengartner

equality. The audience and the band were on a level, so realising the conditions associated with DIY. Everyone became part of the performance and, thereby, of equal importance. In the process, Damage functioned as an expression of an independently organised scene built around a Munich band. Wallner’s depiction goes beyond recognising a created space. Nonverbal communication also formed part of the description: ‘Most of the punks looked incredibly good, net shirts, bondage trousers, made-up eyes, safety pins, suspenders and crazy t-shirts … Best of all was the anarchy

in Ripped, torn and cut
Open Access (free)
Irish drama since 1990
Clare Wallace
Ondrej Pilný

absolutely central positions in the modern Irish dramatic canon. Friel has continued in the manner sketched by Kilroy, as a ‘highly formal artist’,13 working with themes mapped out in his earlier work of history, memory, forms of identity and exile, and verbal and nonverbal communication. Indeed, for Friel the period is bounded by two major plays, Dancing at Lughnasa (1990) and The Home Place (2005), which frame a number of new pieces – Wonderful Tennessee (1993), Molly Sweeney (1994), Give Me Your Answer, Do! (1997), Afterplay (2002), Performances (2003) – and adaptations

in Irish literature since 1990
Steve Marsh

new heights of importance after the first live televised debate between John F. Kennedy and Richard Nixon during the 1960 presidential election race demonstrated the salience of nonverbal communication, i.e. through gesture, facial expression, tone, and body movement. 35 Summits now project to media and directly into households via television, the Internet, and so forth impressions of familial relations between leaders, cultural referents such as the exchange of gifts, and traditional imagery of Anglo-American shoulder-to-shoulder solidarity in times of crisis – an

in Culture matters
Applied drama, ‘sympathetic presence’ and person-centred nursing
Matt Jennings
Pat Deeny
, and
Karl Tizzard-Kleister

. Performing Medicine employs visual artists, dance and theatre practitioners to work with medical professionals, exploring clinical experiences, in order to develop new ways to resolve communication issues. These interdisciplinary teams use the circle of care model to improve ‘nonverbal communication, self-care, spatial awareness, and appreciation of the person with an emphasis on understanding the perspectives and contexts of others’ (Willson and Jaye, 2017 : 643). Similarly, Reeves and Neilson ( 2018 ) discuss a project that used forum theatre to present interactive

in Performing care
Public and private negotiations of urban space in Manchester
Michael Atkins

verbal and nonverbal communication. They formed part of everyday relationships, movements and social rituals of those involved, yet they were not explicitly visible to the many others that used the village. The Manchester Gay Village city zone includes a stretch of the Rochdale canal along the well-known Canal Street, three parallel streets adjoining alleyways, and a small urban green called Sackville Gardens. During my research, I would often stand at the edge of the village where Canal Street meets Minshull Street, a main road into the city centre. This vantage point

in Realising the city
Abstract only
Ben Alderson-Day

this is happening mostly via nonverbal communication: expressions of concern or delight, smiles and nods, looks of surprise. All these things are blossoming, and they are core parts of the process of learning to see the world through another’s eyes. Within the tradition that Stern was working in, it has often been assumed that infants have to learn that they are separate from others. That is, we all begin undifferentiated from our mothers—or other primary caregivers—and have to learn to distinguish our unique agency in

in Presence