Writing is a less durable skill than speaking, because it is mastered by the child later, which coincides with the later appearance of written language in human history. Therefore, the patient is more likely to make a mistake in writing than in an oral statement. Virtually any disorder oral speech associated with the use of language means (sounds, words, phrases), with aphasia, they also appear in writing. This is because both spoken and written language are different ways going outside internal speech that always precedes what the person wants to say or write. This inner speech is often called intent. Here it is necessary not only to transform the intent of the utterance into the corresponding units of speech (sounds, words, phrases), but also to recode speech sounds (more precisely, the phonemes contained in them) into a letter (grapheme). If the connection between the phoneme and the grapheme before the disease was complete and strong, then it persists to one degree or another even with gross violations of oral speech. Otherwise, it falls apart, and an “intermediary” is required in order for the phoneme and grapheme to reunite. The main mediator in this is articulation. After all, a child learns to write, strenuously pronouncing each sound, which should turn into a letter.

As we already know, there are forms of aphasia (sensory and motor) in which speech sounds are predominantly affected. Some patients do not distinguish them by ear, others do not know how to pronounce them. These "inferior" sounds are difficult for most patients to use as intermediaries in order to translate into letters. As a result, there are specific errors in a letter. There are also errors in the use of words in the written speech of aphasics, but this is a reflection of a general defect.

The following are sample letters from patients with aphasia:


It is very important, in our opinion, to dwell on the fact that the state of written speech often distinguishes aphasia from dysarthria. Outwardly, it is quite easy to confuse speech disorders in aphasia with dysarthria, since dysarthria, like aphasia, is the result of a local lesion (focus) in one of the speech areas of the brain. With aphasia, the patient makes mistakes in speech sounds, words and grammar, because he has lost a proper understanding of their role in the language. With dysarthria, all these “linguistic” representations remain intact, but the patient cannot speak “for technical reasons” - due to paralysis (paresis) of the speech muscles. In this category of patients, unlike patients with aphasia, there are no "failures" in internal speech, so they can express their intention in writing, but not in oral form, since they do not have writing disorders as such.



Thus, with aphasia, both oral speech and written speech are disturbed (as a rule, written speech suffers more roughly), with dysarthria - predominantly oral.

All of the above is true for the Russian language and languages ​​​​with phonetic, as linguists say, writing, when speech sounds are written in the form of letters. However, there are other languages ​​where a different writing system, for example, Japanese, Chinese and the like, in which they write with drawings-signs denoting a whole word or sentence - hieroglyphs. In the old days, hieroglyphs depicted a particular concept, and from the drawing one could guess what in question. Over time, the drawings became more and more conditional. They convey information in a fundamentally different way than with sound (phonetic) writing. A hieroglyph is not a letter, and it does not correspond to a sound of speech, but to a whole word. Therefore, a person writing in hieroglyphs can write a word, even if he does not know what sounds it includes. A Japanese or Chinese aphasic patient who makes mistakes in sounds during oral speech, as a rule, does not have mistakes in writing. Another thing is if this patient finds it difficult to choose the right word. Then he can write another instead of one hieroglyph, and errors will appear in his letter.

Modern scientific developments allow us to say that the letter is a product of the activity of the left hemisphere, and the hieroglyph is the product of the right. Since it is mainly left hemispheric foci that lead to aphasia, the “left hemispheric” letter turns out to be broken, but the “right hemispheric” hieroglyph does not.

Writing and reading are essentially very similar, because deal with a general means of conveying information, with common sign, namely with a letter. Reading in structure is easier than writing. here it is only necessary to recognize ready-made letters and words, and when writing, to independently depict them. Therefore, reading with aphasia is usually disturbed to a lesser extent, but qualitatively the same as writing.

However, there is also special kind reading disorders. As a rule, he acts in isolation, i.e. without aphasia, but may be combined with it. This type of reading disorder is manifested in the fact that the patient ceases to recognize the letter. He either does not perceive its graphic image at all, or perceives it distortedly: most often, patients confuse the direction of the elements that make up the letter (location top-bottom, right-left, etc.). This type of dyslexia (alexia, if the ability to read is completely lost) is called optical. Some patients with this form of reading disorder cannot read at all, because they do not recognize letters at all, others make various mistakes when reading, associated with a distortion in the perception of a letter. Since letter recognition is very slow, patients often resort to reading by guesswork and make many semantic errors in connection with this. At the same time, patients with dyslexia (alexia), regardless of its type, are able to recognize words that they used to read often, but now perceive as a whole, like a picture, more precisely, like a hieroglyph. For example, the words USSR, LENIN, MOSCOW, etc., as well as a number of words and phrases that are well known in connection with the profession, life interests and inclinations. Many relatives are surprised that a patient who can neither speak nor write, who does not remember a single letter, is able to suddenly find a program of interest to him in a television program or read a newspaper headline. These patients do not read, but recognize words and headings in the same way that they recognize hieroglyphs. So the ability of patients with severe aphasia to read something does not refute the cardinal theoretical provisions about aphasia, but illustrates the many subtleties that are inherent in the disorder of such complex function like speech.

So, a stroke or traumatic brain injury leads to a severe speech disorder, which is called aphasia. Aphasia can appear in different form, depending on where, in which part of the brain the lesion is localized, and, accordingly, on which means of language (sounds, words or sentences) become inaccessible or not quite accessible for use in speech. However, in any of the forms there is no isolated violation of only the sounds of speech, or only words, or only sentences. There can also be no isolated violations of only oral or only written speech. Aphasia is a systemic disorder speech function person. Only in one form of aphasia will the disturbance of speech sounds be the main one, and disturbances of words, sentences, writing, reading will follow from this primary defect; and with the other, words will suffer first of all, and all other disorders will be the result of this violation.

Apart from common features, characteristic for a group of patients with one form or another of aphasia, there may be individual manifestations of aphasia, which depend on the nature of the patient, his education, profession, lifestyle before the disease, etc. This must be taken into account when dealing with an adult patient whose personality and social status by the time of the disease had already been formed.

Finally, it should be borne in mind that different patients, even with the same form of aphasia, can differ significantly in the degree of activity, since the brain of different patients reacts differently to a “breakdown”. In some patients, the so-called protective inhibition is sharply expressed: they are inert, often "stuck" in any action, unable to move on to the next. IN different time day and at different periods of the disease, the degree of general lethargy of such patients may also be different. In other patients, fussiness, inconsistency in behavior is observed. Both groups of patients are characterized by increased fatigue, they quickly get tired and, as it were, are switched off from vigorous activity. This is explained by the fact that the formations located in the deep (upper-stem) parts of the brain are in charge of restoring energy consumption. Due to the presence of a lesion, nerve connections are disrupted, and the neurons of the cerebral cortex experience difficulties in replenishing the expended energy. Often the relatives of such patients consider them lazy, complain that they do not make due efforts in treatment and education. It is necessary to warn the relatives of the patient against such hasty conclusions. Our long-term observations show that there are practically no lazy patients. Only in exceptional cases, patients show inertia associated with laziness as a character trait. As a rule, the lack of activity of the patient is the result of either an individual reaction to the disease, or the spread of the lesion into the deep zones of the brain or into its most anterior frontal areas, which are the main regulators of human mental activity. Therefore, before reproaching the patient for laziness, one should find out whether such a state is a consequence of the disease, and then consider a number of measures to involve him in vigorous activity, to reduce the exhaustion of his attention, etc. It has been established that muscle activity increases the energy resources of brain structures that provide the activity necessary for normal behavior.

CORRECTION AND DEVELOPMENT

Correctional educational programs

Release 1

READING AND WRITING

(Literacy)
Authors-compilers Z.I. Alekseeva, A.P. Podgornaya, teachers of the orphanage-boarding school No. 1 in Petrodvorets;

E.I.Iskovskikh, teacher of special (correctional) school No. 565 in St. Petersburg
EXPLANATORY NOTE

Children with a profound decline in intelligence are characterized by a significant impairment of cognitive processes: active perception, voluntary attention, memory, verbal thinking, the generalizing and regulating functions of speech, and a violation of spatial perception.

The purpose of teaching literacy to this group of children is to teach them to read shop signs, small texts, stories, answer text questions, teach them to write their last name, first name, patronymic, a simple statement, etc.

The main task of teaching literacy is to prepare children for independent living, the ability to navigate the surrounding life, communicate with people, and acquire the simplest work skills.

Teaching literacy to mentally retarded children is carried out according to the sound analytical-synthetic method. In doing so, it is necessary to apply various methods and techniques for more successful mastery of program material: gaming activity (didactic games on the development of sound pronunciation, on the development of voluntary attention), the use of bright accessible visual material.

Reading and writing are taught in parallel. Interdisciplinary communication is carried out with classes in drawing, modeling, laying out letters from colored sticks, buttons, mosaics, and design. Widely used fiction, reading nursery rhymes, poems, riddles, listening to music and singing.

The order of studying sounds and letters is dictated by the laws of phonetics, taking into account the specific features cognitive activity children.

At the 1st year of study, students learn letters, their graphic image, distinguish and distinguish sounds, learn to pronounce them correctly.

The features of the first lessons in teaching writing are that both technical skills are given at the same time (correctly holding a pencil, using it correctly when drawing a line), and skills in depicting individual elements of letters.

The most difficult moment of working with a sentence is the selection of a sentence and speech. For this purpose, a short passage of three or four sentences of two words is selected and each, from a short story or fairy tale, is read, clearly separating one sentence from another, so that the children catch the completeness of each sentence and be able to repeat.

The next stage of work on sound analysis is the division of a word into syllables (its parts). Work begins on dividing a word into syllables by showing the practical significance of syllables. Can be used short story“In the forest”, pictures, illustrations, where girls picking mushrooms call to each other:

"Ta-nya", "Ma-sha". Students repeat each part of the word and designate conditionally graphically (short blue stripes), determine total amount parts of the word and conclude that words consist of parts (syllables) or the word is divided into parts (syllables). Thus, the words proposed by the teacher are analyzed (hand, cheek, head etc.). Games like: “Determine the number of syllables and words with claps” are held, children are taught to depict two-, three-syllable words with claps.

The final stage in sound analysis in the pre-letter period is the selection of speech sounds, which are graphically indicated by colored circles, for example.

Children are given several single-color circles. The teacher calls (a, a-u, i-o- y etc.). Pupils should put on the tables such a number of circles that would correspond to the number of sounds pronounced by the teacher.

Another example.

Children have mugs of different colors on the tables (red, yellow, green). Having agreed that red is the sound "but", yellow - sound "at", green - sound "And", The teacher pronounces combinations of these sounds. First, two sounds: a-y, u-a, woo, then three sounds. Students have to arrange the circles in a certain order.

Acquaintance with each new sound should be preceded and vocabulary work. So when working with sound " but» The teacher lays out pictures on the board (stork, aster). Children name the words, work begins to highlight the desired sound. The teacher calls the words, highlighting the first sound in a singsong voice. (a-a-aster), picking up words with the letter "a" in the stressed position. The children are asked the question: “What is the same sound in words?”.

Then work is carried out on articulating the desired sound, clarifying its pronunciation frontally and individually. (For example, for sound "but": the mouth is wide open, the tongue lies quietly, etc. ). Here you can carry out various games to consolidate the correct pronunciation of this sound (the game "Echo", "Steam locomotive").

The next stage of work on sound is the correlation of the selected sound with the letter of the alphabet. Numerous exercises are carried out to visually fix the graphic image of sound. It is good to compare letters with something: 0 - steering wheel, P - gate, etc.

Showing big block letter from the cut alphabet. Special attention refers to the picture to the letter (stork, aster). The image of objects near the letter helps to highlight the first sound from the word. In the future, when the child learns several letters, he perceives the name of the object in the picture as a hint and remembers the letter.

With children with a profound intellectual disability in the pre-letter period, work is being done to develop visual and spatial perceptions and ideas. This is reading and writing from left to right, the arrangement of lines, lettering, recognition and naming of colors (black, white, brown, red, blue, yellow, green), the name and arrangement of geometric shapes (horizontally, vertically).

This article was written in order to understand how important the importance of the emotional and activity design of speech is. After all, in the process of people's communication, non-verbal components occupy a special place, that is, wordless signs (gestures, facial expressions, posture, etc.) They carry a certain semantic load. Body movements, facial expressions, gestures allow us to get a clearer and more complete picture of the content of the transmitted information and of the person himself.

Formation of communication skills through facial expressions, pantomime

For successful implementation pedagogical activity Establishment of emotional contact with children is necessary. Many modern children, and especially children with severe violations speech, the motivation of communication is disturbed, the amimicity of the muscles of the facial muscles is observed, they are prone to increased fatigue, quick-tempered, closed, and dependent in behavior. Many people poorly differentiate the emotional states of other people in different situations not in control of their emotions. Some children are extremely low self-esteem a negative perception of oneself by others. The speech of many children is monotonous, inexpressive without emotional coloring.

Communication- the interaction of two (or more) people, aimed at harmonizing and combining their efforts in order to establish relationships and achieve a common result. A synonym for communication is the term - communicative activity.

Communication performs a variety of functions in people's lives.

The main ones are:

  • organization of joint activities;
  • formation and development of interpersonal relationships;
  • people knowing each other.

Communication plays a special role in mental development child. The development of the child's psyche is a process that occurs through the appropriation by children of the socio-historical experience of mankind in the context of real communication with adults - carriers of this experience.

The main positive impact of communication lies in its ability to accelerate the development of children. The need for communication is not innate. It arises in the course of life and functions, is formed in the life practice of the interaction of the child with others. They have special attention the following elements communication:

The first one is facial expressions- these are the movements of the muscles of the face, the main indicator of feelings. Studies have shown that with a motionless or invisible face of the interlocutor, up to 10-15% of information is lost. The main informative load in the mimic plan is carried by eyebrows and lips.

The second element of communication is word.

We are lazy about our language. We do not choose the right exact words. We grab the first one that comes across and replace a lot of concepts with it. For example, the word "normal". It filled our colloquial speech. To the question “How is your health?” we answer: "It's okay." "How is it going?" - "Fine!". "How are things at work?" - "Fine!" etc. comments are superfluous.

Intonation

It is sometimes more significant than a word. Intonation is a messenger of joy and sorrow. She attracts and repels. Encouraging and depressing. Offends and offends. And she can inspire hope, make happy, support, encourage.

The third very important element of communication is gestures- These are various movements of the hands and head. Sign language is the oldest way to achieve mutual understanding.

The fourth element of communication is pantomime- this is gait, posture, posture, general motor skills of the whole body.

Gait is the way a person moves. Its components are: rhythm, step dynamics, amplitude of body transfer during movement, body weight. She, as well as intonation and look, can offend, humiliate, outrage and, conversely, express disposition, participation. A person walking with a loose gait, speaking loudly, waving his arms during a conversation, and does not suspect that he causes condemnation and hostility of others. He is far from bad thoughts, and from the desire to offend or upset someone. However, he makes an unpleasant impression.

Having mastered the art of communication, we will see how effectively many issues that arise in everyday life are resolved. Antoine de Saint-Exupery said: "The only real luxury is the luxury of human communication."

The purpose of our work is to create conditions for the development of the child's personality in the process of communication.

Tasks:

  1. to give children knowledge about the art of human relationships;
  2. to form emotional and motivational attitudes towards oneself, others, peers and adults;
  3. acquire the skills, abilities and experience necessary for adequate behavior in a society conducive to best development personality and creative nature of educational activity.

Technology for developing communication skills includes:

1. Development of psychophysical abilities (facial expressions, pantomimes); mental processes (perception, imagination, fantasy, thinking, attention, memory, etc.), speech (monologue, dialogue), creativity(ability to transform, improvise, take on a role).

2. Participation of children in a theatrical game: playing poems, fairy tales, fables; possession of a doll, a toy and all available types of theater.

3. Enrichment of the theatrical experience: children's knowledge about the theater, attributes.

Classes are built according to the following scheme and consist of phases:

I phase. Mimic and pantomimic studies.

Purpose: an expressive image of individual emotional states associated with the experience of bodily and mental contentment and discontent. Models of expressing basic emotions (joy, surprise, interest, anger, disgust, contempt, fear, etc.) and some emotionally colored feelings (pride, shyness, confidence, etc.). Acquaintance with the elements of expressive movements: facial expressions, gestures, posture, gait.

II phase. Sketches and games for the expression of individual qualities of character and emotions.

Purpose: an expressive image of the features generated by the social environment (greed, kindness, honesty, etc.), their moral assessment. Models of behavior of characters with certain character traits. Consolidation and expansion of previously obtained information related to their social competence. Harmonization of the personality of the child.

When depicting emotions, children's attention is drawn to all components of expressive movements at the same time.

III phase. Sketches and games that have a psychotherapeutic focus on a particular child or a group as a whole.

The use of mimic and pantomimic abilities of children for the most natural embodiment of a given image.

Purpose: correction of mood and individual character traits of the child, training in modeling standard situations.

IV phase. Psychomuscular training.

Purpose: removal psycho-emotional stress, correction of character traits (features of manifestations).

Classes are shown to children with excessive fatigue, exhaustion, restlessness; quick-tempered, withdrawn children; as well as with neuroses, character disorders.

It does not make sense to form a group on any one basis.

It is advisable to include in the group one or two children who do not need such activities, but who can be useful to the group with their artistry. With their help, it is easier to “infect” other children with the right emotion.

Potapova Ksenia,
teacher speech therapist

Pedagogical technique. Facial expressions and pantomimics of the teacher.

Prepared

Student sh-11 group

Borisova A.A.


  • Therefore, the mimic portrait of a teacher is always a property that testifies to the internal value relations of the teacher's personality. Here it is necessary to recall a well-known position from the time of K.D. Ushinsky, who noted that the upbringing of a child should be based on positive social material, and only on the basis of positive experience can a child be brought to the knowledge and experience of the negative phenomena of social life.

A.S. Makarenko.


  • Pantomime - (panto + facial expressions) a set of expressive movements of the face, head, limbs and torso that accompany speech and emotions
  • Mimicry (from other Greek μῑμέομαι - imitate) - “expressive movements of the muscles of the face, which are one of the forms of manifestation of certain feelings of a person”
  • Gestures and facial expressions play a significant role in the activities of the teacher. They reinforce speech activity, make it figurative, more convincing, diverse and even economical. All this contributes to an increase in the influence of the teacher, and consequently, his professional culture. The teacher needs to work hard on mastering the technique of using gestures and facial expressions in practical activities.

  • 1) Mechanical gestures are widespread, most of them have a household character, congratulations for the hand; movements of your hand when bowing; congratulations at a distance; an invitation to the future interlocutor to go to the room, sit down at the table and under. Such gestures are necessary. They add variety to communication, saturate it with sensual signs.
  • 2) Descriptive gestures can be of two types. First, the teacher uses the gesture as a pointer, focusing visual receptors on the specified objects that are directly in front of his eyes. The second - the teacher talks about a certain object or phenomenon, seeks to use the word to help the student "draw" in his imagination this or that picture of the action, while using certain gestures for reinforcement, for example, the teacher tells the students about the movement of the satellite around the Earth: with hand gestures you can complete the word picture.
  • 3) Psychological gestures are the outward expression of a person's feelings. They do not always coincide with the words that the speaker gives out. More precisely, psychological gestures do not coincide with the text, but with the subtext, with internally. It is known that a vertical gesture expresses an affirmation, and a horizontal gesture expresses a denial. So you say to someone: “I don’t want to do this anymore”, And with a vertical movement of your hands they hit the table. Or another example, in an insinuatingly restrained voice, you tell your interlocutor: “I respect your hard work, dedication,” while you yourself look at the window, turning your head away from the interlocutor.The same eats completely betrays you, it expresses your subtext, inner, true attitude to reality.

  • An important place in the system of facial expressions is occupied by the eyes. folk wisdom says: "The eyes are the mirror of the human soul" In the process of active academic work with students, the teacher should know and control where to look. Entering the lesson, it is necessary to cover with an attentive glance from the workplace, “see” all the students and express with your eyes the joy, the pleasure of meeting with them. While explaining new educational material the teacher must see all the pupils and everyone. However, you should not focus your gaze on an individual student, as this may cause him some embarrassment. If a particular student diverts his attention to extraneous things, it is enough for the teacher to “suddenly” stop his story in mid-sentence, look at him carefully, expressing discontent and exactingness with his eyes, and after a short pause continue the story.
  • In this context, the position of the teacher is erroneous when, in the process of monologue speech, he chooses “supports” in the classroom at a certain point above the heads of the students or an object outside the window. Indeed, with the help of the eyes, the teacher psychologically mobilizes students for a certain intellectual work, disciplines them.


The role of facial expressions and pantomimics in a communicative act

In the European cultural tradition, it is customary to fix the facial expression of the interlocutor more than body movements, but in pantomime behavior, as a rule, Bottom part the body of a person is more controlled and can say more about the real intention of the interlocutor.

IN business communication concentration on the face is more characteristic for the reason that the lower part of the owner of the body is under the table and hides true emotions from the eyes of others.

American psychologists cite a poker game as an example, when the upper part of a person expresses complete calm and carelessness, and the legs, at this time, are very tense and roll from heel to toe.

Domestic psychologists, on the other hand, like to give an example of a protracted presidium, when faces express polite interest, and the legs are in a relaxed state.

So, under certain circumstances, when a person wants to hide his emotions, a person's face becomes uninformative, but the body becomes the main source of information for a partner.

Of course, the most attracting our attention in the guise of another person is the face.

The face can tell us a lot about the interlocutor. V.P. Zinchenko, a domestic psychologist, wrote: "I prefer to determine the IQ not with the help of tests, but by facial expressions." Indeed, a face can be intelligent, spiritual, funny, it expresses emotions.

Ekman established that there are seven basic facial expressions: happiness, surprise, fear, suffering, anger, contempt, and interest. It was argued that all people, regardless of nationality, culture in which they grew up, quite accurately interpret mimic reactions.

It has been established that the main information load is carried by the eyebrows and the area around the mouth.

The subjects were presented with drawings of faces, where only the position of the eyebrows and lips varied. Consistency of the assessments of the subjects was very high - the recognition of emotions was almost one hundred percent. For example, strongly raised eyebrows were evaluated as an expression of strong distrust of the partner; half raised - surprise, slightly frowning - thoughtfulness, concentration; strongly frowning - anger.

Perception emotional state It happens so accurately and quickly that Japanese psychologists suggested using schematic images of the face when experiencing various emotions, and this turned out to be the fastest and most reliable way to inform about the state of the system-machine. When discussing the issue of information that can be read from a face, one cannot help but raise the issue of the role of the direction of gaze. It is difficult to imagine a productive conversation when the interlocutor constantly looks away. But if you are constantly being looked at, this is also not very pleasant. When a person only formulates a thought, he looks "into space", when a thought is formulated - at a person. The one who speaks looks less at the partner, he only needs to check the reaction of the interlocutor. The one who perceives the information looks towards the partner, sending feedback. If the partner does not look in your direction, this means that he treats you badly, but if he looks without taking his eyes off, this means that he is trying to challenge, or he really treats you very well. Thus, not only facial expression carries information about a person, but also the nature of his gaze.

A special place is occupied by the paralinguistic capabilities of a person, as a way of influencing the interlocutor. The simplest property of the voice - intensity or loudness - in a particular communicative situation is closely related to the manner in which one uses one's space. People who have a habit of speaking loudly break the rule of etiquette by forcing themselves to listen. They fill an acoustic environment that belongs not only to them. Behind such behavior may be a desire to seize the initiative, the habit of "broadcasting", internal tension seeking a way out, enthusiasm for the content of one's story, etc. Pauses, to a large extent, form the rhythmic pattern of speech. Not a single person who is in contact with the interlocutor can do without them, and not only to convey the expressiveness of his speech, but also for situational switching. The use of pauses can be quite effective tool manipulating the interlocutor: an unexpectedly given initiative can make him fuss or make him very tense. The absence of pauses and other structuring techniques leads to monotony. Monotonous manner is not effective. But sometimes experienced manipulators lull the audience with their monotony, and "feed" it the information that could cause an undesirable reaction.

The tempo-rhythmic pattern of communication also has a communicative meaning: in addition to the connection with temperament, the speed of speech can indicate functional state speaker. An excited person speaks louder and faster, makes intonation accents. The voice has timbre characteristics. When trying to describe them, people often turn to other modalities - they talk about "cold", "light", "light", "velvet", "wooden" voice, they talk about musical instruments. The voice can be "squeezed", carry the burden of past problems, embodied in the sound. Analysis of voice components of communicative behavior - real vein for awareness work psychological features and problems.

Quite a lot is known about the information that gestures carry. First of all, quantity matters. The number and intensity of gesticulation grows along with the growth of the emotional reaction, but it can also grow with difficulties in communication. IN various countries the meaning of the same gesture can be interpreted in different ways, but in all cultures there are similar gestures that perform the following function: pointing, emphasizing, highlighting, illustrative. Much less certainty in the interpretation of pos. It has been established that "closed" poses are perceived as poses of distrust, disagreement, opposition, criticism or even fear of a partner. Open poses are perceived as poses of trust, consent, goodwill, psychological comfort.

Hand movements that cover the face or part of it: a strong sense of shame or deep sadness, the desire to immerse yourself. Hide, hide, conceal, often with incorrect criticism coming from a partner. With thoughtfulness and difficulty.

Erasing movements on the forehead: the actual erasing of bad thoughts, bad ideas.

Very slowly and thoughtfully - concentration on reflection.

Stroking something pleasant to the touch with an open palm is a way of life filled with subtle feelings and pleasures, a gentle disposition.

Among the gestures "hand - face" can be identified "gestures of lies". The most common gestures among liars are: stroking the chin, covering the mouth, touching the nose, rubbing the cheek, rubbing or stroking the hair on the head, pulling the urine of the ear, rubbing or scratching the eyebrows, pursing the lips. Body language can tell about a person's sense of self. Strong sense of self, self-awareness: good relaxed posture, freely dropped shoulders, fully extended head, cross-legged position, clear direction of movement upwards, calmness, wide movements, handshake, firm gaze, lively fast speech, rhythmic speech flow, rhythmic fluctuations of the melody. Naive-primary self-awareness: unequivocal relaxation, true naturalness, carelessness, ease, freedom, direct dedication. Overestimation of self, arrogance: shoulders back, bloated rib cage, too high planting of the head, when walking and standing, swaying up, half-closed eyes, look down, unilateral horizontal wrinkles on the forehead, sometimes completely closed eyes, sometimes - turning away the face from the interlocutor, a side view with one eyebrow raised, evaluating a direct look, a wry smile, an oblique one-sided smile, a shade of voice. There are five main channels in literature: space, face, gaze, voice, body and its movements.

Construction of an action-oriented basis for diagnosing mental states based on non-verbal behavior. There are many methods for releasing the non-verbal aspect of communication. Particularly popular in Lately acquired groups of socio-psychological training. Domestic psychologist P.Ya. Galperin developed the theory phased formation mental action. The task should not only contain an indication of the sample, but also be accompanied by such markup that would allow you to correctly perform the specified action with it. Such markup constitutes the indicative basis of actions. Behavioral responses are external spokesmen psychological state. However, their interpretation is far from unambiguous. It depends on the context of the situation.

S.L. Rubinshtein wrote: “In an isolated facial expression, in vain they look for the disclosure of the essence of emotion, but from the fact that it is not always possible to determine emotion from an isolated facial expression, without knowing the situation, it is in vain to conclude that we recognize emotion not by facial expression, but by situation, which ties it in. In fact, from this we can conclude that for the recognition of emotions, especially subtle and complex ones, expression serves not in itself, not in isolation, but in relation to all the specific relationships of a person with others.

emotional interlocutor communicative behavior

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