Alle Publikationen
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2017
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(2017): Fight and flight. A multilevel analysis of facework strategies in intercultural face-threatening acts. In: INTERNATIONAL JOURNAL OF INTERCULTURAL RELATIONS 58, S. 69-81. DOI: 10.1016/j.ijintrel.2017.04.008
Abstract: This study investigates facework strategies of managing face-threatening acts in intercultural interactions where communicators' cultural backgrounds are different from each other. Based on a pre-study with U.S. (n = 89) and Chinese (n = 76) college students, four scenarios featuring intercultural face-threatening acts were developed, where a Chinese student communicated politely and appropriately according to the Chinese culture, but the exact same act was considered otherwise in U.S. culture. In the main study, U.S. college students (N = 217) were given these scenarios and asked to report the general level of face needs, perceived face threats, and facework strategies in each scenario. Multilevel analyses (i.e., Hierarchical Linear Modeling) were employed to parse out the different levels of influence in order to understand both separate and joint impacts of situational face threats and individual face needs on facework strategies. Results showed that: 1) intercultural communicators use both mitigating (i.e., fleeing) and aggravating (i.e., fighting) facework strategies, and a slight preference is given to mitigating strategies; 2) facework strategies are more sensitive to particular situational conditions than to individual dispositions; and 3) individuals' value for others' face moderates the relationship between situational conditions and facework strategies. The current study provides empirical evidence of challenges in establishing meaningful intercultural relationships by identifying the multiple levels of impact on facework strategies in intercultural communication. Further discussion and implications of the findings are also included.
2015
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(2015): Designing Robot Embodiments for Social Interaction. Affordances Topple Realism and Aesthetics. In: International Journal of Social Robotics 7 (5), S. 697-708. DOI: 10.1007/s12369-015-0301-3
Abstract: In the near future, human-like social robots will become indispensable for providing support in various social tasks, in particular for healthcare (e.g., assistance, coaching). The perception of realism, in particular human-like features, can help facilitate mediated social interaction. The current study investigated the effects of form realism on engagement with and use intentions of social robot embodiments. We have defined (perceived) form realism as the result of the appraisal of features that are perceived as realistic contrasted with those appraised as unrealistic. To test the effects of form realism, we applied the model of interactively perceiving and experiencing fictional characters (I-PEFiC). I-PEFiC explains how users respond to interactive, fictional, humanoid characters, on social robots. In a within-subjects design, participants (N = 29; M-age = 28.8 years, age range 18-56 years) interacted with three different robots built from LEGO Mindstorms, which differed in their degree of designed form realism. Each robot presented itself as a physiotherapy assistant and requested the participant to do several exercises. Results of a structured questionnaire indicated that form realism only played a modest role in the perception of electro-mechanical robots. Instead, the perception of affordances appeared to be crucial for determining engagement and intentions to use social robots.
2012
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(2012): The self-promoting playful pen in graphic and literary rhino-caricatures. In: HUMOR-INTERNATIONAL JOURNAL OF HUMOR RESEARCH 25 (2), S. 179-198
Abstract: From ancient times to the present, artists’ and authors’ creative, critical, and diverting pens have caricatured the human nose. Their amusing games express the power of the artistic imagination to turn their subjects into game pieces by (1) poking fun at their sociopolitical status through exaggerating or diminishing the size and shape of their noses; (2) playing upon hilarious, multifaceted links between their noses, phalluses, and the mocking pen; and (3) building canonical play frames that expand the artists’ and authors’ ability to mock the sociopolitical competition for power and influence. Though these games at times transgress the boundaries of decorum, they also underscore graphic and verbal caricaturists’ self-promotional creativity, as they address the many inequalities in actual and fictive worlds.
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