Flirting or coquetry is a social and sexual behavior involving body language, or spoken or written communication between humans. It is used to suggest interest in a deeper relationship with another person and for amusement.
Lust is a psychological force producing intense desire for something. Lust can take any form such as the lust for sexuality, money, or power. It can take such mundane forms as the lust for food as distinct from the need for food or lust for redolence, when one is lusting for a particular smell that brings back memories. It is similar to but distinguished from passion, in that passion propels individuals to achieve benevolent goals whilst lust does not.
Being and Nothingness: An Essay on Phenomenological Ontology, sometimes published with the subtitle A Phenomenological Essay on Ontology, is a 1943 book by the philosopher Jean-Paul Sartre. In the book, Sartre develops a philosophical account in support of his existentialism, dealing with topics such as consciousness, perception, social philosophy, self-deception, the existence of "nothingness", psychoanalysis, and the question of free will.
The evil eye is a supernatural belief in a curse brought about by a malevolent glare, usually inspired by envy. The belief in the evil eye among humans has existed since prehistory, and amulets to protect against it have been found dating to about 5,000 years ago. It is estimated that around 40% of the world's population believes in the evil eye.
A wink is a facial expression made by briefly closing one eye. A wink is an informal mode of non-verbal communication usually signaling shared hidden knowledge or intent. However, it is ambiguous by itself and highly dependent upon additional context, without which a wink could become misinterpreted or even nonsensical. For example, in some regions of the world, a wink may be considered rude or offensive. Depending on the relationship of the people involved, a wink could possibly constitute a sexual gesture.
Laura Mulvey is a British feminist film theorist and filmmaker. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She previously taught at Bulmershe College, the London College of Printing, the University of East Anglia, and the British Film Institute.
In Indian religions, Darshana, also spelt Darshan, or Darshanam (darśanam) is the auspicious sight of a deity or a holy person.
In psychology and psychiatry, scopophilia or scoptophilia is an aesthetic pleasure drawn from looking at an object or a person. In human sexuality, the term scoptophilia describes the sexual pleasure that a person derives from looking at prurient objects of eroticism, such as pornography, the nude body, and fetishes, as a substitute for actual participation in a sexual relationship.
Eye contact occurs when two people or animals look at each other's eyes at the same time. In people, eye contact is a form of nonverbal communication and can have a large influence on social behavior. Coined in the early to mid-1960s, the term came from the West to often define the act as a meaningful and important sign of confidence and respect. The customs, meaning, and significance of eye contact can vary greatly between societies, neurotypes, and religions.
In critical theory, abjection is the state of being cast off and separated from norms and rules, especially on the scale of society and morality. The term has been explored in post-structuralism as that which inherently disturbs conventional identity and cultural concepts. Julia Kristeva explored an influential and formative overview of the concept in her 1980 work Powers of Horror: An Essay on Abjection, where she describes subjective horror (abjection) as the feeling when an individual experiences or is confronted by the sheer experience of what Kristeva calls one's typically repressed "corporeal reality", or an intrusion of the Real in the Symbolic Order.
Oculesics, a subcategory of kinesics, is the study of eye movement, behavior, gaze, and eye-related nonverbal communication. The term's specific designation slightly varies apropos of the field of study. Communication scholars use the term "oculesics" to refer to the investigation of culturally-fluctuating propensities and appreciations of visual attention, gaze and other implicitly effusive elements of the eyes. Comparatively, medical professionals may ascribe the same appellation to the measurement of a patient's ocular faculty, especially subsequent a cerebral or other injury.
Staring is a prolonged gaze or fixed look. In staring, one subject or person is the continual focus of visual interest, for an amount of time. The meaning, purpose, and rudeness, of staring varies widely between cultures. Staring can be interpreted as being either hostile like disapproval of another's behavior, or the result of intense concentration, interest or affection. Staring behavior can be considered as a form of aggression like when it is an invasion of an individual's privacy in certain contexts, or as a nonverbal cue to convey feelings of attraction in a social setting. The resultant behavior or action defines whether it is aggressive in nature, passive or active expression of attraction, etc. However, to some extent staring often occurs accidentally, and often a person would be simply staring into a space for awareness, or could be lost in thought, stupefied, or be unable to see. As such, the meaning of a person's staring behavior depends upon the attributions made by the observer.
Peeps is a 2005 novel by Scott Westerfeld revolving around a parasite which causes people to become cannibalistic and repelled by that which they once loved. It follows the protagonist, Cal Thompson, as he lives with this parasite and tries to uncover a possible threat to the whole population of the world. The apocalyptic threat to the world that begins in Peeps continues in The Last Days, which featured some of the same characters.
The psychic staring effect is the claimed extrasensory ability of a person to detect being stared at. The idea was first explored by psychologist Edward B. Titchener in 1898 after students in his junior classes reported being able to "feel" when somebody was looking at them, even though they could not see this person. Titchener performed a series of laboratory experiments that found only negative results. The effect has been the subject of contemporary attention from parapsychologists and other researchers from the 1980s onwards, most notably Rupert Sheldrake.
Coup d'œil is a term taken from French, that more or less corresponds to the words glimpse or glance in English. The literal meaning is "stroke of [the] eye".
Scopophobia, scoptophobia, scopeophobia or ophthalmophobia is an anxiety disorder characterized by a morbid fear of being seen in public or stared at by others.
In critical theory, philosophy, sociology, and psychoanalysis, the gaze, in the figurative sense, is an individual's awareness and perception of other individuals, other groups, or oneself. The concept and the social applications of the gaze have been defined and explained by existentialist and phenomenologist philosophers. Jean-Paul Sartre described the gaze in Being and Nothingness (1943). Michel Foucault, in Discipline and Punish: The Birth of the Prison (1975), developed the concept of the gaze to illustrate the dynamics of socio-political power relations and the social dynamics of society's mechanisms of discipline. Jacques Derrida, in The Animal That Therefore I Am (1997), elaborated upon the inter-species relations that exist among human beings and other animals, which are established by way of the gaze.
Social cues are verbal or non-verbal signals expressed through the face, body, voice, motion and guide conversations as well as other social interactions by influencing our impressions of and responses to others. These percepts are important communicative tools as they convey important social and contextual information and therefore facilitate social understanding.
The representation of gender in horror films, particularly depictions of women, has been the subject of critical commentary.
In feminist theory, the male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. In the visual and aesthetic presentations of narrative cinema, the male gaze has three perspectives: that of the man behind the camera, that of the male characters within the film's cinematic representations; and that of the spectator gazing at the image.
