Hidden Identity (Mills & Boon Heroes) – Mills & Boon UK
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Original Research ARTICLE
Personal data. First Name Insert your First Name. Last Name Insert your Last Name. For each face, three questions had to be answered: is the face familiar? Results of the control participants con are shown in blue. Results for the filtered famous faces. Face stimuli were all shown in grey-scale and with peripheral features visible. Picture of Barack Obama is in the public domain.
Results of the emotion recognition task. In the task, one face was shown at a time happy, angry, fearful, sad, disgusted, surprised or neutral and had to be labeled in a 7-way forced-choice decision. The figure shows the percentage of correct responses for 17 unmatched male control participants in blue and for J in red. Control data were taken from ; stimuli were taken from the NimStim database . Results of the average faces task. The upper part of the figure shows a set of example stimuli, with the number of faces that were averaged to create the stimulus increasing from left to right.
In the task, a random pair of faces was shown in each trial and the participants had to decide which one is more attractive part 1 or more likable part 2. The lower part of the figure shows the percentage of preferences for the more average face.
Hidden Identity (Mills & Boon Heroes)
Responses for 46 female control participants are shown in blue and results for J are shown in red. Stimuli were created using faceresearch. Differences in z-scores for all pairings of tasks are reported, with positive scores indicating higher performance for the tasks listed in the rows, compared to the tasks listed in the columns.
go She stretches her legs so that we can see their shapeliness in that red skirt, but where is she going? Among the few facts we have about the man behind April: his name was Alan Schaefer; he was born in , in the Bronx, and made a living as a commercial photographer. They never knew her to go to out in costuming; the party was her body, the dance hall was her apartment, and her dance partner was the camera. Imagine how long or filled with anticipation his days were as a commercial photographer, beautiful to himself as a she—and imagine, too, the moment he got home, closed the door, made a little dinner, and then got to work on being herself.
April was a maker, and so was the guy who made April; these pictures are a record of a double consciousness, the he who wants to be a she and the she who is a model and photographer both. Who took the pictures, though?
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Him or her? We see him and her both in the shots recorded on Polaroid, that medium of immediate sadness or gratification.