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Theodor Geisel nunca le gustó conocer a los niños que leían sus obras. El autor de libros infantiles tan populares como El Lorax ¡Cómo el Grinch robó la Navidad! -más conocido como Dr. Seuss-, temía decepcionar a sus precoces lectores con su introvertida personalidad, muy alejada de la imagen alegre y bonachona que pudiesen esperar de él, esa especie de Papá Nöel metido a escritor que cualquiera imagina fácilmente al leer sus historias.

Está claro que la lectura genera en nuestro subconsciente una imagen inédita de cada autor, pero hoy nos planteamos algo más: ¿podemos formarnos una idea de la personalidad de un escritor a través de su aspecto o de su comunicación no verbal?

Con esta y otras preguntas -y un puñado de fotografías-, recurrimos a analisisnoverbal.com, expertos en comunicación no verbal (cuya página les recomendamos que visiten, pues tienen análisis muy interesantes y originales), y sus respuestas han sido muy clarificadoras y curiosas.

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La comunicación no verbal de los escritores

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¿Podemos saber cómo es un autor a través de una imagen?

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Por lo que nos cuentan quienes se dedican a esto, “una sola fotografía puede contener muchísima información cognitiva y emocional acerca de una persona, pero siempre resultará muy limitada si no conocemos el contexto en el que se produce, ni contamos con una buena base documental previa”.

Al parecer, algunos macro rasgos básicos de la personalidad como la extraversión, el neuroticismo o el psicoticismo, “se aprecian claramente en los gestos y expresiones que forman parte del comportamiento no verbal, aunque cada caso es un mundo y no conviene basarse en estereotipos ni generalidades”.

Por lo tanto, nos explican que “siempre será mejor contar con material en vídeo que con fotografías, y cuanto más espontánea y cotidiana sea la escena, más información podremos extraer de su análisis”. En definitiva, la respuesta que nos han dado es un sí condicional, pero un sí.

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Expresiones y su significado

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Después expusimos una serie de imágenes que habían llamado nuestra atención, y preguntamos a analisisnoverbal.com si nuestras conclusiones al ver las expresiones eran correctas. Veamos en qué medida acertamos:

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DARIO FO, ¿TRISTEZA?

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SÍ y NO

Las cejas juntas y elevadas hacia el centro de la frente, los párpados superiores caídos y la mirada un poco ausente, indican tristeza. Sin embargo, los labios y mejillas dibujan una sonrisa social (no espontánea ni auténtica), escondiendo parcialmente la emoción original. En su conjunto, la expresión facial es compatible con el dolor moral y el disimulo.

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ERNEST HEMINGWAY, ¿DOLOR?

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NO

Imagen compleja de analizar sin disponer de la secuencia completa de la acción. En un principio, se podría descartar el dolor, por la relajación de los músculos de la frente y la inactividad de las cejas. La elevación de las mejillas y el cierre de los párpados parecen más compatibles con la sonrisa auténtica. Aunque las comisuras de los labios no suben, sino se retraen, podría tratarse de un efecto de su fisionomía. Nos inclinamos por la alegría como emoción básica. Casi seguro se está riendo.

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EUGENE IONESCO, ¿SORPRESA?

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NO

Si acaso, sorpresa fingida y posada. La apertura de los ojos y la posición de las cejas serían compatibles con la sorpresa, pero la relajación de los labios y la boca cerrada la desmienten. Es el típico caso de incongruencia, que delata la falsedad de una expresión facial.

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J. D. SALINGER, ¿IRA?

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NO

Más bien, miedo. La clave está en el interior de las cejas, que se juntan pero suben, lo cual indica miedo o dolor moral. Para que hubiese ira tendrían que descender. La apertura y tensión de los párpados y la forma de abrir la boca confirman el susto/miedo, reforzado con el gesto defensivo-agresivo del antebrazo y puño cerrado.

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ENRIQUE JARDIEL PONCELA, ¿EXPECTACIÓN?

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Expectación vinculada al deseo. Aunque no parece una expresión espontánea, sino intencionada, la forma de morder el labio inferior indica represión emocional.

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JOSÉ SARAMAGO, ¿EMOCIÓN?

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Otro caso de represión emocional, pero muy diferente al anterior. Hay alegría sincera en la expresión facial, contenida en la forma de apretar y afinar los labios, aunque no puede evitar que las comisuras se eleven sutilmente. El intento por controlar las emociones se confirma con la posición de las manos: aunque se trata de un gesto emblemático con significado propio (da una abrazo al público), en este contexto resulta también un gesto adaptador, tocándose a sí mismo como forma de filtrar o contener su emotividad.

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CHARLES BUKOWSKI, ¿IRA?

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NO

Curiosa imagen. No resulta fácil establecer su grado de espontaneidad, aunque probablemente no tenga demasiada, porque su protagonista reproduce una mezcla de emociones difíciles de encontrar juntas de manera sincrónica: Las cejas indican ira, la nariz indica asco, y la boca, desprecio. ¿Podemos estar enfadados, asqueados y sentir desprecio a la vez? Obviamente sí, pero en su expresión facial suele producirse una secuencia temporal que aquí falla.

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JULIO CORTÁZAR, ¿SORPRESA?

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border_style=”solid” border_position=”all” border_radius_top_left=”” border_radius_top_right=”” border_radius_bottom_left=”” border_radius_bottom_right=”” box_shadow=”no” box_shadow_vertical=”” box_shadow_horizontal=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” margin_top=”” margin_bottom=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_imageframe image_id=”6207|full” max_width=”” style_type=”” blur=”” stylecolor=”” hover_type=”none” bordersize=”” bordercolor=”” borderradius=”” align=”center” lightbox=”no” gallery_id=”” lightbox_image=”” lightbox_image_id=”” alt=”” link=”” linktarget=”_self” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]http://www.eraseunavezqueseera.com/wp-content/uploads/2014/06/julio-cortazar.jpg[/fusion_imageframe][/fusion_builder_column][fusion_builder_column type=”2_3″ layout=”1_2″ spacing=”” center_content=”yes” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_image_id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” border_radius_top_left=”” border_radius_top_right=”” border_radius_bottom_left=”” border_radius_bottom_right=”” box_shadow=”no” box_shadow_vertical=”” box_shadow_horizontal=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” margin_top=”” margin_bottom=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=””]

SÍ NO

En las dos imágenes aparecen los párpados más abiertos de lo normal y las cejas elevadas, expresiones vinculadas a la sorpresa. Sin embargo, solo se confirma esta emoción en la primera foto, con la apertura de la boca por caída de la mandíbula. La primera expresión es claramente espontánea y auténtica, mientras la segunda es voluntaria y fingida.

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JOHN STEINBECK, ¿ENFADO?

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El ceño fruncido, la tensión en los párpados y los pliegues nasales pronunciados, son claros indicadores de ira, emoción básica confirmada por la forma de mostrar los dientes, desplazando la mandíbula hacia adelante. También se aprecia cierto asco, en la forma de deprimir el labio inferior. Sí, está muy enfadado.

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TRUMAN CAPOTE, ¿MELANCOLÍA?

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Aunque el valor emocional de esta imagen es muy relativo, al no ser una expresión espontánea, sino un posado muy elaborado (de hecho, es una de sus poses más populares y objeto de imitación). Aún así, se puede reconocer la tristeza en las arrugas centrales de la frente, producidas por la elevación interior de las cejas, así como en los párpados caídos y las comisuras de los labios levemente deprimidas. En contra de lo que pudiera parecer, los gestos adaptadores enmarcando la cara con sus manos revelan incomodidad e intento de control emocional.

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JOHN IRVING, ¿ENFADO?

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Curiosa imagen entre espontánea y voluntaria. La ira se aprecia en la inclinación de la cabeza (parece embestir con la frente),los párpados inferiores en tensión, los superiores casi unidos a las cejas, las cejas juntas y hacia abajo, y la mirada fija y penetrante. Los labios apretados/afinados de esta manera indican intento de control emocional. Hay dos opciones: o está enfadado y lo quiere disimular, o está empezando a enfadarse.

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STEPHEN KING, ¿MIEDO?

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NO

No parece una reacción espontánea a un estímulo que le haya causado miedo, entre otros motivos, por la ausencia de expresiones de sorpresa. Sin embargo, maneja muy bien el movimiento muscular facial vinculado con el miedo, especialmente la retracción de las comisuras de los labios y la tensión en el cuello. Un buena interpretación para un maestro del terror, pero una interpretación al fin y al cabo.

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MARIO VARGAS LLOSA, ¿CRISPACIÓN?

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NO

En contra de lo que pudiera parecer, no hay crispación. La clave está en sus cejas, que permanecen inmóviles y horizontales (cuando hay ira se juntan en el centro y bajan hacia la nariz, formando unos pliegues muy característicos). Sin embargo, sí hay actividad de los músculos cigomáticos y los orbiculares, que ascienden las mejillas y provocan las populares patas de gallo en los ojos. En conexión con el gesto ilustrador de los puños, nos inclinamos más por el énfasis expresivo, probablemente vinculado a alguna emoción positiva.

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Sonrisas verdaderas y sonrisas fingidas

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Ya puestos, también preguntamos a los amigos de analisisnoverbal.com cómo distinguir una sonrisa auténtica de otra que no lo es, y nos explicaron que la clave está en las “patas de gallo”, las temidas arrugas que se forman en el contorno exterior de los ojos.

“La sonrisa auténtica implica la contracción de los músculos cigomáticos próximos a la boca, que elevan las comisuras de los labios, y la activación simultánea de los músculos orbiculares alrededor de los ojos, cuya involuntaria contracción eleva las mejillas y produce las mencionadas arrugas”.

Veámoslo con algunos sencillos ejemplos:

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AGATHA CHRISTIE

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LA SONRISA ES AUTÉNTICA

Los labios dibujan una uve, las mejillas se elevan cerrando los ojos, y de hecho hay incluso asimetría natural en los párpados (un ojo más abierto que el otro).

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TOM WOLFE

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SONRISA SOCIAL, FINGIDA O POSADA

Las comisuras de los labios se retraen, en lugar de subir. La mejillas se hinchan, en lugar de elevarse, no empujan los párpados inferiores ni se producen las típicas patas de gallo (amén de las que ya tiene de forma natural por los años). Los párpados están en forzada tensión.

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container][fusion_builder_container hundred_percent=”no” hundred_percent_height=”no” hundred_percent_height_scroll=”no” hundred_percent_height_center_content=”yes” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” status=”published” publish_date=”” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_1″ spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_image_id=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” border_radius=”” box_shadow=”no” dimension_box_shadow=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” margin_top=”” margin_bottom=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_separator style_type=”none” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” sep_color=”” top_margin=”40px” bottom_margin=”” border_size=”” icon=”” icon_circle=”” icon_circle_color=”” width=”” alignment=”center” /][fusion_title hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” content_align=”left” size=”3″ font_size=”” line_height=”” letter_spacing=”” margin_top=”” margin_bottom=”” margin_top_mobile=”” margin_bottom_mobile=”” text_color=”” style_type=”none” sep_color=””]

KEN FOLLET

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SONRISA AUTÉNTICA O MUY BIEN FINGIDA

Los labios dibujan una uve, hay elevación de las mejillas y pliegues en los párpados (asimetría natural en el cierre de los ojos).

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TRUMAN CAPOTE

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SONRISA SOCIAL EN GRADO MUY LEVE

Las comisuras de los labios se retraen sutilmente. No hay actividad en torno a los ojos.

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JOËL DICKER

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SONRISA AUTÉNTICA Y SINCERA

Es casi una risa, previa a la carcajada, en la que se aprecia con nitidez la acción involuntaria de los músculos orbiculares alrededor de los ojos, con pronunciadas “patas de gallo”.

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ISABEL ALLENDE

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SONRISA SOCIAL, POSADA

Las comisuras de los labios se retraen en lugar de elevarse. No hay actividad en las mejillas. En este caso se observa de forma muy clara la diferencia en la apertura de los ojos y la fijación de la mirada, incompatible con la sonrisa auténtica.

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Los gestos, entre el emblema y la adaptación

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Y por último, a modo de epílogo, esta breve recopilación de gestos, algunos claramente reconocibles, pero sobre los que hemos querido saber un poco más. Dejamos al margen los ilustradores, que acompañan el discurso, y los reguladores, que manejan la conversación, y nos centramos por su relevancia en los emblemáticos y adaptadores:

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DON BROWN

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Los gestos emblemáticos son aquellos que tienen su propio significado sin necesidad de acompañarlos de palabras, como este puño cerrado y en alto de triunfo, que expresa fuerza y ánimo: “ganamos”.

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ARTURO PÉREZ-REVERTE

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Los emblemáticos no siempre se realizan de forma consciente. En este caso se le escapa sin darse cuenta el gesto al sujetar el cigarrillo, haciendo la popular “peineta” o “que te jodan”. Suelen ser muy reveladores del auténtico estado emocional, cuando decimos una cosa pero en realidad pensamos otra.

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GABRIEL GARCÍA MÁRQUEZ

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border_style=”solid” border_position=”all” border_radius_top_left=”” border_radius_top_right=”” border_radius_bottom_left=”” border_radius_bottom_right=”” box_shadow=”no” box_shadow_vertical=”” box_shadow_horizontal=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” margin_top=”” margin_bottom=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_imageframe image_id=”6199|full” max_width=”” style_type=”” blur=”” stylecolor=”” hover_type=”none” bordersize=”” bordercolor=”” borderradius=”” align=”center” lightbox=”no” gallery_id=”” lightbox_image=”” lightbox_image_id=”” alt=”” link=”” linktarget=”_self” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]http://www.eraseunavezqueseera.com/wp-content/uploads/2014/06/gabriel-garcia-marquez-sacando-la-lengua2.jpg[/fusion_imageframe][/fusion_builder_column][fusion_builder_column type=”2_3″ layout=”1_2″ spacing=”” center_content=”yes” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_image_id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” border_radius_top_left=”” border_radius_top_right=”” border_radius_bottom_left=”” border_radius_bottom_right=”” box_shadow=”no” box_shadow_vertical=”” box_shadow_horizontal=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” margin_top=”” margin_bottom=”” animation_type=”” animation_direction=”left” 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En la primera imagen, el mismo gesto emblemático insultante, pero realizado de forma intencionada y aparentemente de broma (no hay expresión de ira en su rostro). En la segunda, otro gesto emblemático de burla reconocido también universalmente.

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CARLOS FUENTES

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Los adaptadores son los gestos que empleamos para manejar nuestra emociones, y se ejecutan tocando alguna parte de nuestro cuerpo o manipulando algún objeto. Su interpretación siempre debe realizarse en conexión con el resto del comportamiento no verbal. En este caso, la elocuente expresión facial de contrariedad evidencia el intento por controlar las emociones, poniendo en contacto sus manos como si rezara.

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MARIO BENEDETTI

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Este curioso caso requiere mayor precisión en la observación, porque en un principio podría parecer que estamos ante un gesto emblemático, como ponemos habitualmente las manos ahuecadas junto a la orejas para indicar que queremos escuchar. Sin embargo, si nos fijamos con detalle, nos damos cuenta de que hace justo lo contrario, plegando el pabellón auditivo sobre sí mismo para no escuchar. Estamos ante un gesto adaptador muy revelador, utilizado para reprimir la expresión emocional: o le molesta el ruido e intenta concentrarse en sus pensamientos, o no le agrada lo que ha escuchado.

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