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Form as function in Asian American literature.
With a foreword by well-known neuroscientist Alain Berthoz, The Style of Gestures convincingly makes the case that embodied cognition is essential to the reception, understanding, and enjoyment of art and literature.

Gestures

Giovanni Maddalena, Fabio Ferrucci, Michela Bella, Matteo Santarelli

Published: 2024-04-11

Total Pages: 424


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Drawing on sources as diverse as Supreme Court decisions, nightclub comedy, congressional records, and cultural theory, Obscene Gestures explores the many contradictory vectors of twentieth-century moralist controversies surrounding literary and artistic works from Henry Miller’s Tropic of Cancer to those of Toni Morrison, Alice Walker, Kathy Acker, Robert Mapplethorpe, 2 Live Crew, Tony Kushner, and others. Patrick S. Lawrence dives into notorious obscenity debates to reconsider the divergent afterlives of artworks that were challenged or banned over their taboo sexual content to reveal how these controversies affected their critical reception and commercial success in ways that were often determined at least in part by racial, gender, or sexual stereotypes and pernicious ethnographic reading practices. Starting with early postwar touchstone cases and continuing through the civil rights, feminist, and LGBTQ+ movements, Lawrence demonstrates on one level that breaking sexual taboos in literary and cultural works often comes with cultural cachet and increased sales. At the same time, these benefits are distributed unequally, leading to the persistence of exclusive hierarchies and inequalities. Obscene Gestures takes its bearings from recent studies of the role of obscenity in literary history and canon formation during the late nineteenth and early twentieth centuries, extending their insights into the postwar period when broad legal latitude for obscenity was established but when charges of obscenity still carried immense symbolic and political weight. Moreover, the rise of social justice movements around this time provides necessary context for understanding the application of legal precedents, changes in the publishing industry, and the diversification of the canon of American letters. Obscene Gestures, therefore, advances the study of obscenity to include recent developments in the understanding of race, gender, and sexuality while refining our understanding of late-twentieth-century American literature and political culture.
This book examines emblems (or emblematic gestures) from a pragmatic view, that is to say, as autonomous gestures that fulfill communicative functions, embody illocutionary values, and act as signals of cognitive relevance. Emblems are conceived as multimodal tools on the frontier between verbal and nonverbal modes, and are part of the communicative repertoire of individuals and sociocultural groups. Emblems constitute clear cases of embodiment and are susceptible to many processes of metaphorization (contrasting or not with verbal metaphors), metonymy, and interference between modalities. The applications of emblematic analysis are numerous, from lexicography to second language learning, or to natural language processing.
An illustrated guide to more than 850 gestures and their meanings around the world, from a nod of the head to a click of the heels. Gestures convey meaning with a flourish. A vigorous nod of the head, a bold jut of the chin, an enthusiastic thumbs-up: all speak louder than words. Yet the same gesture may have different meanings in different parts of the world. What Americans understand as the “A-OK gesture,” for example, is an obscene insult in the Arab world. This volume is the reference book we didn't know we needed—an illustrated dictionary of 850 gestures and their meanings around the world. It catalogs voluntary gestures made to communicate openly—as distinct from sign language, dance moves, involuntary “tells,” or secret handshakes—and explains what the gesture conveys in a variety of locations. It is organized by body part, from top to bottom, from head (nodding, shaking, turning) to foot (scraping, kicking, playing footsie). We learn that “to oscillate the head while gently throwing it back” communicates approval in some countries even though it resembles the headshake of disapproval used in other countries; that “to tap a slightly inflated cheek” constitutes an erotic invitation when accompanied by a wink; that the middle finger pointed in the air signifies approval in South America. We may already know that it is a grave insult in the Middle East and Asia to display the sole of one's shoe, but perhaps not that motorcyclists sometimes greet each other by raising a foot. Illustrated with clever line drawings and documented with quotations from literature (the author, François Caradec, was a distinguished and prolific historian of literature, culture, and humorous oddities, as well as a novelist and poet), this dictionary offers readers unique lessons in polylingual meaning.
Co-speech gestures are ubiquitous: when people speak, they almost always produce gestures. Gestures reflect content in the mind of the speaker, often under the radar and frequently using rich mental images that complement speech. What are gestures doing? Why do we use them? This book is the first to systematically explore the functions of gesture in speaking, thinking, and communicating – focusing on the variety of purposes served for the gesturer as well as for the viewer of gestures. Chapters in this edited volume present a range of diverse perspectives (including neural, cognitive, social, developmental and educational), consider gestural behavior in multiple contexts (conversation, narration, persuasion, intervention, and instruction), and utilize an array of methodological approaches (including both naturalistic and experimental). The book demonstrates that gesture influences how humans develop ideas, express and share those ideas to create community, and engineer innovative solutions to problems.
Repetitive sequences play a major role as a pattern-building device and are a basic syntagmatic linguistic means on all language levels in spoken and signed languages. Little attention has been paid to investigating them in multimodal language use. Do gestures exhibit different types of repetitive sequences? Do they build complex units based on these types and if so, how is the pattern building to be described? How is the interrelation of gestural and spoken units in such complex units? Is it possible to identify repetitive patterns that are comparable to spoken and signed languages and/or patterns specific to the gestural modality? Based on a corpus-analysis of multimodal usage-events, 7 chapters explore gestural repetitions with regard to their structure, semantic and syntactic relevance for multimodal utterances, and cognitive saliency. Fine-grained cognitive-linguistic analyses of multimodal usage events reveal that gestural repetitions are not only a basic principle of building patterns in spoken and signed languages, but also in gestures. By addressing questions of mediality and multimodality of language-in-use, the book contributes to the investigation of repetition as a fundamental means of sign and meaning construction (crosscutting modalities) and enhances the understanding of the multimodal character of language in use.
In Gestures of Concern Chris Ingraham shows that while gestures such as sending a “Get Well” card may not be instrumentally effective, they do exert an intrinsically affective force on a field of social relations. From liking, sharing, posting, or swiping to watching a TED Talk or wearing an “I Voted” sticker, such gestures operate as much through affective registers as they do through overt symbolic action. Ingraham demonstrates that gestures of concern are central to establishing the necessary conditions for larger social or political change because they give the everyday aesthetic and rhetorical practices of public life the capacity to attain some socially legible momentum. Rather than supporting the notion that vociferous public communication is the best means for political and social change, Ingraham advances the idea that concerned gestures can help to build the affective communities that orient us to one another with an imaginable future in mind. Ultimately, he shows how acts that many may consider trivial or banal are integral to establishing those background conditions capable of fostering more inclusive social or political change.