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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.
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.
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.
'Unfinished Gestures' presents the social and cultural history of courtesans in South India, focusing on their encounters with colonial modernity in the 19th and early 20th centuries.
These thirty essays were presented to Alan L Boegehold, a distinguished philologist and an inspirational teacher, on the occasion of his retirement and his seventy-fifth birthday. The contributions fall into two categories, each one reflecting Boegehold's diverse interests in classical studies: the first section includes essays on literary and philosophical topics, several of which pick up on the theme of "gestures"; the second section is representative of Boegehold's more specialised research in Greek epigraphy, history and law.
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.
An essential visual guide for artists to the mastery and use of advanced human anatomy skills in the creation of figurative art. Dynamic Human Anatomy picks up where Basic Human Anatomy leaves off and offers artists and art students a deeper understanding of anatomy, including anatomy in motion, and how that essential skill is applied to the creation of fine figurative art.
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.
A boldly innovative study of nonverbal communication in the poetry and prose of Hellenic antiquity When a Gesture Was Expected encourages a deeper appreciation of ancient Greek poetry and prose by showing where a nod of the head or a wave of the hand can complete meaning in epic poetry and in tragedy, comedy, oratory, and in works of history and philosophy. All these works anticipated performing readers, and, as a result, they included prompts, places where a gesture could complete a sentence or amplify or comment on the written words. In this radical and highly accessible book, Alan Boegehold urges all readers to supplement the traditional avenues of classical philology with an awareness of the uses of nonverbal communication in Hellenic antiquity. This additional resource helps to explain some persistently confusing syntaxes and to make translations more accurate. It also imparts a living breath to these immortal texts. Where part of a work appears to be missing, or the syntax is irregular, or the words seem contradictory or perverse—without evidence of copyists' errors or physical damage—an ancient author may have been assuming that a performing reader would make the necessary clarifying gesture. Boegehold offers analyses of many such instances in selected passages ranging from Homer to Aeschylus to Plato. He also presents a review of sources of information about such gestures in antiquity as well as thirty illustrations, some documenting millennia-long continuities in nonverbal communication.