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Статті в журналах з теми "Literary gesture"

Автор: Grafiati

Опубліковано: 15 лютого 2025

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1

Gorshkova, V. Ye. "Kinesiological Approach to the Interpretation of Gestures in a Written Literary Text." NSU Vestnik. Series: Linguistics and Intercultural Communication 20, no. 4 (February 5, 2023): 124–31. http://dx.doi.org/10.25205/1818-7935-2022-20-4-124-131.

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Анотація:

The interpretation of the universal hand gestures of spreading arms and clapping hands in a written literary text is considered using the kinesiological approach to non-verbal communication of participants while speaking, which is currently widely developed. This approach makes it possible to identify the structuring role of the human body in the implementation of gestures based on the biomechanics of individual body parts involved in the process of gesticulation. For movement analysis researchers of French Sign Language designed a real-time 3D gesture visualization tool named ThirdEye to help study the importance of movement in the production of meaning within the context of sign language. Some studies support the idea that research on gestures accompanying speech can provide ways of studying speakers’ conceptualization of grammatical notions as they are speaking. So, the research on co-verbal gestures in French shows that gestures marking a boundary are predominantly associated with the Passé composé (perfect tense) whereas the gestures without boundaries are more often associated with the Imparfait (indefinite tense).As to literary text, it has been proved that the material embodiment of a gesture will obviously differ in each individual case, taking into account the author’s commentary, which gives an ambiguous expressive and evaluative characteristic of the action being performed. The importance of reliance on the extralinguistic context is emphasized, which increases significantly in the situation of translating a text that interprets the body language of the “third” culture representatives who are not native speakers of the source or the target languages. Given the lack of a visual representation illustrating a specific gesture, the interpretation of the relevant fragments of the text requires an extensive cognitive baggage and a developed creative imagination of the translator.

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2

Parimi, Sruthi Sanhitha. "Gesture Vocalizer and its Visualization." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 3265–68. http://dx.doi.org/10.22214/ijraset.2021.35837.

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Анотація:

People have the voice ability for communicating among one another. Tragically, not every person has the ability to talk and hear. Gesture based communication utilized among the local area of individuals who are distinctive abled as the methods for correspondence. Communication through signing is a motion portrayal that includes concurrent joining hand shapes and development of the hands, arms or body, and looks to communicate. The people who can't talk utilizes the gesture based communications to speak with other individual vocally hindered individual and even with other ordinary individuals who knows the implications of gesture based communications or an interpreter is expected to decipher the implications of gesture based communications to others who can talk and do comprehend the gesture based communications. In any case, it's anything but consistently workable for a person to associate with constantly to decipher the communications via gestures and not every person can gain proficiency with the communications through signing. In this way, another option is that we can utilize a gadget Gesture Vocalizer as an arbiter. The Gesture Vocalizer can take the motions a contribution from the vocally impeded individual and interaction it's anything but a literary and sound type of yield.

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3

Dutsch, Dorota. "Gestures in the manuscripts of Terence and late revivals of literary drama." Gesture 7, no. 1 (April 18, 2007): 39–71. http://dx.doi.org/10.1075/gest.7.1.04dut.

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Анотація:

Several manuscripts of Terence feature a cycle of miniatures depicting masked actors. The miniatures mark scene-headings and on this account have often been dismissed as merely decorative and irrelevant to the history of ancient theater. Nevertheless, the pictures project an illusion of theatricality so irresistible and lively, that it is hardly possible that the illustrated Terence does not reflect some sort of performance practice. This paper focuses on the code of gesture depicted in the miniatures and examines its relationship with late revivals of literary drama. I first discuss the iconographic and textual evidence pertaining to the date of the prototype of the miniatures; I then examine Quintilian’s remarks on dramatic gesture in order to outline the code he associated with the stage. This outline serves as a comparandum for the typology of gestures depicted in the Parisian codex of Terence (B.N. 7899), which is based on an analysis of the set of hand positions used to illustrate the Andria. (A glossary decoding the gestures of the Andria and comparing them with both hand positions from Quintilian’s catalogue and those known from earlier iconography is appended to the end of this paper.) The results of this comparison, along with some observations on the artist’s technique, suggest an answer to the question of which (if any) performance practice the miniatures could reflect.

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4

Rishitha, Challa, Mallikanti Bhavana, Pendem Sriya, and Dr Y. Sreenivasulu. "Gesture Vocalizer Using Flex Sensor and Software Visualization." International Journal for Research in Applied Science and Engineering Technology 10, no. 6 (June 30, 2022): 472–86. http://dx.doi.org/10.22214/ijraset.2022.43737.

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Анотація:

Abstract: People have the voice ability for communicating among one another. Tragically, not every person has the ability to talk and hear. Gesture based communication utilized among the local area of individuals who are distinctive abled as the methods for correspondence. Communication through signing is a motion portrayal that includes concurrent joining hand shapes and development of the hands, arms or body, and looks to communicate. The people who can't talk utilizes the gesture based communications to speak with other individual vocally hindered individual and even with other ordinary individuals who knows the implications of gesture based communications or an interpreter is expected to decipher the implications of gesture based communications to others who can talk and do comprehend the gesture based communications. In any case, it's anything but consistently workable for a person to associate with constantly to decipher the communications via gestures and not every person can gain proficiency with the communications through signing. In this way, another option is that we can utilize a gadget Gesture Vocalizer as an arbiter. The Gesture Vocalizer can take the motions a contribution from the vocally impeded individual and interaction it's anything but a literary and sound type of yield. Hardware version of the project Gesture Vocalizer is a multi-microcontroller-based framework being intended to work with the correspondence among the imbecilic, hard of hearing and visually impaired networks and their correspondence with the ordinary individuals. This system can be flexibly changed to function as a "smart device.". In this project we showcases a gesture vocalizer based on a microcontroller and sensors. Gesture vocalizer designed is basically a hand glove and a microcontroller system

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5

Gawne, Lauren. "‘Away’ gestures associated with negative expressions in narrative discourse in Syuba (Kagate, Nepal) speakers." Semiotica 2021, no. 239 (February 4, 2021): 37–59. http://dx.doi.org/10.1515/sem-2017-0163.

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Анотація:

Abstract This article examines the formal and functional features of a recurring ‘away’ gesture in Syuba (Tibeto-Burman, Nepal). The formal properties of this gesture include a pronation of the forearms to bring the palms downward while the fingers spread away, and is most often performed with both hands. Functionally, it is found with utterances that signal negation, particularly the absence of something. A growing body of literature links ‘away’ trajectories with negation, or negative evaluation of speech content cross-linguistically. The temporal alignment between these gesture and lexical content also shows that cross-linguistic differences in word order appear to affect performance of gestures associated with negated content.

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6

Mittelberg, Irene. "Peirce’s universal categories: On their potential for gesture theory and multimodal analysis." Semiotica 2019, no. 228 (May 7, 2019): 193–222. http://dx.doi.org/10.1515/sem-2018-0090.

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Анотація:

AbstractThis paper presents an account of how Peirce’s Universal Categories (UCs) of perception and experience may, as heuristic principles, inform gesture theory and multimodal analysis. Peirce’s UCs – Firstness (possibility), Secondness (actuality), and Thirdness (law, habit) – constitute the core of his phenomenology and thus also the foundation of his triadic semiotics. I argue that compared to the basic sign-object relations icon, index, symbol mainly used in previous gesture research, the more fundamental UCs allow one to discern additional facets of how coverbal gestures act as signs. This notably pertains to the phenomenology, multidimensionality, and multifunctionality of gesture. The guiding assumption is that compared to Thirdness-laden linguistic symbols constituting written, spoken or signed discourses, gestures may exhibit the UCs to more strongly varying degrees and in different, modality-specific ways. The multimodal analyses discussed in the paper show how Firstness tends to draw attention to the articulatory qualities of gestural signs, including aesthetic and affective strata, Secondness to their experiential grounding and contextualized meaning, and Thirdness to embodied habits of perceiving, feeling, (inter-)acting, thinking, and communicating with others. I further suggest that particularly through interacting with embodied image schemata and force dynamics, such habits may give rise to flexible regularities and schematicity in gesture.

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7

Segal, E. "Metaphor and Gesture." Poetics Today 31, no. 2 (May 25, 2010): 372–73. http://dx.doi.org/10.1215/03335372-2009-029.

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8

DAY, AlDAN. "GESTURE AS LANGUAGE." Essays in Criticism XXXIX, no. 4 (1989): 326–32. http://dx.doi.org/10.1093/eic/xxxix.4.326.

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9

Lahti, Ruth A. H. "The Essential Gesture as Transnational Gesture in Nadine Gordimer'sThe Pickup." Current Writing 25, no. 1 (May 2013): 39–51. http://dx.doi.org/10.1080/1013929x.2013.795746.

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10

Melnychuk, Oksana, and Nataliia Hrytsiv. "Ways of formation of metaphors in the literary text as realization of the maintenance of nominations of gestures (on the material of the work “Atonement” by I. McEwen)." Linguistics, no. 1 (45) (2022): 101–10. http://dx.doi.org/10.12958/2227-2631-2021-1-45-101-110.

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Анотація:

This paper presents a study of ways to form metaphors to realise the content of nominations of nonverbal elements – gestures – identified in modern British prose – the novel “Atonement” by I. McEwan. Analysing textual contexts made it possible to single out the types of metaphors in the literary text. These metaphors are united by a standard metaphorical transfer of a non-verbal element-gesture. It is emphasised that words are “containers” of meanings, and the perception of speech is the coding of pre-existing meaning, and its understanding is decoding. It is pointed out that messages are containers filled with values that are sent from a sender to a recipient. In general, conceptualising linguistic communication according to the model of fixed (written) text, we understand linguistic communication in terms of the difference between language (as an existing system) and its implementation (as a written literary text). It was found that from the reader’s point of view, it is crucial to know the meaning of non-verbal elements-gestures, which are the basis for their rethinking in the context of metaphor in the literary text. These structures help readers develop the meaning of the literary text, going beyond explanations of gestures in terms of psychological functioning and metaphorical meaning.

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11

Maddalena, Giovanni. "Gesture, a tool for synthetic reasoning." Semiotica 2022, no. 245 (February 7, 2022): 1–16. http://dx.doi.org/10.1515/sem-2020-0026.

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Анотація:

Abstract In this paper I propose to read and understand gestures as logical tools within a synthetic paradigm of knowledge. This interpretation of gesture is drawn from a new pragmatist reading of reasoning in general, and synthetic reasoning in particular. Complete gestures are actions with a beginning and an end that bear a meaning. It is our regular way to embody vague ideas into singular actions with general meaning. The tool is forged by a dense blending of icons, indices, and symbols and by a complexity of phenomenological characteristics as feelings, actual actions, general concepts and habits (firstness, secondness, and thirdness in Peirce’s phenomenology). The paper illustrates this new way to look at gestures and different kinds of complete and incomplete gestures.

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12

Schönström, Rikard. "Strindberg och den litterära gesten." Tidskrift för litteraturvetenskap 41, no. 3-4 (January 1, 2011): 23–33. http://dx.doi.org/10.54797/tfl.v41i3-4.11776.

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Анотація:

Strindberg and the Literary Gesture During his lifetime August Strindberg was regularly criticised for his highly idiosyncratic writing. What contemporary critics disliked were not only Strindberg’s transgressions of traditional literary genres but also his tendency to blur the distinction between fiction and reality or, more specifically, between the private and the public. In recent years this “impure” writing has been studied by, among others, Per Stounbjerg and Ulf Olsson. From different theoretical angles both Stounbjerg and Olsson have argued that Strindberg’s works could not be reconciled with the general view of literary representation in Sweden at the turn of the century and therefore seemed “unreadable”. Leaning partly on their research, this article aims at introducing a new approach to the subjectivity in Strindberg’s writing. Combining Bertolt Brecht’s ideas of the dramatic gesture (“Gestus”) with J.L. Austin’s theory of speech acts, it presents the outlines of a study in which Strindberg’s texts are regarded as performances rather than representations. It also tries to demonstrate that the conflict between what could be called “the verbal dispute” and “the literary gesture” in Strindberg’s writing is of central importance to such a study.

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13

Sak-Wernicka, Jolanta. "Do Blind People Need Gestures to Communicate Effectively?" Roczniki Humanistyczne 71, no. 10sp (November 24, 2023): 123–38. http://dx.doi.org/10.18290/rh237110sp-6.

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Gestures are known to play an important role in communication, but to this day it is still not clear what impact visual impairment has on gesture production. The main objective of this article is to investigate: (1) whether the lack of vision reduces (or completely blocks) gesture production in blind individuals, and (2) whether this reduction in (or lack of) gestures has an effect on their abilities to communicate. To address this issue, we performed an experiment in which congenitally blind and sighted people were compared on the number and types of gestures they produced when playing the word-guessing game TABOO. The results obtained confirm that, compared to people who are sighted, blind individuals produce significantly fewer gestures when they communicate. This, however, does not have any negative impact on how effective they are in conveying their messages. The analyses also show that gestures play different roles for blind and sighted people.

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14

Kuźniarz, Bartosz. "The Gesture of Manifesto." Minnesota review 2022, no. 99 (November 1, 2022): 60–76. http://dx.doi.org/10.1215/00265667-9993153.

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15

Locatelli, Angela. "Reading Literature: An Ethical Gesture in the Postmodern Context?" Armenian Folia Anglistika 10, no. 1-2 (12) (October 15, 2014): 121–30. http://dx.doi.org/10.46991/afa/2014.10.1-2.121.

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Анотація:

After the so called Ethical Turn in literary theory ethics is still a major issue in literary studies. European Continental philosophy has traditionally been in close touch with ethical issues. Not surprisingly then, it was the influence of French philosophy that, from the Eighties onward, began to put back the ethical in British academic discourse. One of the interesting paradoxes of post-modernity is the fact that, while it promotes an attitude of scepticism, oriented towards a strong suspicion of strong ideologies, it is also an attempt to promote emancipative activities (demonstrated in the Canon Debate, Post-Colonial Studies, Trauma Studies, and a broad Ethical Turn in different sectors of the humanities). This contribution wishes to investigate the issue of ethics and literature in the postmodern context, with reference to contemporary philosophy and literary theory and aims to propose that Postmodern culture still needs complex literature, and (the promotion of) appropriate hermeneutic skills to deal with it.

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16

Adler, Anthony Curtis. "The Intermedial Gesture." Angelaki 12, no. 3 (December 2007): 57–64. http://dx.doi.org/10.1080/09697250802041046.

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17

Cogeanu, Oana. "Creating the Norm: The African-American Literary Tradition." Linguaculture 2012, no. 2 (December 1, 2012): 23–30. http://dx.doi.org/10.1515/lincu-2015-0002.

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Abstract This paper starts from the premise that norm, in the sense of a prescriptive tradition based on a set of standards deriving from past practices and regulating future ones, is the result of an initial creative gesture; in other words, first there was creativity and creativity became the norm. Based on this premise, the paper looks at some of the earliest African-American pieces of writing to trace the itinerary from creativity to norm, thus witnessing the birth of the African-American literary tradition. To this end, the paper analyses the first published Black narrative and identifies the trope of the talking book as illustrating that original gesture which, by creatively incorporating the norm, marks the beginning of a new tradition. Then the paper follows subsequent early Black narratives and identifies the creative transgression of the norm illustrated by the Middle Passage as the process by which the new norm is established.

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18

Weber, Samuel. "What is a Literary Image?" Paragraph 43, no. 2 (July 2020): 125–39. http://dx.doi.org/10.3366/para.2020.0328.

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What is the relation between ‘seeing’ and ‘reading’, especially where literary texts are concerned? This essay explores the question by recalling the author's experience with radio plays in the 1950s, where the imaginative intensity was in direct proportion to the absence of visual images. Proceeding then to a discussion of Poe's Fall of the House of Usher and Sterne's Tristram Shandy, the narration of images is related to the scenic and theatrical dynamics of ‘gesture’ in a way that includes the movement of reading itself.

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19

Alcaraz Carrión, Daniel, Cristóbal Pagán Cánovas, and Javier Valenzuela. "Enaction Through Co-speech Gesture: The Rhetorical Handing of the Mental Timeline." Zeitschrift für Anglistik und Amerikanistik 68, no. 4 (November 18, 2020): 411–31. http://dx.doi.org/10.1515/zaa-2020-2020.

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AbstractThis chapter will explore the embodied, enacted and embedded nature of co-speech gestures in the meaning-making process of time conceptualization. We will review three different contextualized communicative exchanges extracted from American Television interviews. First, we will offer a step-by-step form description of the different gesture realizations performed by the speakers as well as a brief description of the gaze fixation patterns. After that, we will offer a functional analysis which will interpret the gesturing patters in terms of their communicative goals on their respective communicative contexts as well as the complex interplay between verbal and non-verbal communication. The resulting interaction between speech, gesture and other bodily movements give rise to a dynamic system that allows for the construction of highly complex meanings: time co-speech gestures play a crucial role in the simulation of virtual anchors for complex mental networks that integrate conceptual and perceptual information.

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20

Wolfe, Joanna. "Gesture and Collaborative Planning." Written Communication 22, no. 3 (July 2005): 298–332. http://dx.doi.org/10.1177/0741088305278108.

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21

Fleming, Paul. "Reading for the Gesture." Internationales Archiv für Sozialgeschichte der deutschen Literatur 48, no. 2 (November 1, 2023): 231–40. http://dx.doi.org/10.1515/iasl-2023-0010.

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22

Artico, Davide. "The author as gesture in Elia Levita’s “Bovo-Bukh”." Studia Philosophica Wratislaviensia 16, no. 4 (December 28, 2021): 7–26. http://dx.doi.org/10.19195/1895-8001.16.4.1.

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Анотація:

The paper contains a study case on how ethics influence aesthetics in a literary work. Through a comparison of a Venetian chivalry romance printed in the late 15th century with the Yiddish adaptation of the same Elia Levita originally wrote in Padua in 1507, and then published in Isny, Württemberg in 1541, several differing points are undelined which mirror differences in the relative ethical frameworks of reference. While the characters and the main storyline are substantially the same in both works, the different details in the unfolding of the plot of the Yiddish version show that Levita wrote for a public who shared a different axiology, that is he authored a totally new romance, performing in accordance with the ethical system which his potential readers referred to. This ‘gesture’ in the classical Latin sense of representing a moral background while issuing a literary work carries along both a syncretistic approach to religion and an attitude more respectful of gender equality than the Venetian original does.

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23

Merkushov, Stanislav F. "“TREES SWING WITHOUT WIND”: A RECEPTIVE AND INTERTEXTUAL GESTURE BY DENIS TRETYAKOV (“THE CHURCH OF CHILDHOOD”)." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 3 (September 1, 2021): 80–95. http://dx.doi.org/10.18522/2415-8852-2021-3-80-95.

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Анотація:

The article is based on the hypothesis of Yu. Kristeva on gesture as a semiotic text. The text of Denis Tretyakov’s song “Trees (Trees swing without wind)” is considered as a receptive and intertextual gesture. Оbservations made in this article offer the key to this text / gesture: step by step reconstruction of its creative communication with fragments of religious and mystical teachings (Kabbalah, Crowlianism, etc.), literary and journalistic works (“Apollo Bezobrazov” by B. Poplavsky, “Trees took the form of wind” by W.S. Burroughs). As a result, it is established that all the problematic and thematic fields and connections of the text are transferred to the cosmic sphere, and this allows its author to create a universal ontological model of the world.

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24

Cassell, Justine, and David McNeill. "Gesture and the Poetics of Prose." Poetics Today 12, no. 3 (1991): 375. http://dx.doi.org/10.2307/1772644.

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Joko Prayudha.S. "Using Body Gesture in Demonstrating and Understanding English Proverbs." English Language and Education Spectrum 3, no. 2 (July 28, 2023): 39–46. http://dx.doi.org/10.53416/electrum.v3i2.142.

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Understanding proverbs in English is one of the materials that must be studied in English literature lessons at school. Proverbs are one of the oldest types of literature that have ever existed, and they are a type of literary work that must be mastered because proverbs themselves have meanings, goals, and values that are very beneficial to students. Through understanding literary material, students can learn valuable lessons in interpreting the meaning of the sentences conveyed. Therefore, this research aims to find out students' opinions on using body gestures to demonstrate and understand the meaning of proverbs in English. The method used in this research is qualitative research through a descriptive approach. The informants in this study were 36 students who took selective English literature subjects. Data were obtained through direct observation of learning activities and interviews to obtain more comprehensive information. After the data is collected, it is analyzed through three stages: data reduction, data display, and data conclusion. The results of the study show that utilizing body gestures in learning proverbs can help people more easily understand the meaning and significance of a proverb. In addition, students are also encouraged to be more active and motivated to be involved in learning activities because the learning situation becomes more enjoyable.

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26

Shores, Corry. "Deviant Gestures: Deleuze’s Communicative Disruption." Deleuze and Guattari Studies 18, no. 1 (February 2024): 10–35. http://dx.doi.org/10.3366/dlgs.2024.0540.

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Анотація:

For Deleuze, the creation and conveyance of meaning requires not a strict fidelity to an original idea, message or image but rather its deformation. The forces causing such disfigurations operate in gesture, vocalisation and text, with one level sometimes disrupting the others. Among them, gesture plays an especially important role, given Deleuze’s attention to bodily experience. He locates it in theatre, painting and cinema, particularly in the works of Carmelo Bene, Francis Bacon and Jerry Lewis. In these cases, instead of conveying a recognisable message, a deformative gesture sends a shock wave that scrambles normal meaning assignments and codings. Yet, although gesture is a main channel for these communication disruptive forces, their origin may lie elsewhere, namely, in a ‘pick-up’ of influences resulting from an inter-affective encounter between heterogeneous bodies.

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27

Swartz, Wendy. "Gesture and the Movements of Literary Creativity: Lu Ji’s “Rhapsody on Literature”." Early Medieval China 2021, no. 27 (January 1, 2021): 90–100. http://dx.doi.org/10.1080/15299104.2021.1974738.

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Fedotova, Svitlana. "METHODOLOGY OF THE CHILDREN-PRESCHOOLERS' EXPRESSIVE SPEECH DEVELOPMENT." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 261–64. http://dx.doi.org/10.36550/2415-7988-2022-1-204-261-264.

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Анотація:

The article considers some methodological techniques, aimed at the preschoolers' correct understanding of the literary work sense and the expressive reading skills formation (logical stresses, tempo, corresponding movements, gestures, and body posture work) and suggests necessary training exercises. Priority of a modern preschool institution work is the development and up-bringing of a creative child, who feels and understands sensitively a poetic word, the sense and emotional potential of a literary work (a poem, a fairy-tale or a short story), controls and accurately transfers their own emotions and understands other people's feelings, has empathy; who is able to freely and skillfully control their body, posture, movements and gestures. The educational programme for children-preschoolers provides for the development of the pupils' creative abilities: expressive reading of a poem, fairy-tales telling, using elements of staging, dramatization, participating in theatrical and game activities. To develop children-preschoolers' expressive speech, it is important to work at the logical stress. The effective exercises for the logical stress mastering by the children are the techniques: logical stress «Tug», / a simulation exercise/, «Question – Answer»/, an analytical exercise/. By doing such exercises, children are learning to distinguish the word with a strong logical stress and will be able to hear , which variant sounds the best. Working at the poem tempo is also efficient, as children should understand that a literary work tempo is the characteristics of events, poetic characters' actions. The article suggests some exercises for observing a poem tempo, tempo changes, tempo functions in the semantic structure of a poem. Expressive reading is the combination of facial expressions, intonation, voice characteristics, as well as of gestures, movements, and body posture. Children-preschoolers often imitate gestures of an adult, an educator, that is why their gestures are not natural or sincere. The appropriate exercises will help children to develop a skill of mastering gestures and movements freely, and to choose a body posture correctly. Gesture, movements, body posture will become natural and sincere only when a child comprehends the sense of a poem and understands its emotional potential.

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29

Boluk, Stephanie, and Patrick LeMieux. "I Can’t Hear You: Gestures, Stereotypes, and Brushings against the Player in Dota 2." Configurations 32, no. 2 (March 2024): 145–76. http://dx.doi.org/10.1353/con.2024.a924127.

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ABSTRACT: Starting from the moment Sébastien “Ceb” Debs put a hand on his ear to taunt the crowd at the International Dota 2 Championships in Shanghai, this article investigates the way stereotypical gestures both inside and outside videogames mediate cross-cultural communication. Following Giorgio Agamben’s concept of gesture and Rey Chow’s work on stereotypes, we unfold Ceb’s “I can’t hear you” across a series of tournaments to uncover the unique ways language, race, ability, and money shape the Dota 2 metagame.

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30

Mantzaris, Thomas. "‘A singular gesture’: Zachary Thomas Dodson on the potential of design in fiction." Book 2.0 10, no. 2 (December 1, 2020): 187–99. http://dx.doi.org/10.1386/btwo_00029_7.

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Zachary Thomas Dodson is an American book designer who is particularly interested in exploring the visual possibilities of narrative. He is the co-founder of the Chicago-based press Featherproof Books (2005) and the author of Bats of the Republic: An Illuminated Novel (2015) in addition to an earlier novel, Boring Boring Boring Boring Boring Boring Boring (2008), under the pseudonym Zach Plague. In this interview, Dodson discusses the role of design in literary production and highlights the potential of typography, page layout and non-verbal elements such as maps to constitute integral parts of a literary narrative. Relating his work to earlier as well as to contemporary instances of visual experimentation with narrative, Dodson comments on his inspirations and influences while manifesting promising paths for literary production and the publishing industry. In the second part of the interview, Dodson discusses the intricacies and challenges of working on Bats of the Republic as both author and designer, and reveals his intentions with regard to his next book project.

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31

Snediker, Michael D., James Lilley, Jamie Godley, Lindsay Reckson, and Theo Davis. "Abstracts: MLA 2020—Seattle: Melville, Gesture, Love." Leviathan 22, no. 2 (2020): 111–15. http://dx.doi.org/10.1353/lvn.2020.0022.

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32

PARRILL, FEY, BRITTANY LAVANTY, AUSTIN BENNETT, ALAYNA KLCO, and OZLEM ECE DEMIR-LIRA. "The relationship between character viewpoint gesture and narrative structure in children." Language and Cognition 10, no. 3 (July 12, 2018): 408–34. http://dx.doi.org/10.1017/langcog.2018.9.

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abstractWhen children tell stories, they gesture; their gestures can predict how their narrative abilities will progress. Five-year-olds who gestured from the point of view of a character (CVPT gesture) when telling stories produced better-structured narratives at later ages (Demir, Levine, & Goldin-Meadow, 2014). But does gesture just predict narrative structure, or can asking children to gesture in a particular way change their narratives? To explore this question, we instructed children to produce CVPT gestures and measured their narrative structure. Forty-four kindergarteners were asked to tell stories after being trained to produce CVPT gestures, gestures from an observer’s viewpoint (OVPT gestures), or after no instruction in gesture. Gestures were coded as CVPT or OVPT, and stories were scored for narrative structure. Children trained to produce CVPT gestures produced more of these gestures, and also had higher narrative structure scores compared to those who received the OVPT training. Children returned for a follow-up session one week later and narrated the stories again. The training received in the first session did not impact narrative structure or recall for the events of the stories. Overall, these results suggest a brief gestural intervention has the potential to enhance narrative structure. Due to the fact that stronger narrative abilities have been correlated with greater success in developing writing and reading skills at later ages, this research has important implications for literacy and education.

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33

Daly, Ann, Jan Bremmer, and Herman Roodenburg. "A Cultural History of Gesture." TDR (1988-) 39, no. 1 (1995): 156. http://dx.doi.org/10.2307/1146410.

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34

Kamuf, Peggy. "Teaching to Live, Finally." Poetics Today 42, no. 1 (March 1, 2021): 9–21. http://dx.doi.org/10.1215/03335372-8752587.

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This article aligns moments from three of Derrida’s seminars and seeks to characterize the signature gesture of his teaching, which may be described as putting his teaching body, or corps enseignant, on an indivisible line supposed to divide mortal bodies from the bodies of institutions. It is a gesture that puts before us and on the line the mortal face of the “glorious body” sublated by philosophy and its teaching.

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35

Imberciadori, Giulio. "Remarks on Inner-Tocharian Borrowing and the Etymology of Tocharian A lek ‘shape; gesture’, B lek* ‘gesture’." Acta Orientalia Academiae Scientiarum Hungaricae 76, no. 3 (August 21, 2023): 337–53. http://dx.doi.org/10.1556/062.2023.00304.

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After discussing some thus far unknown examples of inner-Tocharian borrowing processes with direction TA >> TB, the present paper argues that also the substantive B lek* ‘gesture’ represents a loanword from Tocharian A, in particular from the Tocharian A form lek ‘shape; gesture’. Under the assumption of a semantic development ‘equality, identity, correspondence’ ⇒ ‘figure, shape’ ⇒ ‘gesture’ – for which parallels are available –, A lek is etymologically connected with the independently reconstructable root PIE *leig-‘(be[come]) equal’ and thus traced back to a nominal pre-form *lóig-u- or *lóig-o-.

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36

Rüggemeier, Anne. "Lists, Vignettes, Enumerations: Contemporary Life Writing and the Gesture of Refusal toward Narrative." Poetics Today 43, no. 2 (June 1, 2022): 363–85. http://dx.doi.org/10.1215/03335372-9642665.

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Abstract Focusing on Maggie Nelson's Bluets (2009) and Han Kang's The White Book (2016), this contribution explores how contemporary life writers critically engage with the causally and temporally bound form of narrative through the use of story-critical forms such as lists, vignettes, and meditations. While scholars of narrative agree that we witness a new dominance of the generic conventions of traditional autobiography—especially its trope of redemption and conversion narratives—among storytellers on digital platforms as well as in advertisement, marketing and political campaigns, the literary genre of autobiography, this article argues, starts to reinvent itself. The life writers Nelson and Kang turn toward the essayistic rather than the affirmative, the enumerative rather than the narrative, and the unity of form rather than the linear and causal cohesion of storytelling. Bluets and The White Book show their authors as deeply involved in imagining alternative acts of literary representation that exceed the scripts and protocols that are usually activated and called up through the story-ing of the self. As Nelson and Kang explore the story-critical affordances of fragmentary literary forms and test the limits of experientiality (sensu Fludernik), they highlight the opaqueness of life and ask for non-subsumptive readings (sensu Meretoja).

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37

Price, J. V. "Review: Sterne's Whimsical Theatres of Language: Orality, Gesture, Literacy." Notes and Queries 52, no. 1 (March 1, 2005): 129–30. http://dx.doi.org/10.1093/notesj/gji167.

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38

Janoušek, Pavel. "THE ULTIMATE SACRIFICE. LITERARY REFLECTIONS OF ASSASSINATION AND MURDER AS A SOCIAL GESTURE." Bohemica Olomucensia 14, no. 1 (March 1, 2022): 106–35. http://dx.doi.org/10.5507/bo.2022.006.

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39

Markov, Alexander. "Cinematic interpretation of psychoanalysis: to the difference between black-and-white and colour cinema." Semiotic studies 2, no. 3 (November 9, 2022): 46–51. http://dx.doi.org/10.18287/2782-2966-2022-2-3-46-51.

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Proposed by V.V. Bibikhin comparative analysis of the poetics of On the Nature by Parmenides with early cinematography combines cinematography symbolism and avant-garde understanding, representing a kind of a laconic number of theoretical views on the causes of developing the expanded plot out of the story line or hidden plot. Cinema poetics here phenomenologically reflects the birth of literary fiction. These conceptions turn out to be combined by the Freudian concept of affect overcoming, that is incidental in traditional Freudianism, but fundamental for understanding the expressive gestures of early cinematography and principles of the plot creation. Parallels with other cinema avant-garde concepts allow to clarify how symbolization of the gesture, colour composition and cinematography minimum technical support could be conceived in perception raised on literature. Bibikhin сinema analytics specifies understanding of screen sensibility and colour in the literature and psychoanalysis symbolism tradition.

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40

Hartwig, Heidi. "Dancing for an Oath:Salomé'sRevaluation of Word and Gesture." Modern Drama 45, no. 1 (March 2002): 23–34. http://dx.doi.org/10.3138/md.45.1.23.

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41

Mercks, Kees. "Introductory Observations on the Concept of ‘Semantic Gesture’." Russian Literature 20, no. 4 (November 1986): 381–422. http://dx.doi.org/10.1016/0304-3479(86)90025-6.

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42

Irigaray, Luce. "The Most Crucial Gesture for a Living Being." SubStance 52, no. 1 (2023): 207–12. http://dx.doi.org/10.1353/sub.2023.a900555.

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43

Thuynsma, Peter. "Xhosa Ntsomi: The Language of Gesture." English Academy Review 4, no. 1 (January 1987): 77–89. http://dx.doi.org/10.1080/10131758785310071.

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44

Елисеева, Александра Владимировна. "THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 3 (September 1, 2021): 49–72. http://dx.doi.org/10.18522/2415-8852-2021-3-49-72.

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The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

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45

Loseff, Lev, and Barbara Monahan. "A Dictionary of Russian Gesture." Slavic and East European Journal 29, no. 3 (1985): 362. http://dx.doi.org/10.2307/307237.

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46

Rotman, Brian. "Gesture and the ‘I’ Fold." Parallax 15, no. 4 (October 21, 2009): 68–82. http://dx.doi.org/10.1080/13534640903208925.

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47

Salamon, Gérard. "Scaeua, centurion de César : apparition, développement et survie d’un exemplum littéraire." Vita Latina 200, no. 1 (2020): 96–110. http://dx.doi.org/10.3406/vita.2020.2031.

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This paper endeavors to follow, from Caesar to Sidoine Apollinaris, the development of the gesture of Scaeva, a cesarian centurion who distinguished himself at the siege of Dyrrachium. If the real character quickly fades away, Scaeva survives until Late Antiquity as a literary exemplum to the extent that he is considered as one of the greatest heroes in Roman history.

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48

Alex Benson. "Gatsby’s Tattoo: Gesture, Tic, and Description." Criticism 56, no. 4 (2014): 725. http://dx.doi.org/10.13110/criticism.56.4.0725.

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49

Kurz, Giovani T. "Glotopolítica e crítica genética." Caracol, no. 27 (May 24, 2024): 189–216. http://dx.doi.org/10.11606/issn.2317-9651.i27p189-216.

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From plurilingualism to the gesture of translation, this essay proposes a comprehensive reading of distinct glotopolitical crossings in literary writing. I revisit the works of writers whose practice is structured by a linguistic overlapping, as well as by the political consciousness of the colonial hierarchies to which they are subject. Through essays by Jacques Derrida and Sylvia Molloy, I foreground the compositional processes of Latin American writers Copi and Alejandra Pizarnik as unavoidable landmarks of this creative in-between. From the transit between languages, I draw axes capable of guiding a systematization of these glotopolitical dimensions in literary creation.

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50

Gadberry, Andrea. "Hand." differences 34, no. 1 (May 1, 2023): 135–43. http://dx.doi.org/10.1215/10407391-10435674.

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This essay remarks how a missing “hand” in Leo Bersani’s The Culture of Redemption illuminates more than a rhetorical strategy; with it, Bersani undermines the problem of “incongruent counterparts” made famous by Kant. While Bersani’s “hand” replies most plainly to the logic of hands in Melanie Klein’s “Early Analysis,” as Bersani reads Proust with Klein, it ultimately offers its most powerful gesture in an antiredemptive comparative literary method in which association, rather than a historical or otherwise redemptive justification, undergirds literary-critical argument. With his severed hand, Bersani also offers an unlikely counterpart to Freud’s uncanny.

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