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. (shrink)

Stories evoke emotions in their hearers. Do they evoke emotions in their tellers as well? Tellers can tell stories from the inside as if they were characters in the world of the tale or they can tell stories from the outside as if they were perceiving the taleworld from elsewhere. From the outside, the teller can represent the emotion a character feels; from the inside, the teller can express the emotion the character feels. In either instance, tellers can be moved (...) by the story they tell. When they are, they can experience their emotions as a suffusion of sensation that springs forth in their bodies. The body’s experience of its sensation can appear in the gestures that accompany the telling. On the occasion presented here, the teller represents her emotion in metaphorical gestures that figure her body as the container of a fluid substance that threatens to overflow its boundaries. Her gestures disclose and elaborate this metaphoricity while at the same time disclosing and elaborating the sensations that motivate the metaphor. (shrink)

While recent studies have claimed that non-referential gestures (i.e., gestures that do not visually represent any semantic content in speech) are used to mark discourse-new and/or -accessible referents and focused information in adult speech, to our knowledge, no prior investigation has studied the relationship between information structure (IS) and gesture referentiality in children’s narrative speech from a developmental perspective. A longitudinal database consisting of 332 narratives performed by 83 children at two different time points in development was (...) coded for IS and gesture referentiality (i.e., referential and non-referential gestures). Results revealed that at both time points, both referential and non-referential gestures were produced more with information that moves discourse forward (i.e., focus) and predication (i.e., comment) rather than topical or background information. Further, at 7–9 years of age, children tended to use more non-referential gestures to mark focus and comment constituents than referential gestures. In terms of the marking of the newness of discourse referents, non-referential gestures already seem to play a key role at 5–6 years old, whereas referential gestures did not show any patterns. This relationship was even stronger at 7–9 years old. All in all, our findings offer supporting evidence that in contrast with referential gestures, non-referential gestures have been found to play a key role in marking IS, and that the development of this relationship solidifies at a period in development that coincides with a spurt in non-referential gesture production. (shrink)

Journal Name: Cognitive Linguistics Issue: Ahead of print.

Gestural viewpoint research suggests that several dimensions determine which perspective a narrator takes, including properties of the event described. Events can evoke gestures from the point of view of a character , an observer , or both perspectives. CVPT and OVPT gestures have been compared to constructed action and classifiers in signed languages. We ask how CA and CL, as represented in ASL productions, compare to previous results for CVPT and OVPT from English-speaking co-speech gesturers. Ten ASL signers (...) described cartoon stimuli from Parrill . Events shown by Parrill to elicit a particular gestural strategy were coded for signers' instances of CA and CL. CA was divided into three categories: CA-torso, CA-affect, and CA-handling. Signers used CA-handling the most when gesturers used CVPT exclusively. Additionally, signers used CL the most when gesturers used OVPT exclusively and CL the least when gesturers used CVPT exclusively. (shrink)

Pantomime has long been considered distinct from co-speech gesture. It has therefore been argued that pantomime cannot be part of gesture-speech integration. We examine pantomime as distinct from silent gesture, focusing on non-co-speech gestures that occur in the midst of children’s spoken narratives. We propose that gestures with features of pantomime are an infrequent but meaningful component of a multimodal communicative strategy. We examined spontaneous non-co-speech representational gesture production in the narratives of 30 monolingual English-speaking children between the (...) ages of 8- and 11-years. We compared the use of co-speech and non-co-speech gestures in both autobiographical and fictional narratives and examined viewpoint and the use of non-manual articulators, as well as the length of responses and narrative quality. The use of non-co-speech gestures was associated with longer narratives of equal or higher quality than those using only co-speech gestures. Non-co-speech gestures were most likely to adopt character-viewpoint and use non-manual articulators. The present study supports a deeper understanding of the term pantomime and its multimodal use by children in the integration of speech and gesture. (shrink)

Research has shown that gesture production supports learning across a number of tasks. It is unclear, however, whether gesture production during encoding can support narrative recall, who gesture production benefits most, and whether certain types of gestures are more beneficial than others. This study, therefore, investigated the effect of gesture production during the encoding of a narrative on subsequent narrative recall, and whether individuals’ levels of verbal and nonverbal memory moderated this effect. Additionally, this study investigated (...) whether producing certain types of gestures during encoding was more beneficial than others. Participants (N = 90, Mage = 20.43) read aloud a narrative while under instruction to produce gestures, under no specific instruction to produce gestures, or were required to keep their hands behind their back to prevent them from gesturing. Participants completed measures assessing verbal and nonverbal memory. While gesture production during encoding benefitted narrative recall (as measured through specific questions), verbal memory moderated the effect, such that gesture production was more beneficial for individuals with higher than lower verbal memory. Furthermore, producing representational gestures during encoding benefitted recall of points in the narrative at which those gestures were produced, while beat gestures had no effect. Findings have implications for understanding the mechanisms underlying the links between gesture and learning, as well as practical implications in instructional settings. (shrink)

Ever since the publication of the Narrative of the life of Frederick Douglass in 1845, autobiographical testimonies were a mainstay of the abolition movement in the United States. Being or having been held as slaves and all the attendant injury is the very theme of the documents in question, which are testimonies, rather than theoretical works, because the authors maintained the first-person point of view. Since autoethnography aims at overcoming the preset mentality of the researcher in order to gain (...) insight into what it is like to live in a particular social environment, slave narratives, beyond any abolitionist agenda, may serve as a paradigm for autoethnographic interpretation of historic sources. For an understanding of the authentic perspective of the speakers, external redactions need to be filtered out when reading those documents. On the other hand, certain tropes are worth considering (such as ignorance of the speaker’s date and place of birth or stereotypical names) because these narrative gestures indicate the state of mind of the narrator. I will propose methods for finding interpretive tools to identify the Self and the world of the slave-narrators. Such interpretation relies on the close reading of narratives as I will show by examples. (shrink)

There is plenty of evidence that speech and gesture form a tightly integrated system, as reflected in parallelisms in language production, comprehension, and development ( McNeill, 1992 ; Kendon, 2004 ). Yet, it is a common assumption that speakers use gestures to compensate for their expressive difficulties, a notion found in developmental studies of both first and second language acquisition, and in theoretical proposals concerning the gesture-speech relationship. If gestures are compensatory, they should mainly occur in disfluent stretches (...) of speech. However, the evidence is sparse and conflicting. This study extends previous studies and tests the putative compensatory role of gestures by comparing the gestural behavior in fluent vs. disfluent stretches of narratives by competent speakers in two languages (Dutch and Italian), and by language learners (children and adult L2 learners). The results reveal that (1) in all groups speakers overwhelmingly produce gestures during fluent speech and only rarely during disfluencies. However, L2 learners are significantly more likely to gesture in disfluency than the other groups; (2) in all groups gestures during disfluencies tend to be holds; (3) in all groups the rare gestures completed in disfluencies have both referential and pragmatic functions. Overall, the data strongly suggest that when speech stops, so does gesture. The findings constitute an important challenge to both gesture and language acquisition theories assuming a mainly (lexical) compensatory role for (referential) gestures. Instead, the results provide strong support for the notion that speech and gestures form an integrated system. (shrink)

Adults and children spontaneously produce gestures while they speak, and such gestures appear to support and expand on the information communicated by the verbal channel. Little research, however, has been carried out to examine the role played by gesture in the listener's representation of accumulating information. Do listeners attend to the gestures that accompany narrative speech? In what kinds of relationships between gesture and speech do listeners attend to the gestural channel? If listeners do attend to (...) information received in gesture, how is this information represented— is it 'tagged' as originating in the gestural channel? In this article research is described that addresses these questions. Results show that listeners do attend to information conveyed in gesture, when that information supplements or even contradicts the information conveyed by speech. And information received via gesture is available for retelling in speech. These results are taken to demonstrate that gesture is not taken by the listener to be epiphenomenal to the act of speaking, or a simple manual translation of speech. But they also suggest that the information conveyed in a discourse may be represented in a manner that is neither gesture nor language, although accessible to both channels. (shrink)

ABSTRACT This essay examines Satyajit Ray’s children’s film Goopy Gyne Bagha Byne to interrogate the ways it signals the utopian. Contending that its utopian desire manifests through the trope of wish-fulfillment, it illuminates the trope’s centrality in the film’s imagination and articulation of freedom. Moreover, the essay suggests that the film’s utopianism is also anchored in its irrealist aesthetics. Engaging with the film’s figuration of ghosts and its violation of the narrative structure of the real, the essay illuminates how (...) these formal features inform, and are informed by, a utopian desire. Furthermore, the essay notes that despite its inherent utopianism, Goopy Gyne Bagha Byne fails to resolve some of the more obdurate social contradictions in its diegetic world, especially around questions of class, gender, and caste. Arguing that these “failures” are in keeping with its utopian spirit, I suggest they draw our attention to the imperfections of our real conditions of existence and flag the limits of textual utopianism. In so doing, they refer negatively to the social field beyond pointing to the abiding importance of class struggle as the ultimate agent of transformative social change. (shrink)

Writing arouses certain sensibilities that bring about what goes on inside the body, but also, while writing, it is the process whereby self gains access to the exterior. A moment can be reached in the act of writing when one enters the flow of flesh, or the space between self and other, self and text, that is the reciprocal mirroring of the other that becomes the same, yet is always other, the incomplete self always in the process of becoming. This (...) is the Merelau-Pontian idea of the chiasm, where being in the world, the becoming self is fleshed out of the oscillations between self and other, reading the other in touching across the text in which the distinction between word and thing, or language and experience, has not yet been made. This inscribing reveals the self as a kind of narrative yet phenomenological aspect of the becoming self. What I’m trying to explore here is writing that reflects the corporeality of the becoming self, the mimetic impulse that yields the self to the other, the oscillations on the threshold of interior/exterior, this textualizing as the fundamental way of our being. (shrink)

Establishing and maintaining reference is a crucial part of discourse. In spoken languages, differential linguistic devices mark referents occurring in different referential contexts, that is, introduction, maintenance, and re-introduction contexts. Speakers using gestures as well as users of sign languages have also been shown to mark referents differentially depending on the referential context. This article investigates the modality-specific contribution of the visual modality in marking referential context by providing a direct comparison between sign language and co-speech gesture with speech (...) in elicited narratives. Across all forms of expression, we find that referents in subject position are referred to with more marking material in re-introduction contexts compared to maintenance contexts. Furthermore, we find that spatial modification is used as a modality-specific strategy in both DGS and German co-speech gesture, and that the configuration of referent locations in sign space and gesture space corresponds in an iconic and consistent way to the locations of referents in the narrated event. However, we find that spatial modification is used in different ways for marking re-introduction and maintenance contexts in DGS and German co-speech gesture. The findings are discussed in relation to the unique contribution of the visual modality to reference tracking in discourse when it is used in a unimodal system with full linguistic structure versus in a bimodal system that is a composite of speech and gesture. (shrink)

In order to produce a coherent narrative, speakers must identify the characters in the tale so that listeners can figure out who is doing what to whom. This paper explores whether speakers use gesture, as well as speech, for this purpose. English speakers were shown vignettes of two stories and asked to retell the stories to an experimenter. Their speech and gestures were transcribed and coded for referent identification. A gesture was considered to identify a referent if it (...) was produced in the same location as the previous gesture for that referent. We found that speakers frequently used gesture location to identify referents. Interestingly, however, they used gesture most often to identify referents that were also uniquely specified in speech. Lexical specificity in referential expressions in speech thus appears to go hand‐in‐hand with specification in referential expressions in gesture. (shrink)

Bharatanatyam is a traditional Indian dance form that involves the use of facial expressions and body movements to tell stories. A key aspect of Bharatanatyam is the use of hand gestures, also known as hastas, which are used to communicate with specificity and precision. Hastas are symbols, and along with facial expressions and body movements that are contextually relevant, they help to communicate narratives. I am a neuroscientist and have been immersed in Bharatanatyam for 25 years; true to the (...) tradition of the form that emphasizes lifelong scholarship and immersion, I continue to learn from my gurus and supplement my dance training with the study of Carnatic music and Sanskrit. My journey in creative aging started after losing my mother and witnessing the lack of access to expressive movement that was available to her; for fear of falls, my previously-dynamic mother spent the last three months of her life without leaving the bed or feeling the sunshine on her skin. By using hastas in the context of creative aging, I describe how we can promote the acquisition of new skills, the physical benefits even in the face of arthritis and limited mobility, the ability to ascribe meaning to the gestures, and the capability to form new meanings and new gestures that are contemporary and relevant to the lives of older adults. Above all, we can engage older adults actively in the creation and appreciation of art. (shrink)

This article investigates the ways in which individuals assume two distinct viewpoints in both speech and gesture - both simultaneously and sequentially - when they represent the uncertain knowledge that characterizes risk. In the mimetic viewpoint, individuals represent events as characters in their own narrative or mimic the character viewpoint of an Other. In the analytic viewpoint, individuals move outside of embodied experience to analyze events from a distance. As part of a larger study investigating viewpoint in discourses of (...) risk, this study suggests the important role of viewpoint in understanding individual accounts of risk. Together, speech and gesture provide a richer representation of risk than either speech or gesture alone. But viewpoints represented in gesture may be rendered invisible in written accident reports and investigations. This study suggests that individual accounts of risk ultimately reflect highly local sensory experiences that are situated - literally and physically - by an individual's position in institutional and material sites. Within these institutions, individuals can access a range of analytic and mimetic viewpoints in both speech and gesture in order to represent their experiences. This research has important implications for rhetorical theory and risk and decision science. (shrink)

In this introduction to the special issue on time and viewpoint in narrative discourse, we highlight the central contributions of the issue concerning the relation between the linguistic construal and cognitive representation of time and viewpoint. We explain how linguistic and gestural cues guide the representation of narrative time progression and argue that this representation involves various cognitive operations regulating the alignment between the viewpoints of narrator, addressee, and narrative characters. These operations are steered by a variety (...) of linguistic phenomena, including verb tense, adverbs, demonstratives, reduplication and negation, as well as body partitioning. We discuss how genre characteristics influence the relation between the linguistic and cognitive representation of time and viewpoint. Finally, we explain how the analyses presented in the various papers both demonstrate and clarify how the cognitive representation of time in narrative discourse relies on the human capacity to simultaneously manage multiple viewpoints, leading to the conclusion that time and viewpoint are closely related in the representation of narrative discourse. (shrink)

Speakers frequently produce elaborate hand movements during talk that have been shown to serve a communicative function. Nevertheless, two-thirds of the semantic content of these hand movements is encoded linguistically elsewhere in the discourse . The present experiment demonstrated that while 62.9% of semantic information in gesture was elsewhere, most gestures retained at least one semantic feature that was never represented linguistically. Semantic features were more explicit when they occurred in gesture than when represented linguistically. Even in cases where (...) the imagistic gesture appeared somewhat redundant, gesture at the narrative level preserves a discernable communicative function. (shrink)

In this column for New Age, I discuss the following a) the rhetoric of sacrifice from 1971, once inspiring, now distracts from pressing national issues; b) Emotional responses and symbolic gestures, like redrawing maps, harm diplomatic credibility and regional alliances; c) Leadership's overuse of sacrifice rhetoric undermines governance and deflects attention from issues like unemployment, corruption, and climate change; d) Ideological rhetoric burdens the younger generation, sidelining critical engagement and practical solutions; e) Bangladesh must prioritize reforms in job creation, (...) institutional accountability, and climate adaptation over populist distractions. I claim that true patriotism lies not in clinging to hollow rhetoric but in building a system that values lives, ensures opportunities, and addresses the challenges of our time. It’s time to pivot from populism to pragmatism. (shrink)

We argue that theory-of-mind (ToM) approaches, such as “theory theory” and “simulation theory”, are both problematic and not needed. They account for neither our primary and pervasive way of engaging with others nor the true basis of our folk psychological understanding, even when narrowly construed. Developmental evidence shows that young infants are capable of grasping the purposeful intentions of others through the perception of bodily movements, gestures, facial expressions etc. Trevarthen’s notion of primary intersubjectivity can provide a theoretical framework (...) for understanding these capabilities and his notion of secondary intersubjectivity shows the importance of pragmatic contexts for infants starting around one year of age. The recent neuroscience of resonance systems (i.e., mirror neurons, shared representations) also supports this view. These ideas are worked out in the context of an embodied “Interaction Theory” of social cognition. Still, for more sophisticated intersubjective interactions in older children and adults, one might argue that some form of ToM is required. This thought is defused by appeal to narrative competency and the Narrative Practice Hypothesis (or NPH). We propose that repeated encounters with narratives of a distinctive kind is the normal route through which children acquire an understanding of the forms and norms that enable them to make sense of actions in terms of reasons. A potential objection to this hypothesis is that it presupposes ToM abilities. Interaction Theory is deployed once again to answer this by providing an alternative approach to understanding basic narrative competency and its development. (shrink)

Past research has suggested that those spontaneous movements of the human hand made during talk convey significant semantic information over and above the speech, at least when the unit of speech analyzed is the individual clause. However, no previous research has tested whether this information is represented linguistically elsewhere in the narrative . The first study, reported here, uses an experimental procedure to identify which specific imagistic gestures add semantic information to the speech. The second study analyzes whether (...) the specific gestures still do this when respondents hear the whole narrative. It was found that two thirds of the semantic information, thought to be carried by the gestures, is, in fact, represented in the linguistic discourse, or is inferable from it. However, one third of the additional semantic information contained in the gestures is not represented linguistically in the narrative nor is it inferable from it. In other words, a proportion of the imagistic gestures that accompany speech are absolutely critical to semantic communication. (shrink)

Human communication can be either monosemiotic or polysemiotic, depending on whether it combines ensembles of representations from one or more semiotic systems such as language, gesture and depiction. Each semiotic system has its unique storytelling potentials, which makes intersemiotic translation from one system to another challenging. We investigated the influence of the source semiotic system, realised in speech and a sequence of pictures, respectively, on the way the same story was retold using speech and co-speech gestures. The story was (...) the content of the picture book Frog, Where Are You?. A group of Finnish speakers saw the story in pictures, and another group heard it in matched oral narration. Each participant retold the story to an addressee and all narrations were video-recorded and analysed for both speech and gestures. Given the high degree of iconicity in depiction, we expected more iconic gestures (especially enactments) in the narratives translated from pictures than in those translated from speech. Conversely, we expected greater narrative coherence in the narratives translated from speech. The results showed that more iconic gestures were produced in the narratives translated from speech, but these were primarily not from the enactment subtype. As expected, iconic enactments were more frequent in the narratives translated from the story presented in pictures. The narratives produced by participants who had only heard the story did not have a greater variety of connective devices, yet the type of devices differed slightly between the groups. Together with some additional differences between the groups that had not been anticipated, the results indicate that a story presented in different semiotic systems tends to be translated into different polysemiotic narratives. (shrink)

Giorgio Agamben presents us with one of the most powerful and controversial criticisms of human rights. He contests conventional understandings of human rights as normative setbacks on sovereign power, and shows instead how these rights reinforce sovereignty by producing bare lives that are irredeemably exposed to violence. This essay aims to understand the distinctive aspects of Agamben's critique and assess his concluding call for a politics beyond human rights. It suggests that this call is necessitated by a counternarrative of Western (...) politics that ties human rights inextricably to the logic Agamben ascribes to biopolitical sovereignty. Within this stringent logic, any politics organized around human rights cannot help but reproduce sovereign violence. The essay questions this counternarrative in two ways: First, it shows how this counternarrative, which aims to unveil all the myths that sustain sovereignty, ends up repeating what it identifies as the distinctive mythologizing gesture: rendering the contingent necessary. Second, it turns to Agamben's notion of ‘potentiality’ to break the binding spell of his narrative of fated necessity and reclaim the contingent, equivocal and unpredictable effects of modern rights declarations and struggles. The essay concludes with a discussion of contemporary rights struggles of sans-papiers to illustrate the strengths and limits of Agamben's critique of human rights. (shrink)

ABSTRACTThis article examines a translation of the Scottish historian William Robertson’s probably most famous text in the journal of the Hungarian Academy of Sciences in the 1830s, as a case study on continuity between the Enlightenment and the era of liberal reform in Central Europe. It underlines the benefits of the comparative study of Scotland in Robertson’s time and Hungary in the Reform Age as partners in composite polities at the opposite ends of Europe, where patriotic projects of overcoming limitations (...) of political sovereignty via cultural and economic improvement were pursued. The belated reception of Robertson in Hungary took place within a larger initiative of progress and refinement, associated with the liberal Count István Széchenyi, in an environment where many potential sympathizers with his programme were ambivalent about the values of cosmopolitanism and commerce promoted by Robertson, indebted as they remained to more archaic modes of patriotism. In view of the peculiarities of translation, and selection the Hungarian rendering of the View of the Progress was attuned to the sentiments of this constituency, and may be interpreted as a set of discursive gestures aimed at conquering it for the cause of ‘liberalism as refinement.’. (shrink)

Giorgio Agamben presents us with one of the most powerful and controversial criticisms of human rights. He contests conventional understandings of human rights as normative setbacks on sovereign power, and shows instead how these rights reinforce sovereignty by producing bare lives that are irredeemably exposed to violence. This essay aims to understand the distinctive aspects of Agamben's critique and assess his concluding call for a politics beyond human rights. It suggests that this call is necessitated by a counternarrative of Western (...) politics that ties human rights inextricably to the logic Agamben ascribes to biopolitical sovereignty. Within this stringent logic, any politics organized around human rights cannot help but reproduce sovereign violence. The essay questions this counternarrative in two ways: First, it shows how this counternarrative, which aims to unveil all the myths that sustain sovereignty, ends up repeating what it identifies as the distinctive mythologizing gesture: rendering the contingent necessary. Second, it turns to Agamben's notion of ‘potentiality’ to break the binding spell of his narrative of fated necessity and reclaim the contingent, equivocal and unpredictable effects of modern rights declarations and struggles. The essay concludes with a discussion of contemporary rights struggles of sans-papiers to illustrate the strengths and limits of Agamben's critique of human rights. (shrink)

Name der Zeitschrift: Language and Cognition - An Interdisciplinary Journal of Language and Cognitive Science Jahrgang: 5 Heft: 4 Seiten: 313-343.

In lieu of an abstract, here is a brief excerpt of the content:Self-Knowledge and the Limitations of NarrativeJeanette BicknellIn this passage from his Confessions, St. Augustine recounts some youthful shenanigans: "In a garden nearby to our vineyard there was a pear tree.... Late one night—to which hour, according to our pestilential custom, we had kept up our street games, a group of very bad youngsters set out to shake down and rob this tree. We took great loads of fruit from (...) it, not for our own eating, but rather to throw it to the pigs.... Foul was the evil, and I loved it... I loved my fault itself. Base in soul was I...."1Here a mature Augustine looks back on his boyhood self with recrimination and reproach. Stealing pears is not seen as an immature prank but as evidence of a base soul. Yet for all the force and gravity of his words, it is not difficult to imagine a younger Augustine, before his conversion to Christianity, light-heartedly reminiscing with friends about these very same incidents. Of these two stories—the one he tells in the Confessions and the one he might have told—which provides a more accurate portrayal of Augustine's boyhood soul? Which is closer to the truth?Narrative and personal identity would seem to be inextricably bound.2 Telling stories or imposing a narrative coherence on events is one of the main ways in which we make sense of our experience. We also get to know others by listening to their stories, thus learning the narrative coherence they have placed on events in their own lives. Over the course of a lifetime stories may change. Characters first dismissed as "bit players" may gain importance. Gestures or words earlier thought to [End Page 406] be unimportant may, in retrospect, take on greater significance. With time and reflection one's past may be re-interpreted as displaying error, alienation or ignorance. A cataclysmic religious conversion is only one of many factors which might prompt such reflection and reinterpretation. Illness, divorce, and the death of loved ones are other possible causes.Here is my worry: presumably we would like to believe that our "new" stories are improvements on the old, and that they reflect greater self-knowledge, possibly even greater moral awareness. Yet given that any number of possible narratives can make sense of a set of events, how can we determine that any one story or way of understanding the past is better than any other? How are we to distinguish those stories which reflect greater understanding from those which are simply re-descriptions or re-interpretations without greater insight on the part of the individual? We may disagree about particular cases; those with a religious world view are likely to believe that, post-conversion, Augustine is telling the "right" story about the pear theft. However most would concede that some ways of understanding the world are simply less adequate than others—"less adequate" both in the sense of "less reflective of the truth" and "less conducive to good relations with others." Few would defend the worldview of the inveterate racist, for example. The problem of determining whether a story reflects greater understanding and self-understanding is all the more challenging if we take seriously the view that narrative structure is the organizing principle, not only of experiences and actions, but of the very self that experiences and acts.3 How radically must one's personal narratives change before her very identity has also changed?Concerns about the epistemological status of personal narratives bring us up against the limitations of narrative as a tool for understanding persons. Given the under-determination of narrative by events, listening to a person's stories will not be enough to understand her. In this paper I do two things. First, I illustrate some of my worries about the epistemological status of narratives through an examination of Tolstoy's short novel The Kreutzer Sonata. I argue that, despite protestations to the contrary, the protagonist has not acquired greater self-knowledge. He has changed the stories he tells about himself without having understood his past or those around him any better. Then I sketch what a genuine increase in self... (shrink)

The contribution offers some pedagogical reflections dedicated to the theme of tenderness in education through the exploration of a repertoire of excellent picture books published in the field of children’s publishing. The poetic investigation of the suggestions from the bibliographic corpus highlights ethical, aesthetic and pedagogical aspects of bodily imagery and experiences, linked to the sensitive, ethical and emotional dimension of education. The reflection interweaves perspectives from the pedagogy of the body with the interdisciplinary study of children’s literature and proposes (...) a pedagogical reflection, with didactic and formative repercussions, on the iconographic and narrative representations of the postures of care, play and the educational relationship. (shrink)

Humanitarianism has a narrative problem. Far too often, aid to Africa is envisioned through a tale of Western heroes saving African sufferers. While labeling white savior narratives has become a familiar gesture, it doesn't tell us much about the story as story. Humanitarian Fictions aims to understand the workings of humanitarian literature, as they engage with and critique narratives of Africa. Overlapping with but distinct from human rights, humanitarianism centers on a relationship of assistance, focusing less on rights than (...) on needs, less on legal frameworks than moral ones, less on the problem than on the nonstate solution. Tracing the white savior narrative back to religious missionaries of the nineteenth century, Humanitarian Fiction reveals the influence of religious thought on seemingly secular institutions and uncovers a spiritual, collectivist streak in the discourse of humanity. Because the humanitarian model of care transcends the boundaries of the state, and its networks touch much of the globe, Humanitarian Fictions redraws the boundaries of literary classification based on a shared problem space rather than a shared national space. The book maps a transnational vein of Anglophone literature about Africa that features missionaries, humanitarians, and their so-called beneficiaries. Putting humanitarian thought in conversation with postcolonial critique, this book brings together African, British, and U.S. writers typically read within separate traditions. Paustian shows how the novel--with its profound sensitivity to narrative--can enrich the critique of white saviorism while also imagining alternatives that give African agency its due. (shrink)

People's desire not to limit the meaning of Hancang driving force, continuous development and self-transcendence, which is people from within and beyond the root driving force. The so-called "inner beyond" is not a process of idealism, which began with the desire, from the bottom of the body, and go up on the layer by layer through the heart of the development process裡and mental flexibility, and would therefore have to enhance and transform. We regard the body as I desire the presence (...) of mode. Significance by the driving force in the body and thus close to the appearance, at first non-verbal, and then eventually completed in the language of representation. Through a variety of different non-linguistic representation, the meaning of the body of the driving force to obtain specific and differentiation, as music, art, dance, drama art form ... ... and so on. These different forms of art of common origins, is made ​​to understand the forms of physical exercise, as they are each other's differences, then is made ​​to understand the form of different, such as voice, image, attitude ... ... and so the nature and rules lawyers, and the rise because of their differences on the artistic and cultural expressions of different, and even the formation of the various arts precinct. In order to film art integrated voice, image and body movement, presented at the time of the current moving image, to the above description of the story. Different types of art is "the desire of the induced mover", which provides clear instructions and guidance In order to man the desire for meaning. The meaning of desire is the driving force of development of art in different fields to cross-border basic driving force. Story has entered into a description of the classification of the appearance of language, its basic features is metaphorical. Cross-disciplinary domain of the past will pin their hopes on the concepts and logical reasoning and arguments permit. Today, the language of metaphor for understanding the nature, making metaphor and narrative clues as cross-domain, and in the humanities, social sciences, natural sciences and even among. The reason why life events, actions and circumstances can be constructed to the story, because there I am with the interaction between multiple otherness, its impetus came from one continuous extrapolation, and extrapolation of each other. And diversity of his stories were always the people the story, and always coming to the multivariate description of those who hear him. Through stories, we witness In order to the meaning of life, but always to witness the way metaphor and description of each story to each other through mutual enrichment. Description of the future, after all, the story, no matter real or imagined, there is established based on the relationship regardless of which I was with him who have the freedom in the relationship, a relationship in freedom. It is also across the world who can not break the fundamental driving force and field-based. This paper assumes that there is an undetermined dynamic energy for meaningfulness in human desire, which develops and transcends any particular realization. This is the original energy by which human beings could attain transcendence by way of immanence, which is not an idealist process, but rather originated from a body-based desire that develops upwards and fuller to integrate the mental and the spiritual. Representability, first non-linguistic and then linguistic, is the access to meaning for our desire that takes body as its mode of existence. Through different forms of representation, such as sounds, pictures and gestures ... etc., the project of meaning is specified. The movement of body in intelligible forms is the common origin of music, dancing and performative arts. Cultural difference and artistic boundaries are based upon differences in the nature and rule of these intelligible forms. The art of filming, which synthesizes image, music and body movement in presenting images moving in time so as to tell stories of various kinds. All forms of art are "inducers of desire" by articulating, determining and guiding our desire for meaning. This dynamic development of our desire for meaning is the common basic energy by which we can cross the borders of different arts. Story-telling presupposes linguistic representation accessible to our meaning dynamism. In the past, concepts and logical reasoning and argumentation were taken to be the hope for interdisciplinary research. But now, with the better understanding we have of the metaphoric nature of language, metaphors and narratives are taken to be the clue for a cross-bordering effort in different sciences, human , social and natural. If there are events, actions and plots in human existence to be constructed as stories, it is because there is always interaction with multiple others, the dynamism of it consisting in our incessant act of strangification and mutual strangification. Stories are always stories about one self with multiple others and told to multiple others. By telling stories, we witness a particular way of meaningful life, always metaphorically interpreted. We achieve mutual enrichment by telling stories to each other. The ultimate foundation of cross-bordering in arts and scientific disciplines consists in the ontology of dynamic relation, in which there is relatedness in freedom and freedom in being related, and this is the ground on which all our life stories, both real and imaginative, are based. (shrink)

Through an analysis of Suzanne Collins’ The Hunger Games trilogy (2008, 2009, 2010), this text will consider the ways in which contemporary postfeminism can be read as a dystopic narrative. The protagonist of the novel (and the rest of the trilogy) is Katniss Everdeen, a young woman who through an ethics of care, disruption of the heteronormative script, and a critical posthuman embodiment offers an alternative to the dystopic present offered by postfeminism. In Katniss’ dystopian world, Collins constructs a (...) narrative that highlights the continued need for a feminist politics of engagement and activism that works against claims for neo-liberal individualism. (shrink)

This article compares translation and commentary practices surrounding the texts associated with French feminism with those of contemporary French women philosophers more generally. Many of the latter, discussing the history of philosophy, ask questions such as “How do texts play against the means they supply themselves?” and “How are philosophical forces, and the institutions of commentary, countered, destabilized, deregulated?” Deutscher asks what institutional means are available to understand this work as innovative philosophy, and to what extent these projects can usefully (...) be analyzed as the gestures of women in philosophy. (shrink)

This paper provides a brief overview and critique of the dominant objectivist understanding and use of illness narrative in Enlightenment (scientific) medicine and ethics, as well as several revisionist accounts, which reflect the evolution of this approach. In light of certain limitations and difficulties endemic in the objectivist understanding of illness narrative, an alternative phronesis approach to medical ethics influenced by Charles Taylor’s account of the interpretive nature of human agency and language is examined. To this end, the (...) account of interpretive medical responsibility previously described by Schultz and Carnevale as "clinical phronesis" (based upon Taylor’s notion of "strong" or "radical evaluation") is reviewed and expanded. The thesis of this paper is that illness narrative has the ability to benefit patients as well as the potential to cause harm or iatrogenic effects. This benefit or harm is contingent upon how the story is told and understood. Consequently, these tales are not simply "nice stories," cathartic gestures, or mere supplements to scientific procedures and decision making, as suggested by the objectivist approach. Rather, they open the agent to meanings that provide a context for explanation and evaluation of illness episodes and therapeutic activities. This understanding provides indicators (guides) for right action. Hence, medical responsibility as clinical phronesis involves, first, the patient and provider’s coformulation and cointerpretation of what is going on in the patient’s illness narrative, and second, the patient and provider’s response to interpretation of the facts of illness and what they signify–not simply a response to the brute facts of illness, alone. The appeal to medical responsibility as clinical phronesis thus underscores the importance of getting the patient’s story of illness right. It is anticipated that further elaboration concerning the idea of clinical phronesis as interpretive illness narrative will provide a new foundation for medical ethics and decision making. (shrink)

Among Marxists and Communists, Louis Althusser has long had a reputation for theoreticism and scientism, the factors most often cited to explain the eclipse of his work since the 1960’s. According to the standard account, the distinguishing characteristic and major flaw of his work is that it brings everything back to knowledge. In this essay, I interrogate this understanding of Althusser by reconsidering two cornerstones of Althusserian theory that seem most to exemplify his extreme privileging of epistemology: the symptom and (...) the interpellation theory of ideology. I argue not that taking them to work on the epistemological level is wrong but rather incomplete; there exists a not quite acknowledged beyond of knowledge and interpellation in Althusser, which takes the form of a traumaticnarrative of history, enjoyment, and desire. The production of knowledge in Althusser unfolds as a pathos-laden story, which on one level gestures toward the turbulent world history in which he developed his theory: primarily WW II and the post-war Stalinist revelations, along with the conflicts it provoked in the Communist Party, and the French Communist Party in particular. Although not the subject of extended analysis, these events haunt Althusser’s texts in the form of allusions and the surprisingly violent figurative language with which Althusser discusses theoretical labor. I contend that they call to be analyzed as a kind of return of the repressed, best approached through Slavoj Žižek’s psychoanalytically inflected theory of ideology. (shrink)

Game-based approaches are emerging in many fields, such as education, social sciences, marketing and government. Most studies debate its role in consolidating learning, guided by both internal and external rewards. These approaches are also being applied in rehabilitation, where patients must undergo a re-learning process of motor gestures after an injury to a body structure. In physiotherapy, much importance is given to analytical-functional movement aspects, but less to the recovery of the complete experience, including motivation, perception, and emotional experience (...) of the patient during the process. The aim of this narrative review is to investigate the role of subjective experience in the application of gamification in physiotherapy, considering the added value it provides to recovery by involving neural structures, not just motor functions. By analyzing the most investigated aspects in using gamification in rehabilitation, we will outline the primary methods of investigation into the engagement and emotions involved in the process. Through a selection of scientific articles found on main databases, we identified articles investigating the patient’s experience. The analysis of these articles was based on aspects related to the recovery of movement, the technology used, as well as the methods of investigation and collection of qualitative data regarding the emotions and perceptions of patients during the gamification experience. The results are divided into two primary topics. Overall, this review supports the idea that gamification could represent a rehabilitation approach integrating physiotherapy, more suitable for the final stages of recovery, such as returning to work or sports. (shrink)

In Strange Concepts and The Stories they Make Possible: Cognition, Culture, Narrative, Lisa Zunshine widens her scope from an erstwhile singular focus on Theory of Mind (inferring interior states from exterior expression and gesture) in fiction, turning her sights toward a branch of psychology aimed at the study of the early cognitive development of humans. Here she explores our distinctive mental capacity to ascribe a function to objects (a chair is to sit, etc.) and an essence to living creatures (...) (the posited unchanging, ungraspable spirit or soul, for example). Zunshine’s aim: to throw light on how authors and artists confer strange configurations upon such concepts as function and essence in their making of .. (shrink)

Dans L’Homme faillible, Ricœur découvre, au cœur de l’homme, une faille. À cause d’elle, l’homme est fragile: il est fragile médiation de lui-même et du monde, médiation à faire et à refaire, au risque permanent de se défaire. C’est ainsi que l’homme fragile est aussi faillible. Dans Soi-même comme un autre, Ricœur revient sur cette faille qui passe au cœur de soi, entre l’idem et l’ipse, livrant accès à l’alter. Cette image, la faille, guide Ricœur dans chacun de ces deux (...) textes: elle nous donne accès à leur continuité mais aussi à l’écart qui les sépare. D’autre part, si cette image a inspiré l’œuvre de Ricœur, elle donne aussi de la critiquer: relisant la Symbolique du mal, nous mettrons en lumière une dimension de l’homme peu explorée par Ricœur et que notre actualité nous pousse à retrouver: le corps et le geste. (shrink)

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the (...) timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

For philosophers who would think “with” religion, rather than simply to theorize “about” it, the question of the relationship between religious imagination and philosophical rationality is a matter of constitutive importance. The way we answer this question would have far reaching implications for how we understand the work we do as philosophers who take religion seriously, and how we situate ourselves within broader academic contexts. Indeed, the answer to such a question –insofar as we can give any sort of definitive (...) answer to it –would convey us to the core of what it means for us to “philosophically” appropriate religious and theological materials. We could do worse, I think, than to phrase the question in these terms: do religious imaginaries –representations, narratives, gestures, sacraments, etc. –anticipate a pure, conceptual reflexivity, or do they represent the impossibility of such a standpoint? This question is not only constitutive for philosophical reflection on religion. It is of a more general, formal relevance as well; it effectively raises the additional question as to whether the limits of conceptuality can themselves be conceptually articulated or whether they must be representationally displayed in such a way as to lead thought, obliquely, to an encounter or an experience of its limits. We can distill the question further: does philosophy comprehend religion, or does religion serve to mark the limits of what can be conceptually expressed by philosophy? Is religion the scene of the concept’s satisfaction? Its infinite longing? Or its transcendental frustration? (shrink)

Death narratives, nurturance, and transitive crossings within species and between species open pathways into entanglements of life of earth. This paper engages with time in both sequential and synchronous modes, investigating interfaces where time, species, and nourishment become densely knotted up in ethics of gift, motion, death, life, and desire. The further aim is to consider the dynamic ripples generated by anthropogenic mass death in multispecies knots of ethical time, and to gesture toward a practice of writing as witness.

Introduction -- Prelude: from gesture to virtual agency -- Foundations for a theory of agency -- Virtual environmental forces and gestural energies: actants as agential -- Virtual embodiment: from actants to virtual human agents -- Virtual identity and actorial continuity -- Interlude I: from embodiment to subjectivity -- Staging virtual subjectivity -- Virtual subjectivity and aesthetically warranted emotions -- Staging virtual narrative agency -- Performing agency -- An integrative agential interpretation of Chopin's Ballade in F minor, op. 52 -- (...) Interlude II: hearing agency: a complex cognitive task -- Other perspectives on virtual agency -- Postlude. (shrink)

Starting from common-sense notions of ‘furniture of the world’ a process ontology is developed in which prospective is an integral part. Technology as configurations that work (precariously) embodies expectations which structure further development. Examples (a cloned puppy, hotel keys, DC airplanes, stem cells, and overpasses on Long Island) are used to develop the notion of material narratives that are “written”, not just by engineers and designers/producers, but also by users: “reading” implies some further “writing”. In contrast to prevailing notions of (...) technological control (through manipulation of building blocks), the “writing” of nanotechnology is modulation of the invisible and impredictable - an extreme example of unruly technology and repair work after the fact, where in practice control is a gesture not so different from magic. Because ontology cannot be other than prospective, it is political throughout. Thus, prospective technology highlights ontological politics. (shrink)

Marta Suria writes *Ella soy yo* as part of her response to the irruption of the memories of the sexual aggressions she had suffered since childhood. She is convinced that the way she narrates her experience will transform and liberate her. How is it at all possible that a certain kind of narrative may transform and li- berate us? In this paper, we will first describe the conception of the relationship between language and experience that lies behind this perplexity (...) and, secondly, we will sketch an alternative conception that will hopefully allow us to account for the transformative power of certain kinds of narratives. This alternative conception will hinge on the idea of expression and on the concept of aspect perception. For this purpose, we will firstly argue that language can be used not only to describe or evaluate our experience, but also to express it; we will, then, defend the view that linguistic or gestural expressions of our experiences not only announce or manifest them, but contribute to shaping and modulating them; finally, we will highlight the transformative, humanizing power of certain expressive uses of language. (shrink)

One of the narratives of anger as a pandemic emotion is not diagnostic, but celebratory: anger at racial injustice made a social and political breakthrough during the pandemic. What this breakthrough narrative celebrates is that people who had previously been moved only to alarmed scrutiny of the anger itself and the project of quelling it began instead, not merely to approve of this anger, but to to be oriented and instructed by it, permitting the anti-racist anger of others to (...) sensitize them to the insults and injuries that provoked it. The breakthrough narrative implies that anger is a moral sentiment that can be instructive, not only for the angry person herself, but also for others. This suggests a phenomenonological puzzle: under what description of affective intentionality and its interpersonal and social triangulation would the breakthrough be possible? I draw on Marilyn Frye’s account of anger uptake and Merleau-Ponty’s phenomenology of the body schema to give an account of the conditions of possibility for the breakthrough narrative. Along the way, I offer an account of uniquely affective hermeneutical injustices, the uniquely affective variety of power at stake in them, and the reparative gesture required to remedy them. (shrink)

Dystopian and postapocalyptic narratives are often vectors for utopian hope in decidedly anti-utopian historical moments. The twenty-first century has, arguably, been such a moment. The association of utopianism with some of the most devastating political projects of the twentieth century, the plurality of existential threats looming over the globalized world, and the hegemony of global capitalism converge to form a cultural milieu inundated with grim visions of the future. These visions, however, have a stubborn tendency to gesture toward their negation: (...) the emancipated society. Optimism and pessimism are intermingled in contemporary narratives that frame the end of civilization as the precondition for a utopian... (shrink)

Plato's rhetorical gesture invoking a 'quarrel' between philosophy and poetry points to a deep problem in our conception of rational discourse, often obscured or displaced in the history of philosophy's relations with imaginative literature, especially with respect to analytic philosophy in the first half of the twentieth century. Recent developments have helped focus attention on the overlap between philosophy and literature, which the contemporary retreat from philosophy's 'narrative turn' does little to undermine. Further work in the philosophy of language, (...) the logic of the imagination, and the relations between dialectic and rhetoric promise to throw light on that ancient problem. (shrink)

A novel theoretical framework for an embodied, non-representational approach to language that extends and deepens enactive theory, bridging the gap between sensorimotor skills and language. -/- Linguistic Bodies offers a fully embodied and fully social treatment of human language without positing mental representations. The authors present the first coherent, overarching theory that connects dynamical explanations of action and perception with language. Arguing from the assumption of a deep continuity between life and mind, they show that this continuity extends to language. (...) Expanding and deepening enactive theory, they offer a constitutive account of language and the co-emergent phenomena of personhood, reflexivity, social normativity, and ideality. Language, they argue, is not something we add to a range of existing cognitive capacities but a new way of being embodied. Each of us is a linguistic body in a community of other linguistic bodies. The book describes three distinct yet entangled kinds of human embodiment, organic, sensorimotor, and intersubjective; it traces the emergence of linguistic sensitivities and introduces the novel concept of linguistic bodies; and it explores the implications of living as linguistic bodies in perpetual becoming, applying the concept of linguistic bodies to questions of language acquisition, parenting, autism, grammar, symbol, narrative, and gesture, and to such ethical concerns as microaggression, institutional speech, and pedagogy. (shrink)

Teaching is hypothesized to be a species-typical behavior in humans that contributed to the emergence of cumulative culture. Several within-culture studies indicate that foragers depend heavily on social learning to acquire practical skills and knowledge, but it is unknown whether teaching is universal across forager populations. Teaching can be defined ethologically as the modification of behavior by an expert in the presence of a novice, such that the expert incurs a cost and the novice acquires skills/knowledge more efficiently or that (...) it would not acquire otherwise. One behavioral modification hypothesized to be an adaptation for teaching is ostensive communication—exaggerations of prosody and gesture that signal intent to transmit generalizable knowledge and indicate the intended receiver. On this view, the use of ostensive communication in conjunction with the transmission of generalizable knowledge constitutes evidence of teaching. Oral storytelling appears to meet these criteria: Indigenous peoples regard their traditions as important sources of ecological and social knowledge, and oral storytelling is widely reported to employ paralinguistic communication. To test this hypothesis, descriptions of performed narrative in forager societies were coded for the use of 14 ostensive-communicative behaviors and the presence of generalizable knowledge. Although biased toward North America, the study sample comprised 53 forager cultures spanning five continents, 34 language families, and diverse biomes. All cultures evinced the predicted behaviors. Results suggest that foragers use storytelling as a mode of instruction, thus providing cross-cultural evidence of teaching in forager populations. (shrink)

The importance of the gesture and the glance in oral communication face-to-face are undeniable, however, the communication skills of children with Specific Language Impairment has been measured, primarily preferring a description of its language orally or has been considered the verbal and non-verbal in an isolated manner. Given this, the objective of this study was to describe and interpret the use of the word, gesture and glances in narrative discourse in children SLI from a multimodal perspective, that allows to (...) observe not only the use of these resources, but also their integration. With a retelling task with support of visual images, oral productions of six Chilean children between 5 years and 5 years 11 months were analyzed. The findings indicate that children construct narratives from a combination of verbal and non-verbal resources and their number increases when the character’s actions are described. Also, it was possible to account for two instances of multisemiotic meaning construction through an assembly between different elements, in coordination or integration. These results corroborate previous findings that show that these children replace some of their problems with oral language through gestures and looks, which allow them to increase the communicability of their stories. (shrink)

I want to do a couple of things in this essay. First, I want to articulate the central direction that postmodern thinking or philosophy takes. Second, I want to present a brief sketch of African philosophy, focusing mostly on some aspects of African ethics. Third, I want to gesture towards the view that while postmodern thinking seems to suggest that African philosophy is a legitimate narrative or “language game” it could be argued that given its central ideas and doctrines (...) African philosophy may be open to some of the worries facing modern thinking. (shrink)