Meaningful shifts

Stec, Kashmiri

doi:10.1075/gest.12.3.03ste

Cited by 28 publications

(6 citation statements)

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“…Hybrid, or dual, depictions are also well documented in adults (see Dudis, 2004;McNeill, 1992;Parrill, 2009;Perniss, 2007;Perniss & Özyürek, 2008;Stec, 2012). Three examples are shown in Table 10: 1.…”

Section: Hybrid Depictionsmentioning

confidence: 96%

Depicting as a method of communication.

Clark

2016

Psychological Review

227

215

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In everyday discourse, people describe and point at things, but they also depict things with their hands, arms, head, face, eyes, voice, and body, with and without props. Examples are iconic gestures, facial gestures, quotations of many kinds, full-scale demonstrations, and make-believe play. Depicting, it is argued, is a basic method of communication. It is on a par with describing and pointing, but it works by different principles. The proposal here, called staging theory, is that depictions are physical scenes that people stage for others to use in imagining the scenes they are depicting. Staging a scene is the same type of act that is used by children in make-believe play and by the cast and crew in stage plays. This theory accounts for a diverse set of features of everyday depictions. Although depictions are integral parts of everyday utterances, they are absent from standard models of language processing. To be complete, these models will have to account for depicting as well as describing and pointing.

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Section: Hybrid Depictionsmentioning

confidence: 96%

Depicting as a method of communication.

Clark

2016

Psychological Review

227

215

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“…In Figure 1a, the speaker shows how a character in her narrative acts by using her own body as Figure 1b the speaker uses only her right hand to show the actions of a character, that is, she uses her hand to show the entity as a whole. In the gesture literature, this difference has generally been referred to as a difference in viewpoint (McNeill, 1992(McNeill, , 2005Beattie & Shovelton, 2001Parrill, 2009, 2010: Stec, 2012Debreslioska, Özyürek, Gullberg, & Perniss, 2013) -most often framed as c h a r a c t e r v i e w p o i n t versus o b s e r v e r v i e w p o i n t, although studies sometimes use different labels for comparable distinctions. 2 Although the term viewpoint is often used in the co-speech gesture literature, exactly what constitutes a viewpoint is rarely specified.…”

Section: Viewpoint In Gesturementioning

confidence: 99%

Separating viewpoint from mode of representation in iconic co-speech gestures: insights from Danish narratives

Frederiksen¹

2017

Lang. cogn.

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a b st r a c t During narrative retelling, speakers shift between different viewpoints to reflect how they conceptualize the events that unfolded. These viewpoints can be indicated through gestural means as well as through verbal ones. Studies of co-speech gestures have inferred viewpoint from gesture form, i.e., how entities are mapped onto the (primarily manual) articulators, but the merits of this approach have not been discussed. The present study argues that viewpoint is more than gestural form. Despite connections between the two, many other factors may influence a gesture's form. Assessing viewpoint from gesture form alone limits the applicability of gestural viewpoint as a window onto speakers' event conceptualization and introduces unnecessary differences in the categorization of viewpoint across gestures types. The present study examines iconic co-speech gestures in Danish narratives, and makes explicit the means used to infer gestural viewpoint. The approach advocated here ensures that the notion of viewpoint can be applied in a principled way to all or most iconic gestures.k e y w o r d s : viewpoint, gesture, sign language, role-shift, mode of representation.

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“…Earis & Cormier 2013) can help identify the articulators which are specifically used to demonstrate character viewpoint during quotes. We annotated each of the features identified by Stec (2012), focusing on articulators which "actively" contribute to the multimodal expression of viewpoint. As an example of what we mean by "active" articulator use, consider a character viewpoint gesture which is produced with a display of affect on the face versus one which is not, such as a speaker pumping their arms to show a character running with or without a co-timed display of fear on the speaker's face.…”

Section: Multimodal Articulatorsmentioning

confidence: 99%

Multimodal analysis of quotation in oral narratives

2015

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Abstract:We investigate direct speech quotation in informal oral narratives by analyzing the contribution of bodily articulators (character viewpoint gestures, character facial expression, character intonation, and the meaningful use of gaze) in three quote environments, or quote sequences -single quotes, quoted monologues and quoted dialogues -and in initial vs. non-initial position within those sequences. Our analysis draws on findings from the linguistic and multimodal realization of quotation, where multiple articulators are often observed to be co-produced with single direct speech quotes (e.g. Thompson & Suzuki 2014), especially on the so-called left boundary of the quote (Sidnell 2006). We use logistic regression to model multimodal quote production across and within quote sequences, and find unique sets of multimodal articulators accompanying each quote sequence type. We do not, however, find unique sets of multimodal articulators which distinguish initial from non-initial utterances; utterance position is instead predicted by type of quote and presence of a quoting predicate. Our findings add to the growing body of research on multimodal quotation, and suggest that the multimodal production of quotation is more sensitive to the number of characters and utterances which are quoted than to the difference between introducing and maintaining a quoted characters' perspective.

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Meaningful shifts

Cited by 28 publications

References 0 publications

Depicting as a method of communication.

Depicting as a method of communication.

Separating viewpoint from mode of representation in iconic co-speech gestures: insights from Danish narratives

Multimodal analysis of quotation in oral narratives

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