English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

Speakers are moving cognizers who engage in bodily acts of conceptualization. The “globe gesture” is among the most spectacular forms of “manual thinking” (Streeck 2009) used in formal talk. A characterization of the kinesic action typical of the “globe gesture” is first provided that shows how “the image of a bounded, supportable object” is created (McNeill 1992) and set up in gesture space. As conceptual objects are created and masses of semantic substance fashioned, visible shape is given to shapeless mental representations. A powerful semiotic trick is performed with a simple cognitive artifact. Interestingly, a willing suspension of disbelief is required of speakers and listeners who must temporarily give up their rational conceptions of visibility, materiality and palpability to watch the symbolic manipulation of invisible objects. The basic expressive properties of the “globe gesture” are next characterized: outlining and isolating objects of conception; neutralizing semantic specification; establishing a joint focus of attention and imagination; shaping, displaying and unifying content; creating a sense of reality and existence through physical presence. Iconic modifications of the standard metaphoric hand configuration, virtuosic elaborations and creative blends are finally examined before reporting the results of an experimental study of the globe gesture’s heuristic properties in a controlled environment. 14 students attending a multimodal “kineflective” seminar used the hand configuration to engage in “choreographic thinking” (Forsythe 2009) and develop a haptic understanding of derivation, nominalization, substantivation, conceptual reification. The globe gesture acted as a facilitator so long as a high degree of generality was maintained but was promptly discarded when words with a strong emotional appeal were introduced (e.g. sadness, madness). Emblems and iconic gestures were spontaneously performed instead.

From ‘ontological metaphor’ to semiotic make-believe: giving shape and substance to fictive objects of conception with the ‘globe gesture’