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Multimodal marking of information structure: gesture-prosody alignment across languages

100%
Lehečková E., Jehlička J., Králová Zíková M.
Linguistica Pragensia
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2022
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vol. 32
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issue 1
19-38
EN
In this paper, we first review the existing evidence of gesture-prosody alignment in information structure marking, focusing on specific gestural patterns that were observed to co-occur with various information structure constructions. Then we complement the evidence with the results of a corpus-based study of gesture-speech alignment in Czech. Analyzing a sample of 80 minutes of personal narratives by 16 speakers collected from a Czech multimodal corpus, we observed that by far the most frequent information structure units accompanied by gestures were foci. In line with previous research, we observed that pitch and intensity peaks lag behind the gesture stroke onset (on average by 300 ms). We also provide new evidence for a systematic variation in the duration of the temporal shift related to the marking of discourse contrast.
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Le mani di Jacek Woszczerowicz, attore “di composizione”

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Randone G.
pl.it / rassegna italiana di argomenti polacchi
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2015
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issue 6
141-154
EN
The article aims to draw attention back to the art of Jacek Woszczerowicz, once a well-known and beloved Polish actor. It focuses on his peculiar acting style by analyzing two adaptations of stage dramas and a documentary of a theatrical masterpiece Richard III (1960). In particular, the author highlights Woszczerowicz’s work on gesture and the role played by hands in building characters. This brief survey will lead us to re-discover the deep process of cognition and experience realized dramatically by the artist and to understand why Jan Kott considered him “the first contemporary Shakespeare”, while Jerzy Grotowski praised him as the greatest “actor of composition”.
3

Ujęcie i rzut. O „Fortepianie Szopena” Cypriana Norwida

100%
Matywiecki P.
Pamiętnik Literacki
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2018
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vol. 109
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issue 1
49-80
PL
Artykuł podejmuje próbę interpretacji poematu Cypriana Norwida „Fortepian Szopena”. Wybór naczelnych kategorii tej interpretacji, „ujecia” i „rzutu”, inspirowany jest teoretycznoliterackim terminem Jana Mukařovský’ego „gest semantyczny”. Stosując kategorie „ujęcia” i „rzutu”, zaczerpnięte z wnętrza poematu, a także z dzieł filozofów, Emmanuela Lévinasa, Alfreda Northa Whiteheada, Maurice Merleau-Ponty’ego, autor artykułu zajmuje się Norwidowskim mitem polskości, mitem artysty, filozofią tworzenia, filozofią muzyki. Artykuł zawiera również refleksję nad rękopisem poematu.
EN
The article attempts to interpret Cyprian Norwid’s poem “Fortepian Szopena (Chopin’s Piano).” The choice of the interpretation’s principal categories, namely “depiction” and “projection,” is inspired by Jan Mukařovský’s literary critical term “semantic gesture.” Applying the two aforementioned categories derived from the inside of the poem, as well as from such philosophers as Emmanuel Lévinas, Alfred North Whitehead, and Maurice Merleau-Ponty, the author of the article takes up the issue of Norwidian myth of Polishness, myth of an artist, philosophy of creation, and philosophy of music. The paper also includes a reflection about the poem’s manuscript.
4

Forging a morphological system out of two dimensions: Agentivity and number

72%
Horton L., Goldin-Meadow S., Coppola M., Senghas A., Brentari D.
Open Linguistics
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2014
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vol. 1
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issue 1
EN
Languages have diverse strategies for marking agentivity and number. These strategies are negotiated to create combinatorial systems. We consider the emergence of these strategies by studying features of movement in a young sign language in Nicaragua (NSL). We compare two age cohorts of Nicaraguan signers (NSL1 and NSL2), adult homesigners in Nicaragua (deaf individuals creating a gestural system without linguistic input), signers of American and Italian Sign Languages (ASL and LIS), and hearing individuals asked to gesture silently. We find that all groups use movement axis and repetition to encode agentivity and number, suggesting that these properties are grounded in action experiences common to all participants. We find another feature – unpunctuated repetition – in the sign systems (ASL, LIS, NSL, Homesign) but not in silent gesture. Homesigners and NSL1 signers use the unpunctuated form, but limit its use to No-Agent contexts; NSL2 signers use the form across No-Agent and Agent contexts. A single individual can thus construct a marker for number without benefit of a linguistic community (homesign), but generalizing this form across agentive conditions requires an additional step. This step does not appear to be achieved when a linguistic community is first formed (NSL1), but requires transmission across generations of learners (NSL2).
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