{"title":"Hand and Mind: What Gestures Reveal about Thought","authors":"D. McNeill","doi":"10.2307/415833","DOIUrl":null,"url":null,"abstract":"What is the relation between gestures and speech? In terms of symbolic forms, of course, the spontaneous and unwitting gestures we make while talking differ sharply from spoken language itself. Whereas spoken language is linear, segmented, standardized, and arbitrary, gestures are global, synthetic, idiosyncratic, and imagistic. In Hand and Mind, David McNeill presents a bold theory of the essential unity of speech and the gestures that accompany it. This long-awaited, provocative study argues that the unity of gestures and language far exceeds the surface level of speech noted by previous researchers and in fact also includes the semantic and pragmatic levels of language. In effect, the whole concept of language must be altered to take into account the nonsegmented, instantaneous, and holistic images conveyed by gestures. McNeill and his colleagues carefully devised a standard methodology for examining the speech and gesture behavior of individuals engaged in narrative discourse. A research subject is shown a cartoon like the 1950 Canary Row--a classic Sylvester and Tweedy Bird caper that features Sylvester climbing up a downspout, swallowing a bowling ball and slamming into a brick wall. After watching the cartoon, the subject is videotaped recounting the story from memory to a listener who has not seen the cartoon. Painstaking analysis of the videotapes revealed that although the research subjects--children as well as adults, some neurologically impaired--represented a wide variety of linguistic groupings, the gestures of people speaking English and a half dozen other languages manifest the same principles. Relying on data from more than ten years of research, McNeill shows thatgestures do not simply form a part of what is said and meant but have an impact on thought itself. He persuasively argues that because gestures directly transfer mental images to visible forms, conveying ideas that language cannot always express, we must examine language and gesture","PeriodicalId":0,"journal":{"name":"","volume":" ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1992-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2037","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/415833","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 2037
Abstract
What is the relation between gestures and speech? In terms of symbolic forms, of course, the spontaneous and unwitting gestures we make while talking differ sharply from spoken language itself. Whereas spoken language is linear, segmented, standardized, and arbitrary, gestures are global, synthetic, idiosyncratic, and imagistic. In Hand and Mind, David McNeill presents a bold theory of the essential unity of speech and the gestures that accompany it. This long-awaited, provocative study argues that the unity of gestures and language far exceeds the surface level of speech noted by previous researchers and in fact also includes the semantic and pragmatic levels of language. In effect, the whole concept of language must be altered to take into account the nonsegmented, instantaneous, and holistic images conveyed by gestures. McNeill and his colleagues carefully devised a standard methodology for examining the speech and gesture behavior of individuals engaged in narrative discourse. A research subject is shown a cartoon like the 1950 Canary Row--a classic Sylvester and Tweedy Bird caper that features Sylvester climbing up a downspout, swallowing a bowling ball and slamming into a brick wall. After watching the cartoon, the subject is videotaped recounting the story from memory to a listener who has not seen the cartoon. Painstaking analysis of the videotapes revealed that although the research subjects--children as well as adults, some neurologically impaired--represented a wide variety of linguistic groupings, the gestures of people speaking English and a half dozen other languages manifest the same principles. Relying on data from more than ten years of research, McNeill shows thatgestures do not simply form a part of what is said and meant but have an impact on thought itself. He persuasively argues that because gestures directly transfer mental images to visible forms, conveying ideas that language cannot always express, we must examine language and gesture
手势和语言之间的关系是什么?当然,就符号形式而言,我们说话时自发和无意识的手势与口语本身有很大的不同。口语是线性的、分割的、标准化的和任意的,而手势是全局的、综合的、特殊的和想象的。在《手与心》一书中,大卫·麦克尼尔提出了一个大胆的理论,阐述了语言和手势的基本统一。这项期待已久的、具有挑衅性的研究认为,手势和语言的统一性远远超出了以前研究人员所注意到的言语的表面水平,实际上还包括语言的语义和语用水平。实际上,语言的整个概念必须改变,以考虑到手势所传达的非分割的、瞬时的和整体的图像。麦克尼尔和他的同事们精心设计了一种标准的方法来研究参与叙事话语的个体的言语和手势行为。研究人员向一名研究对象展示了一幅类似1950年《金丝雀街》(Canary Row)的漫画——西尔维斯特和特威鸟(Sylvester and Tweedy Bird)的经典嬉闹场面,西尔维斯特爬上落水管,吞下一个保龄球,然后撞向一面墙。在看完卡通片后,研究人员将受试者凭记忆向没有看过卡通片的听众复述故事的过程录下来。对录像带进行的细致分析显示,尽管研究对象——儿童、成人和一些神经受损的人——代表了各种各样的语言群体,但说英语和其他六种语言的人的手势表现出相同的原则。根据十多年来的研究数据,麦克尼尔表明,手势不仅构成了所说和意思的一部分,而且对思想本身也有影响。他令人信服地认为,由于手势直接将心理图像转化为可见形式,传达语言无法表达的思想,因此我们必须研究语言和手势