Co-speech gestures are ubiquitous: when people speak, they almost always produce gestures. Gestures reflect content in the mind of the speaker, often under the radar and frequently using rich mental images that complement speech. What are gestures doing? Why do we use them? This book is the first to systematically explore the functions of gesture in speaking, thinking, and communicating – focusing on the variety of purposes served for the gesturer as well as for the viewer of gestures. Chapters in this edited volume present a range of diverse perspectives (including neural, cognitive, social, developmental and educational), consider gestural behavior in multiple contexts (conversation, narration, persuasion, intervention, and instruction), and utilize an array of methodological approaches (including both naturalistic and experimental). The book demonstrates that gesture influences how humans develop ideas, express and share those ideas to create community, and engineer innovative solutions to problems.

Gesture, or visible bodily action that is seen as intimately involved in the activity of speaking, has long fascinated scholars and laymen alike. Written by a leading authority on the subject, this 2004 study provides a comprehensive treatment of gesture and its use in interaction, drawing on the analysis of everyday conversations to demonstrate its varied role in the construction of utterances. Adam Kendon accompanies his analyses with an extended discussion of the history of the study of gesture - a topic not dealt with in any previous publication - as well as exploring the relationship between gesture and sign language, and how the use of gesture varies according to cultural and language differences. Set to become the definitive account of the topic, Gesture will be invaluable to all those interested in human communication. Its publication marks a major development, both in semiotics and in the emerging field of gesture studies.

Combines in one volume "Technics and Language", in which anthropologist Leroi-Gourhan looks at prehistoric technology in relation to the development of cognitive and liguistic faculties, and "Memory and Rhythms", which addresses instinct and intelligence from a sociological viewpoint.

This quirky handbook of Italian gestures, first published in 1958 by renowned Milanese artist and graphic designer Bruno Munari, will help the phalange-phobic decipher the unspoken language of gestures--a language not found in any dictionary. Photos.

Gesturing is such an integral yet unconscious part of communication that we are mostly oblivious to it. But if you observe anyone in conversation, you are likely to see his or her fingers, hands, and arms in some form of spontaneous motion. Why? David McNeill, a pioneer in the ongoing study of the relationship between gesture and language, set about answering this question over twenty-five years ago. In Gesture and Thought he brings together years of this research, arguing that gesturing, an act which has been popularly understood as an accessory to speech, is actually a dialectical component of language. Gesture and Thought expands on McNeill’s acclaimed classic Hand and Mind. While that earlier work demonstrated what gestures reveal about thought, here gestures are shown to be active participants in both speaking and thinking. Expanding on an approach introduced by Lev Vygotsky in the 1930s, McNeill posits that gestures are key ingredients in an “imagery-language dialectic” that fuels both speech and thought. Gestures are both the “imagery” and components of “language.” The smallest element of this dialectic is the “growth point,” a snapshot of an utterance at its beginning psychological stage. Utilizing several innovative experiments he created and administered with subjects spanning several different age, gender, and language groups, McNeill shows how growth points organize themselves into utterances and extend to discourse at the moment of speaking. An ambitious project in the ongoing study of the relationship of human communication and thought, Gesture and Thought is a work of such consequence that it will influence all subsequent theory on the subject.

I am indebted first to Thomas B. Hess and James Fitzsimmons, the editors of Artnews and Art International, who encouraged me to publish the essays and reviews that led, years later, to this book. I am equally grateful for the encouragement I have received from Elizabeth C. Baker, the editor of Art in America.