265 research outputs found
The rhetorics of this and that in fiction
No full textLapaire Jean-Rémi, Rotgé Wilfrid. The rhetorics of this and that in fiction. In: Caliban, n°30, 1993. Litterature et linguistique. pp. 83-104
The Dynamics of Ambiguity in David Storey's Radcliffe
No full textLapaire Jean-Rémi, Rotgé Wilfrid. The Dynamics of Ambiguity in David Storey's Radcliffe . In: Caliban, n°29, 1992. L'ambiguïté. pp. 85-100
Avant-Propos
No full textLapaire Jean-Rémi, Rotgé Wilfrid. Avant-Propos. In: Caliban, n°30, 1993. Litterature et linguistique. pp. 5-6
Avant-Propos
No full textLapaire Jean-Rémi, Rotgé Wilfrid. Avant-Propos. In: Caliban, n°30, 1993. Litterature et linguistique. pp. 5-6
The choreography of time : metaphor, gesture and construal
No full textThe volume is not easily available, which is unfortunate.International audienceSpeakers unconsciously stage bodily displays of their experience and understanding of time. Their performance is based on a genuine “choreography of time” that determines the figures they trace and their occupation of conceptual space. The choreography may be observed, studied and eventually enhanced to create new embodied approaches to cognitive grammar. But the shift from spontaneous to controlled conceptual action is not so simple, as the present study reveals.Jean-Rémi LAPAIRE is professor of cognitive linguistics, language education and gesture studies at Université Bordeaux Montaigne, France. His current research is focused on the physicality of speech in relation to embodied social cognition. He has designed and tested multimodal learning environments where students are invited to use their sensorimotor abilities to engage in dynamic acts of observation and reenactment as they analyze human communication systems. He has built multidisciplinary partnerships with professional choreographers and dance theory specialists to explore the choreography of speech, i.e. how speakers use patterned moves to shape and display meanings in space. To quote this article Lapaire, Jean-Rémi. 2016. « The choreography of time : metaphor, gesture and construal ». In Gabriel, Rosangela.; Pelosi, Ana Cristina Linguagem e cognição: emergência e produção de sentidos. Florianópolis: Insular, 2016, pp. 217-34 ISBN 978-85-7474-95
The choreography of time : metaphor, gesture and construal
No full textThe volume is not easily available, which is unfortunate.International audienceSpeakers unconsciously stage bodily displays of their experience and understanding of time. Their performance is based on a genuine “choreography of time” that determines the figures they trace and their occupation of conceptual space. The choreography may be observed, studied and eventually enhanced to create new embodied approaches to cognitive grammar. But the shift from spontaneous to controlled conceptual action is not so simple, as the present study reveals.Jean-Rémi LAPAIRE is professor of cognitive linguistics, language education and gesture studies at Université Bordeaux Montaigne, France. His current research is focused on the physicality of speech in relation to embodied social cognition. He has designed and tested multimodal learning environments where students are invited to use their sensorimotor abilities to engage in dynamic acts of observation and reenactment as they analyze human communication systems. He has built multidisciplinary partnerships with professional choreographers and dance theory specialists to explore the choreography of speech, i.e. how speakers use patterned moves to shape and display meanings in space. To quote this article Lapaire, Jean-Rémi. 2016. « The choreography of time : metaphor, gesture and construal ». In Gabriel, Rosangela.; Pelosi, Ana Cristina Linguagem e cognição: emergência e produção de sentidos. Florianópolis: Insular, 2016, pp. 217-34 ISBN 978-85-7474-95
La kinéflexion : produire, exhiber, partager des actes vivants de pensée
No full textKineflection : Producing, Displaying and Sharing Dynamic Forms of Mental Action. As speakers reflect, narrate or reason orally they produce ideational and argumentative gestures (McNeill, 1992, 2005 ; Calbris, 2011). In doing so, they perform bodily acts of conceptualization : their ideas and lines of reasoning are not simply expressed but performed on the socio-cognitive stage (Lapaire, 2014a). Arguments and concepts “ take shape” (Arnheim, 1969) through patterned moves that enact “ conceptual actions” (Streeck, 2009). Bodily displays of abstract meanings (McNeill, 1992 ; 2005) are thus produced that give sensory reality and “ palpability” (Talmy, 2000) to otherwise invisible thought processes. I propose using the word kineflection (or kinetic thinking) to name the union of movement and reflection. Kinetic thinking is present in everyday communicative behaviour, yet remains largely unconscious, and underused in standard teaching and learning environments. The proposed hypothesis is that the mechanisms of kineflection may be brought to consciousness and activated to empower thinkers and instructors, as well as students, in all learning environments. New strategies may be developed that pair bodily action with conceptual or symbolic action (Goldin Meadow, 2003 ; Kendon, 2004), allowing “ living” forms of reflection (Jousse, 1974) to be “ orchestrated to a choreography of the human body” (Asher, 1972). In principle, kineflective pedagogy should make sense to learners because “ the enactment of knowledge and concepts through the activities of our bodies” (Lindgren & Jonson-Glenberg, 2013) is part of human nature and strongly anchored in language. However, developing embodied, enactive forms of understanding based on “ choreographic thinking” (Forsythe, 2013) is not without its own challenges, as I propose to show, using empirical evidence gathered during a number of small-scale experiments with university students, in such diverse fields as biology and astrophysics (Rollinde, 2015a), medicine (Roze, 2016), grammar, morphology and pragmatics (Lapaire & Masse, 2006 ; Lapaire, 2016 ; 2018).Tout énonciateur qui s’engage dans un processus de réflexion ou de narration orales produit des gestes d’idéation et d’argumentation (McNeill, 1992 ; 2005 ; Calbris, 2011). Ce faisant, il ou elle accomplit des actes corporels de conceptualisation. Les idées formulées ne sont donc pas seulement « exprimées » mais jouées (mises en acte) sur la scène sociale (Lapaire, 2014a). Concepts et raisonnements « prennent forme » (Arnheim, 1969) au travers de mouvements calibrés et coordonnés. Le regard, les mains, le corps tout entier, participent ainsi à la réalisation d’ « actions conceptuelles » (Streeck, 2009). La fabrication et l’exhibition physiques de significations abstraites confèrent un haut degré de «palpabilité » (Talmy, 2000) à des processus mentaux qui resteraient sinon intangibles. Le terme de kinéflexion (ou kiné-pensée) que nous proposons renvoie à tout processus d’union du mouvement corporel et de la réflexion, ancré dans le langage mais dépassant ce dernier. L’hypothèse avancée ici est que les mécanismes de la kinéflexion, une fois nommés et montés en conscience, sont exploitables en situation d’enseignement-apprentissage. Des stratégies peuvent être conçues qui reposent sur une coordination étroite d’actions physiques et d’actions mentales ou symboliques (Goldin-Meadow, 2003 ; Kendon, 2004). Des actes «vivants » de réflexion (Jousse, 1974), «orchestrés et chorégraphiés par le corps humain » (Asher, 1972) méritent d’être encouragés. Une pédagogie kinéflexive doit être en phase avec la cognition ordinaire, puisque «la mise en acte corporelle de concepts et de connaissances » (Lindgren & Jonson-Glenberg, 2013) est inscrite dans l’être humain et le fonctionnement de son langage. Cependant, la mise au point de stratégies incarnées et énactées de compréhension, sollicitant volontairement des «formes chorégraphiées de la pensée » (Forsythe, 2013) n’est pas sans présenter de défis, ainsi qu’en attestent un ensemble de micro-expérimentations en pédagogie universitaire, dans des domaines aussi diversifiés que la biologie cellulaire et l’astrophysique (Rollinde, 2015a), la médecine (Roze, 2016), la grammaire, la pragmatique et la morphologie (Lapaire & Masse, 2006 ; Lapaire 2016 ; 2018).Lapaire Jean-Rémi. La kinéflexion : produire, exhiber, partager des actes vivants de pensée. In: Intellectica. Revue de l'Association pour la Recherche Cognitive, n°68, 2017/2. Langage et énaction : corporéité, environnements, expériences, apprentissages. pp. 193-223
Living speech – or the bodily life of language
No full textBased on a choreographed lecture-performance that was originally given in French: "Langues vivantes en vie: rejeux vocaux et gestuels de l'expérience ". Performed by Jean Magnard, Mélissa Blanc and Jean-Rémi Lapaire. XXIème congrès de RANACLES (Réseau National des Centres de Langues de L'Enseignement Supérieur), Université Victor Ségalen-Bordeaux 2, 30.11.2013.International audienceUnlike English, Romance languages routinely refer to “foreign” or “modern” languages as “living” languages: langes vivantes (French), lingue vive (Italian), lenguas vivas (Spanish), llengües vives (Catalan), línguas vivas (Portuguese), limbi vii (Romanian). Dutch and German speakers occasionally use similar phrases emphasizing the “living” quality of language: levende talen, lebende Sprachen. The title chosen for the original lecture-performance186 was a pun on the “life” or “vitality” of language187: Langues vivantes en vie (lit. “Living languages are alive / have a life”). The underlying logic was the following: language, whether spoken or written, is rooted in bodily motion. Movement is a sign of life. Language relies on movement. Language is life. The present English version contains video captures from the original French lecture-performance. The script was written and translated by myself. The performance was choreographed by Jean Magnard, assisted by Mélissa Blanc. All the illustrations given during the performance are taken from a corpus of authentic co-speech gestures made by native English speakers during interviews: talk show hosts, writers, film actors, and linguists
Living speech – or the bodily life of language
No full textBased on a choreographed lecture-performance that was originally given in French: "Langues vivantes en vie: rejeux vocaux et gestuels de l'expérience ". Performed by Jean Magnard, Mélissa Blanc and Jean-Rémi Lapaire. XXIème congrès de RANACLES (Réseau National des Centres de Langues de L'Enseignement Supérieur), Université Victor Ségalen-Bordeaux 2, 30.11.2013.International audienceUnlike English, Romance languages routinely refer to “foreign” or “modern” languages as “living” languages: langes vivantes (French), lingue vive (Italian), lenguas vivas (Spanish), llengües vives (Catalan), línguas vivas (Portuguese), limbi vii (Romanian). Dutch and German speakers occasionally use similar phrases emphasizing the “living” quality of language: levende talen, lebende Sprachen. The title chosen for the original lecture-performance186 was a pun on the “life” or “vitality” of language187: Langues vivantes en vie (lit. “Living languages are alive / have a life”). The underlying logic was the following: language, whether spoken or written, is rooted in bodily motion. Movement is a sign of life. Language relies on movement. Language is life. The present English version contains video captures from the original French lecture-performance. The script was written and translated by myself. The performance was choreographed by Jean Magnard, assisted by Mélissa Blanc. All the illustrations given during the performance are taken from a corpus of authentic co-speech gestures made by native English speakers during interviews: talk show hosts, writers, film actors, and linguists
Say, display, replay: Erving Goffman meets Oscar Wilde
No full textInternational audiencePragmatics is the branch of linguistics that studies language in use—what speakers concretely do or avoid doing with words and utterances as they engage in communicative interaction. In this illustrated lecture-performance, speakers are taken for what they essentially are: social actors and moral movers (Birdwhistell 1970) who articulate meanings physically, using the rich semiotic resources of the human body, while attending to the face needs of fellow speakers (Goffman 1959, Brown & Levinson 1986, Culpeper 2011). The sounds and the movements that speakers produce are not only meaningful but patterned (Whorf 1956), since individual variation rarely strays from conventional formal arrangements (Langacker 2008): established sound patterns, movement patterns, intonation patterns, word patterns, and syntactic patterns, to which interactional patterns need to be added, since most social interaction has a strong ritual character (Goffman 1967, Schechner 2003). The present piece was choreographed in May 2016 and performed on June 6, 2016 at the TILLIT festival (Teatro in Lingua, Lingua in Teatro), Università del Piemonte Orientale (UPO), Vercelli, Italy. The lecture-performance was commissioned by Pr. Marco Pustianaz, Michaela Reinhardt and Umberto Capra (UPO). The script was written by Jean-Rémi Lapaire and the choreography designed by Jean Magnard. The visuals are either screenshots taken from the filmed performance at Teatro Barbieri (Vercelli, Italy) or “instant replays” shot outdoors shortly after the lecture-performance, in the beautiful historic district of Vercelli, near the Faculty of Literature and Philosophy (Università degli Studi del Piemonte Orientale)
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