Metaphor and Gesture -- Editorial page -- Title page -- LCC data -- Table of contents -- Contributors -- Acknowledgements -- Introduction -- References -- Why study metaphor and gesture? -- 1. Introduction -- 2. Background -- 2.1 What is a gesture? -- 2.2 What is a metaphoric gesture? -- 2.3 On metaphoricity in words and in gesture -- 3. Metaphors expressed in words and gestures -- 3.1 Commonalities in the expression of metaphor in words and in gestures -- Figure 1. Dishonest behaviors as different vertical levels -- Figure 2. Gesture used with "truth -- 3.2 Differences in the expression of metaphor in words and in gestures -- Figure 3. Gesture referring to absolute categories -- 4. Some solutions that the study of gesture brings to the study of metaphor -- 4.1 A solution to the criticism of circularity -- 4.2 Gesture and embodied cognition -- 4.3 Ontological metaphors -- 4.4 The function of metaphoric gestures for the speaker, and the addressee -- 5. Some questions that the study of gesture raises for conceptual metaphor theory -- 5.1 Evidence of conceptual metaphors -- 5.2 Identifying metaphoric expressions -- 5.3 Labelling of conceptual metaphors -- 5.4 Highlighting of metaphoricity -- 5.5 The time course of metaphor use -- 5.6 The relation of metaphor to the modality in which it is expressed -- 6. What the study of metaphor can bring to gesture studies -- 6.1 Complement to research on concrete referential gestures (often called "iconic) -- 6.2 The conduit is not the only metaphoric gesture -- 6.3 Metaphor is hidden in some existing gesture research -- 7. Conclusion -- Acknowledgement -- References -- From left to right... -- 1. Data and methods -- 1.1 Symmetry -- 1.1.1 "The Left in politics -- Figure 1. That must be the main axis Figure 2. That must be the course -- Figure 2. That must be the course.

1.1.2 Distinction between oneself and others -- Figure 3. It wasn't up to me... to decide High involvement: Self-defense -- Figure 4. As for me, I discuss it on site Figure 5. Local representative, which I am -- Figure 5. Local representative, which I am -- Table 1. Others and Oneself -- Table 2. Two-item enumeration -- 1.1.5. N-item enumeration -- 1.1.7 Signalling a parenthetical remark -- 1.2. Symmetrical development -- Figure 7. We continue to reduce the deficits -- Figure 6. We slightly increase public Figure 7. We continue to reduce the deficits expenditures -- 1.3.3 Logico-temporal axis -- 2.2. Symmetrical development -- Figure 9. Symmetrical development -- 2.1. Symmetry -- Figure 8. Symmetry -- Conclusion -- References -- 2.3. Progressions along the transverse axis -- Figure 10. Transfer of the progression axes to the transverse axis -- Figure 11. Representations collapsed on to the transverse axis -- Gesture as a conceptual mapping tool -- 1. Introduction -- 2. The importance of conceptual mapping -- 3. Conceptual mapping in a material world -- Figure 1. The Queuing or Standing in Line blend. The arrangement of bodies anchors the conceptual blend, stabilizing the representation of conceptual relations. (Adapted from Hutchins, 2005.) -- 4. Uncovering the conceptual mapping process -- 5. Methods of the study -- 6. The functions of gesture during instruction -- 6.1 The Clock Quarters conceptual blend -- Figure 2. The Clock Quarters blend. The divided circle is m -- 6.2 The process of conceptual mapping -- Figure 3. The Clock blend. The teaching artifact is seen as a clock -- Figure 4. Building the Clock Quarters blend (1). Mapping a circle onto the clock face and enacting a path of clock hand motion -- Figure 5. Building the Clock Quarters blend (2). Preparing a material anchor and mapping the vertical dividing line.

Figure 6. Building the Clock Quarters blend (3). Profiling the regions bounded by the conceptual circle and dividing line -- Figure 7. Building the Clock Quarters blend (4). Preparing a material anchor for the horizontal dividing line -- Figure 8. Building the Clock Quarters blend (5). Mapping the horizontal dividing line onto the pointing stick anchor -- Figure 9. Building the Clock Quarters blend (6). Profiling the regions bounded by the conceptual circle and two dividing lines -- Figure 10. Building the Clock Quarters blend (7). Profiling the equivalence of the parts while pointing to each part with the eyes -- Figure 11. Building the Clock Quarters blend (8). Profiling the clock input. The clock face is metaphorically construed as a divided circle -- 6.3 Creating new conceptual mappings for the same clock state -- Figure 12. Building the Clock Counting blend (1). Introducing a new space into the discourse while setting the teaching clock to the starting state for the counting process -- Figure 13. Building the Clock Counting blend (2). Activating the conceptual model for counting and prompting the string of verbal labels to be used -- Figure 14. Building the Clock Counting blend (3). Mapping the counting action onto moving the clock hand, metaphorically construing the clock hand as a human hand used to touch objects when counting -- Figure 15. Building the Clock Counting blend (4). Mapping the objects-to-be-counted onto the clock face, creating metaphorical number-objects, and defining a path for the count -- Figure 16. Building the Clock Counting blend (5). Mapping from the system of time measurement to the clock face and implicitly to the counting model. The mappings create metaphorical number-object-sets with five minute-elements.

Figure 17. Running the Clock Counting blend (1). Cuing the transition to running the blend to generate a time component -- Figure 18. Running the Clock Counting blend (2). Executing the counting process to generate the minute portion of the absolute time reading -- Figure 19. The same anchor for different blends. Establishing the equivalence of the different ways of reading the time -- 7. Making meaning in activity -- 8. Conclusion -- Acknowledgments -- References -- Appendix -- A fresh look at the foundations of mathematics -- 1. Introduction -- 2. What is mathematics? And what makes it so special? -- 3. Limits and continuity -- Figure 1. The graph of the function f(x) = sin 1/x -- 3.1 Looking at pure mathematics -- Figure 2. The graph of the function f(x) = x sin 1/x. -- 4. Embodied cognition -- 4.1 Conceptual metaphor and conceptual metonymy -- 4.2 Fictive motion -- 4.3 Dead metaphors? -- 5. Enter gesture -- Figure 3. Professor Richard Feynman giving a lecture about physics. He is talking about particles moving in all directions at very high speeds (a through e), and "once in a while [they] hit (f) -- Figure 4. A professor of mathematics explaining the concepts underlying the method of finding roots (solutions) of quadratic equations. As he says you want to find sequences which get closer and closer, he iteratively moves his right hand frontward co-timed with the word sequences -- Figure 5. A professor of mathematics teaching a university level class on convergence of sequences of real numbers. Here he is referring to a case in which the numbers of a sequence "oscillates -- Figure 6. A professor of mathematics in a university level class talking about an unbounded monotone sequence "going in one direction (a through e) and which "takes off to infinity (f).

Figure 7. A professor of mathematics in a university level class talking about a constant sequence -- 6. Conclusion -- References -- Peircean semiotics meets conceptual metaphor -- 1. Introduction -- 2. Data and methodology -- 2.1 Data -- 2.2 Methodology -- 2.2.1 Hand shape and palm orientation -- 2.2.2 Movement and location in gesture space -- 3. Peircean perspectives on the gestural sign -- 3.1 Peirce's triadic model of the sign process -- 3.2 Interpreting sign-object relationships: Icon, index, and symbol -- 3.2.1 Icon -- Figure 1.  "Grammar as an object -- 3.2.2 Index -- Figure 2. Pointing gesture ("there is) plus cup gesture ("the main verb) -- 3.2.3. Symbol -- Figure 3. Ring gesture referring to a "node in the tree structure -- 3.3 Iconic modes within metaphor -- 3.3.1 Image iconicity -- Figure 4. arms-crossing gesture (passive "flip-flop) resulting in large object gesture ("constituent) -- 3.3.2 Diagrammatic iconicity -- Figure 5. A "sentence represented as a string of words -- Figure 6. Triangle depicting a "tree chunk which branches out laterally -- Figure 7. An "embedded clause as a diagonally descending wavy lin -- Figure 8. An embedded clause "going all the way down -- 3.3.3 Metaphor iconicity -- Figure 9. "Emergent grammar. patterns emerging out of language use -- 3.4 Summary -- Table 1. Modes of representation according to Peirce (1955) -- 4. Peircean semiotics meets conceptual metaphor: Common ground revealed through gesture -- 4.1 Image schemas as iconic symbols -- 4.2 Conceptual metaphors as frameworks for semiotic translation -- Figure 10. An extended palm-up open-hand gesture providing a surface for a "noun -- 5. Concluding remarks -- Acknowledgements -- References -- Unexpected metaphors -- 1. Expected metaphors -- 2. Unexpected metaphors -- 3. The bowling ball metaphor -- 3.1 Catchments -- 3.2 The explanation.

4. The upper story window metaphor.