The Linguistic Coordination Of A Convergence Of Language With Language

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 207):

From the perspective of instantiation (the system to text relation in SFL), this raises the central challenge of intermodal studies, namely, the ineffable process whereby systems from different modalities end up seamlessly instantiated as coherent text. As in film (van Leeuwen, 1985, 2005), textual meaning has a critical role to play, as the ‘beat’ of feet and tone groups (TONALITY, TONICITY, SALIENCE and RHYTHM) coordinates the convergence of linguistic and paralinguistic resources (the focus of Chapter 6).

Blogger Comments:

[1] To be clear, instantiation is the relation between potential and instance at a given level of symbolic abstraction, of a given semiotic system. For example, instantiation is the relation between the system of phonology as potential, and an instance of that system in a text; or the relation between a system of paralinguistic content, and an instance of that system accompanying an instance of linguistic content.

[2] To be clear, the ineffability of grammatical categories means that they only mean themselves. Halliday (2002 [1984]: 303, 306):

The meaning of a typical grammatical category … has no counterpart in our conscious representation of things. … they do not correspond to any consciously accessible categorisation of our experience.

[3] To be clear, the expression plane systems that realise the grammatical system of the information unit are language, not paralanguage, whether vocal or gestural. So there is no coordination of a convergence of linguistic and paralinguistic resources.

[4] Trivially, SALIENCE is a lexicogrammatical distinction realised by distinctions in RHYTHM, its phonological counterpart. 

[5] To be clear, Chapter 6 presents a system of DEIXIS which classifies referents, and a system (though no network) that merely correlates speaker location with categories from writing pedagogy.

Misrepresenting Cléirigh's Model As The Authors' Innovation

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 207):

As reviewed in Section 7.1, our project involves developing paralanguage as a semiotic system alongside language. We adopted our model of the relation of paralanguage to language from earlier work on the convergence of language and image in children’s picture books (Painter et al., 2013). As outlined in Table 7.1, sonovergence was explored in terms of how linguistic and paralinguistic systems resonate with one another (interpersonal meaning) and sync with one another (textual meaning).

Blogger Comments:

This is very misleading indeed. The origin of the notions of gestures being in tune with TONE, and in sync with TONICITY and RHYTHM is Cléirigh's model (2009), which predates, by four years, the "earlier" work on the convergence of language and image in children’s picture books (Painter et al., 2013):

The plagiarism in this work is effected through myriad small steps with Martin, the author of this chapter, the driving force.

On The Truth Of The Authors' Claim That They Didn't Relate Paralanguage To Grammatical Structure

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 198-9):

With the exception of mime (discussed later in the chapter) and some pointing deixis (discussed in Chapter 6), paralanguage converges with the intonation and rhythm of spoken language in our data. This argues for a linguistically informed model of prosodic phonology as a prerequisite for the analysis of paralanguage. It also provides one useful criterion for distinguishing somasis from semiosis (since somatic behaviour is not coordinated with prosodic phonology). 

Note that in relating paralanguage to discourse semantics rather than lexicogrammar, we are suggesting that the grammatical structure of a spoken language (specifically, the nature of its syntagms) is not relevant to its paralanguage. In this respect paralanguage resembles the ‘language-neutral’ sign language of the North American Plains Indians, but not the sign languages of Australia’s indigenous communities (Kendon, 2004: 299–303), at least for their more proficient signers.

Blogger Comments:

[1] As previously, paralanguage that "converges" with intonation and rhythm is not paralanguage, but language that realises the grammatical systems of KEY and INFORMATION by bodily means other than the vocal tract.

[2] To be clear, semiosis makes meaning, "somasis" does not.

[3] This is misleading, because the authors have related "sonovergent" paralanguage, explicitly or implicitly, to the grammatical systems of KEY, INFORMATION and THEME. On the other hand, the body language that the authors call "semovergent" is epilinguistic, and so has no grammar. 

To be clear, the reason why the authors related paralanguage to discourse semantics is that discourse semantics is Martin's model (of cohesion as semantics), though the ideational 'discourse' semantics used was, in truth, the ideational semantics of Halliday & Matthiessen (1999), rebranded by Martin's former student, Hao.

[4] Here the authors misrepresent the Sign language of the North American Plains Indians as not having a content plane that is stratified into semantics and grammar, the distinguishing feature of language.

Why The Model Of Paralinguistic Periodicity Is Invalid

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 194):

In spoken English, prominence is composed through the TONALITY, TONICITY and RHYTHM systems of prosodic phonology. It is also composed in multiple layers of predictive prominence in discourse, from clause-level Theme to hyper-Theme to layer upon layer of macro-Theme, and in layers of aggregating prominence from clause-level New to hyper-New and so on.

In the face-to-face discourse of live lectures we have noted the potential for expressions of prominence at multiple layers in discourse to synchronise aurally with prosodic phonology and visually with PARALINGUISTIC PERIODICITY. Such intermodal convergences amplify the prominence of the meanings involved.

Blogger Comments:

[1] To be clear, in spoken English, the phonological resources for assigning prominence are TONICITY and RHYTHM. TONALITY is the system for selecting the distribution of tone groups.

[2] To be clear, the grammatical resources for assigning prominence are "clause-level" Theme and "information unit-level" New. As previously demonstrated, the authors' avoidance of the information unit allowed them to make an unwarranted connection between grammatical Theme and discourse semantic hyper-Theme and macro-Theme.

As previously pointed out, Martin's 'hyper-Theme', 'macro-Theme' and 'hyper-New' are rebrandings of terms from writing pedagogy: 'topic sentence', 'introductory paragraph' and 'paragraph summary' respectively.

[3] This is misleading because it is untrue. All the authors have done is describe the movement of a lecturer around his lecturing space and correlated his position in space with what he was saying at the time. They provided no evidence that the position assigns prominence, or that it realises the correlated discourse semantic category, such that the position identifies the meaning or the meaning identifies the position.

Significantly, the authors produced no system networks to theorise their system of PARALINGUISTIC PERIODICITY, their system of meaning named after a structure type.

Some Problems With Paralinguistic Hyper-New

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 193-4):

The hyper-New in (26) is preceded by two silent beats and begins with the internal causal connector so. The news of preceding tone groups (i.e. that most of the glucose, vitamins and amino acids and lots of water are back in the bloodstream) is distilled by declaring that by now we have a dilute material with not a lot of good stuff in it.

Prior to the commencement of the hyper-New the lecturer has completed a full circuit of the lecturing space, arriving at the left edge of the central desk (as depicted in Figure 6.8). 

He sustains this central position, moving behind the desk and around its right edge as he delivers the hyper-New. Note that this is the same central position from which he launched the macro-Theme. 

In effect what the body movement does here is more than culminate what has been presented. It affirms the authority of the lecturer’s declaration by positioning him at the ‘control centre’ of the meanings in play (e.g. Lim et al., 2012).

Blogger Comments:

[1] To be clear, 'hyper-New' is Martin's rebranding of the 'Paragraph Summary' of writing pedagogy as linguistic theory. As linguistic theory, hyper-New, like hyper-Theme and macro-Theme, is a function without a structure: there is no 'hyper-Given'.

[2] To be clear, here the authors are merely describing how the lecturer moves while delivering this part of his lecture. Any final position of the lecturer is simply his location when he ceases talking. Merely occupying a space does not highlight what is being said. And what is last said need not be a "hyper-New". That is, no realisation relation has been established between "hyper-New" and body location: a body location does not specify a "hyper-New" and a "hyper-New" does not specify a body location.

[3] Note, then, that this location of the lecturer makes no distinction between hyper-New from macro-Theme.

[4] In effect, by this reasoning, the lecturer undermines his authority when he is not at his desk, as when he expresses his "hyper-Theme" and "macro-Theme".

Some Problems With Paralinguistic Macro-Theme

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 191, 192):

In example (23) we move up one level in the hierarchy of periodicity from the hyper-Theme to the macro-Theme that immediately precedes it.

Sonovergently, the lecturer takes three steps in sync with three silent beats prior to the commencement of the macro-Theme in (24). This takes him from a space on the left to reach the central desk. Synchronous with the commencement of the macro-Theme, the last one is the distal convoluted tubule, he takes off from this central position, moving to the right. On completion of the macro-Theme, he rotates his body 180° to face left and continues stepping backwards in sync with the two silent feet that precede the hyper-Theme. 

This sequence of movement and body orientation is depicted in Figure 6.7. The lecturer ends up on his ‘launch pad’, the position from which he delivers his hyper-Theme before taking off in sync with a new phase of discourse.

The body movement and thematic development are well coordinated. Footfalls in Figure 6.6 synchronise with clause-level Themes and anticipatory positioning scaffolds higher levels of Theme – the lecturer’s positioning to the right of the lecturing space syncs with the hyper-Theme and centre-stage (desk) positioning syncs with the macro-Theme.

Blogger Comments:

[1] To be clear, 'macro-Theme' is Martin's rebranding of the 'Introductory Paragraph' of writing pedagogy as linguistic theory. As linguistic theory, macro-Theme, like hyper-Theme, is a function without a structure: there is no 'macro-Rheme'; that is, there is a point of departure for the message, but there is no body to the message.

As previously explained, 'hyper-Theme', a term coined by Daneš  for a Theme that is later repeated, is Martin's rebranding of the 'Topic Sentence' of writing pedagogy as linguistic theory. As linguistic theory, hyper-Theme is a function without a structure: there is no 'hyper-Rheme'; that is, there is a point of departure for the message, but there is no body to the message.

[2] To be clear, given the contrastive newness of last, and the fact that tone 3 alone misrepresents this statement as tentative, a more likely analysis of this tone group is

//3 ‸the / last one is the //1 distal / convoluted / tubule //

[3] To be clear, here the authors are merely describing how the lecturer moves while delivering this part of his lecture. Merely occupying a space before moving off does not highlight what is being said. And what is first said need not be a "macro-Theme". That is, no realisation relation has been established between "macro-Theme" and body location: a body location does not specify a "macro-Theme" and a "macro-Theme" does not specify a body location.

[4] As previously demonstrated, the relevant footfalls in Figure 6.6 coincide with the Focus of marked New information.

Taking Steps To Realise Marked New

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 187, 189-90):

To what extent does the regularity in this sequence synchronise with PARALINGUISTIC PERIODICITY? The lecturer’s movement is schematised in Figure 6.5 (adopting the perspective of the students). 

The vertical lines to left and right denote the peripheries of the space, and the black rectangle denotes a centrally located desk towards the back of the space. The arrows show direction of movement; and the orientation of the foot indicates whether the lecturer is stepping forward or backwards in a given direction (it is always forward in (19'')). The figures and movement in Figure 6.5 are correlated as follows:

The movement in Figure 6.5 involves a regular three-step rhythm synchronous with each figure. The first step always falls on the intermodally prominent entity that construes the nutrient (i.e. glucose, vitamins, amino acids or water).

Blogger Comments:

[1] To be clear, in comparing textual paralanguages, it is the textual metafunction that is relevant, not the ideational. So, the relevant textual structure for description that is building on the rhythm and tonicity of gestures, is the Given-New structure of information unit realised by tone groups. 

[2] To be clear, the first step of each movement coincides with the tonic that realises the Focus of marked New information.

So here the authors are positing a systematic relation between stepping and language. For Halliday and Cléirigh, that categorises the function of this movement as linguistic, or "sonovergent" in the authors' terms.

Misrepresenting Sonovergence As Semovergence

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 188):

In this instance, as shown in (19''), each of the lecturer’s hand beats syncs sonovergently with a tonic syllable, in just those cases where the tonic falls on one of the named nutrients in the phase / glucose, / vitamins, a- / mino / acids or / water. At the same time each of these named nutrients is given prominence as the Theme of a clause (see (19)). The lecturer’s hand beat thus reinforces informational prominence both sonovergently and semovergently. From a discourse semantic perspective, in (19'') we have a sequence of four state figures, each construed by the same (relational circumstantial) grammatical structure – most of the [X] / lots of [X] is back in the bloodstream.

 

 

Blogger Comments:

Here the authors misrepresent their own model. The hand beat functions only "sonovergently", not "semovergently", because it converges with the phonology of language, not with the content of language. The hand beat realises the information Focus, not the Theme. It is just that, in these instances, it is the Theme (and Carrier) that is the information Focus.

Importantly, the rhetorical function of this misrepresentation is to forge a misleading link between "sonovergent" paralanguage and the hyper-Theme and macro-Theme of "semovergent" PARALINGUISTIC PERIODICITY. This is demonstrated by the fact that the authors only cite the Theme function of these nominal groups, even though their Carrier function is also given prominence.

The Unacknowledged Information Unit

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 187):

It is important to recall here that clause and tone group may or may not map onto each other (Chapter 3), as evident in (19) and (19'). In (19) the underlining in each clause specifies Theme. However, New is specified in the tone group as the tonic syllable that composes phonological prominence through the major pitch movement of the tone group. This is shown in bold italics in (19').

Blogger Comments:

[1] This confuses content with expression. To be clear, New is a function in the structure of an information unit. A tone group realises an information unit, and its tonic realises the Focus of New information. It will be seen later that an explicit recognition of the information unit makes the problems with PARALINGUISTIC PERIODICITY more obvious.

[2] This confuses TONICITY with TONE. To be clear, the tonic syllable doesn't "compose" phonological prominence through the major pitch movement. The tonic is distinguished in terms of relative loudness ± duration. It is the pitch movement at the tonic that identifies the tone of the tone group.

Misunderstanding Textual Prominence

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 183, 184):

A paralinguistic beat can also give prominence to interpersonal meaning. The hand beat in image 5 of (17'') not only syncs with the final tonic segment form, but its low-falling trajectory is interpersonally ‘in tune with’ the major pitch contour of a falling tone 1 (see Chapters 3 and 5) – prominence is thus added to the meaning of this tone (here, providing information). 

Blogger Comments:

[1] To be clear, because the hand beat serves the same linguistic tonicity, it gives prominence to whatever metafunctional meaning it highlights as the New element of an information unit.

[2] To be clear, form is the tonic syllable, not the tonic segment. The tonic segment begins with the tonic foot and includes all subsequent feet in the tone group.

[3] To be clear, the direction of a beating gesture does not distinguish tones. For example, there is no rising beat for tone 2, no level beat for tone 3, no fall-rise beat for tone 4, and no rise-fall beat for tone 5. A downward movement is the default direction, regardless of the tone.

[4] This confuses the textual function of TONICITY with the interpersonal function of TONE. The choice of tonic prominence realises the choice of New information, whereas the choice of tone realises the choice of KEY for a given choice of MOOD. The choice of tonic gives prominence to an element of structure, not to the choice of tone.

[5] This confuses SPEECH FUNCTION (semantics) with KEY (lexicogrammar). 'Giving information' (statement) is SPEECH FUNCTION, and it is realised in the grammar by MOOD. The system of TONE, on the other hand, realises the system of KEY for a given MOOD.

Problems With The Authors' Analysis Of Hand Shape

 Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 183-4):

In (17'') we present a sequence of images and descriptions of the lecturer’s paralanguage. …

In terms of size, the beat synchronous with the first tonic on (Foucault) and the last (form of power) extends the furthest, with the stroke of the latter extending maximally downwards from shoulder height. The final beat is also extended in duration as it is held beyond the completion of the tone group.

Variation in the shape of the beating hand is noted in image 4 and magnified in (17''') to reveal the co-instantiation of a depicted paralinguistic entity. In this instance the gestural beat synchronises with self; the pronoun refers anaphorically to the semiotic entity form of knowledge. The paralinguistic beat thus assigns textual prominence to an ideational meaning.

Blogger Comments:

[1] To be clear, this display does not present the text as spoken:

[2] To be clear, this distinction in the amplitude of the beat serves the same function as the distinction between tonic salient syllables and non-tonic salient syllables.

[3] To be clear, the location of the holding of the gesture suggests the function of the holding is demarcative.

[4] Clearly, the hand shape is not recognisable as meaning '(it)self' or 'form of knowledge', so it cannot be said to be realising this ideational meaning. 

[5] To be clear, it is the beat of linguistic gesture, not the hand shape, that gives rhythmic salience, highlighting what could have been chosen as realising the focus of New information, but was not. However, the fact that an emphatic pronoun was not given tonic prominence in this analysis, gives reason to doubt the accuracy of the analysis.

Exemplifying Cléirigh's Model Without Acknowledgement

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 183-4):

In (17'') we present a sequence of images and descriptions of the lecturer’s paralanguage. …

The sonovergent beats highlighted with arrows in (17'') are noteworthy in two respects. 

First, the hand beats are synchronous with each tonic syllable in (17'') and with some of its salient syllables – thereby amplifying the prominence of synchronous wording and the meaning they construe. 

Second, there are notable variations in the way they are expressed. They vary in relative size and duration of time held and in the orientation and shape of the beating hand.

Blogger Comments:

[1] As previously explained, the beating of gestures is not sonovergent paralanguage but language, which is why it is termed 'linguistic' in Cléirigh's model. It is language, not paralanguage, because it has the same function as prosodic phonology. Halliday (1989: 30):

[2] To be clear, this just exemplifies Cléirigh's model of linguistic body language, but the authors present their observation without acknowledgement of the fact. The plagiarism in this work is effected in myriad small steps.

[3] As is made clear in Cléirigh's model, it is only the actual beating of the gesture that serves this highlighting textual function. Features of the body part potentially serve different functions, protolinguistic or epilinguistic.

Problems With The Authors' Intonational Analysis

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 182):

In the unmarked case, salient syllables highlight content words (not grammatical ones) and assign a secondary degree of prominence to that information in the discourse. However, in (17) there are two marked instances where grammatical words are made salient: not in the second tone group and is in the third.

These marked choices give prominence to contrastive positions in the discourse (in this case, that which is and is not knowledge). In the first two tone groups the tonic syllables (in bold) carry tone 4 pitch contours. This falling-rising tone movement indicates pending meaning. The tone 1 of the third tone group signals completion.

Blogger Comments:

To be clear, with regard to TONE, it is tone 3 that serves this textual function (Halliday & Matthiessen 2014: 440), and it is likely that the speaker selected tone 3, not tone 4. Tone 4 would be unlikely here because it would realise 'reservation' in terms of KEY, which is inconsistent the proposition being enacted. The fall-rise of tone 4 signals 'seems certain (fall) but isn't (rise)'.

In terms of TONALITY and TONICITY, it is likely that the second tone group actually consists of two tone groups, with the first tonic on not, to mark the contrast as New information for the student audience.

Misrepresenting Halliday On Theme

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 181-2):

As outlined by Halliday (1967, 1970a), English grammar and phonology structure textual meaning as waves of information. One peak of prominence is realised grammatically through Theme at the beginning of an English clause. It functions as the point of departure for the message by encoding an angle on the field. A complementary peak of prominence, termed New, is realised phonologically in the unmarked case through the major pitch movement on the final salient syllable of a tone group – its Tonic segment (Halliday, 1970a; Martin and Rose, [2003] 2007: 189–92). A secondary peak of informational prominence is realised through a salient syllable, which in SFL notation begins each foot. As noted in Chapter 3, Section 3.6, a salient syllable can be made super-salient where there is a significant jump in pitch, usually upwards, which does not involve a choice of tone. Super-salience is indicated via a vertical arrow, ‘↑’, before the syllable.

Blogger Comments:

[1] To be clear, the notion of the textual meaning of a clause as a wave of prominence is first set out in Halliday (1985: 169).

[2] To be clear, the Theme functions as the point of departure for the clause as message. Halliday & Matthiessen (2014: 89):

The Theme is the element that serves as the point of departure of the message; it is that which locates and orients the clause within its context. The speaker chooses the Theme as his or her point of departure to guide the addressee in developing an interpretation of the message; by making part of the message prominent as Theme, the speaker enables the addressee to process the message.

Field, on the other hand, is the ideational dimension of context — two strata above lexicogrammar — which Martin (1992) misunderstands as register.

[3] To be clear, the New is peak of prominence of the information unit, which may or may not be co-extensive with the clause.

[4] This is misleading, because it credits Martin and Rose with theorising that is entirely Halliday's.

[5] To be clear, a salient syllable is a peak of phonological (rhythmic), not informational prominence. Here the authors confuse expression with content. Each salient syllable that is non-tonic realises what was not selected as the Focus of New information.

Misconstruing Endophoric Reference As Ideation

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 175-6):

It is important to note here the similarity between the expressions of PARALINGUISTIC DEIXIS in (12) and some depictions of ideational entities realising PARALINGUISTIC IDEATION (see Chapter 4; Hood and Hao, 2021). The difference is illustrated in the two images in (13).

In image 1 the teacher delineates an [actual] entity – a written text. The expression syncs with the verbal specific determiner this in We need some sentences that link this. 

In image 2 the teacher sculpts a paralinguistic entity with her left hand in the gestural space. This expression syncs with the figure How does that sentence link back to the first one?. The semiotic entity realised in sentence in image 2 is depicted (Chapter 4) rather than pointed to.

Blogger Comments:

[1] To be clear, the more likely tone for the WH- interrogative clause is tone 1. Tone 2 here would realise 'tentative' KEY, and there is nothing to suggest that this question from the teacher to her class is tentative.

[2] To be clear, in the first image, the referent of the gesture exophoric to paralanguage is the same referent as that of the exophoric demonstrative this in the spoken language.

[3] To be clear, here the authors misinterpret a gesture that realises a reference endophoric to paralanguage as a gesture that realises ideational meaning: an element ('entity') of a figure. Clearly, the gesture does not construe the meaning 'sentence'. Rather, here the teacher repeats the same gesture she previously used to point to a specific sentence in the written text. In doing so, her gesture makes anaphoric reference to her previous gesture to identify that sentence.

Interestingly, the speaker uses the word that to make exophoric reference to a referent outside language, while her gesture makes endophoric reference to a referent inside paralanguage, though the referent is the same in each case.

Confusing Endophoric Reference With Information Focus

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 172):

Opposing features of [home] and [away] are illustrated in the two images in (8).

In the first image, synchronous with today, the lecturer’s pinched left thumb and index finger configures a vector pointing down in front of the lecturer’s body, in an expression of [home]. 

In the second image, synchronous with future, the right hand and forearm extend from the body pointing to a location to the right, expressing [away]. 

The second image additionally shows the left index finger pointing outwards from the body and slightly to the speaker’s left. The completion of this point synchronises with the completion of that to the right. The simultaneity of the two points delineates a space between present and future – a critical issue with respect to questions of fact or opinion.

Blogger Comments:

[1] To be clear, the timing of the gesture is linguistic and textual, because, like the tonic, it realises the focus of New information, in this case: today and future.

[2] To be clear, this is another example of using body language to make endophoric reference.  In this instance, the left-right dimension represents the past-future dimension of interpersonal time (Halliday & Matthiessen 2014: 332), and the pointing gesture signals that the meanings 'present' and 'future' are recoverable from those construals by body language. Again, the vector is "resolved" and so the "deixis" is not virtual.

[3] To be clear, the timing of gestures does not have a referential function, because the timing does not point to a referent that can recover the identity of the timing. The timing may have demarcative function ('completion'), but demarcation is not reference.

Moreover, 'same time' does not delineate the time interval between 'present' and 'future', if only because 'same time' can be located in the present, in the future, and at every location in between.

Confusing Demarcation With Deixis

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 168-70):

Paralinguistically, a [virtual:semiosis] entity may be identified either retrospectively or prospectively through an unresolved embodied vector. In a number of instances in the data the selection [virtual:semiosis:retrospective] is realised through a gestural flick – a small, fleeting vertically directed vector expressed with an index finger or hand (body parts that facilitate speed of movement). The flick gesture synchronises with a silent beat (^) which marks a juncture (e.g. a phase or stage boundary) in the flow of meaning in a text. The deictic gesture identifies a preceding segment of text (a semiotic entity), one that bears a logical connection to the coming phase or stage of discourse. The subsequent text is frequently initiated with an internal connector such as so.

Example (5) shows one such instance from the data. … Following presentation of a phase of argument from the airline’s legal counsel, the plaintiff’s argument is introduced in (5). As the phonological transcription reveals, the vertical flick syncs with a silent beat (^) preceding the commencement of the last tone group, which begins with the internal connector so.

In (6) the first image captures the conclusion of Edmonds’s argument everything’s mucked up. Image 2 shows the vertical flick (circled), realised in sync with the culminative silent beat (^). It retrospectively identifies the preceding semiotic entity – in this case a stage of the storytelling in which both parties (British Airways and Edmonds) put their arguments to the court. The conclusion of that stage converges with the lecturer closing his eyes and dropping his head. In image 3 the lecturer reorients his body to his left in sync with the internal connector so as he commences a new stage of the lecture in which he discusses the logic of the preceding arguments.

Blogger Comments:

[1] To be clear, the timing of the gesture with a pause between a quote and a non-quote might be taken as evidence that the function of the gesture is demarcation (punctuating text) rather than deixis (pointing with respect to the speaker).

[2] To be clear, the authors provide no evidence in support of this claim. It would seem that the authors have given priority to the view 'from below' rather than the view 'from above': that is, since the gesture resembles pointing, it must have a deictic function, therefore it must refer back to the previous text.

Problems With The Authors' Analysis Of 'Actual' Paralinguistic Deixis

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 166, 167): 

Example (2) illustrates contrasting instances accompanying the verbal text you’re wearing a stripy shirt – explain this image to me. In each of the three frames a resolved vector is expressed with a hand or index finger point. …  In the first two frames the point is directed outwards selecting [other], first to a student and then to a projected image. In the third it is directed back to the lecturer, selecting [self].

Each of the entities identified through deictic paralanguage in (2) is also tracked exophorically in the spoken text – to a student (you), to a thing (this image) and to the lecturer herself (me). However, as revealed in the first two images in (2), the resolution of the paralinguistic vector does not sync sonovergently with the verbal expressions of identification (i.e. you and this) but rather with the underlined lexis realising relevant entities – specifically the stripy quality of a student’s clothing and the thing entity image. 

In the third image the PARALINGUISTIC DEIXIS is synchronous with the presuming pronoun me which identifies the entity (lecturer). In this instance me is not salient as might be expected. 

This is accounted for in that the synchronous deictic gesture in image 3 is part of a gestural flow that begins on ‘explain’ and culminates with the completion of the tone group – in this case a tail that follows the tonic. The gestural movement maps the flow of information from ‘about what’ to ‘to whom’.

Blogger Comments:

[1] To be clear, the selection of the features 'other' and 'self' is instantiation. The relation between a pointing gesture and these features is realisation.

[2] To be clear, these three pointing gestures are exophoric to the environment of paralanguage. The features 'other' and 'self', on the other hand, distinguish the referents in the environment of paralanguage (in terms of deixis), not the paralinguistic means of referring to them.

[3] To be clear, this confuses two distinct textual functions of body language: reference and salience. The function of the pointing gesture is reference, and this is a feature of epilinguistic body language, as demonstrated by the fact that members of other species, such as rainbow lorikeets, do not respond to them as meaningful. The function of the timing of the beat of a gesture with speech is salience, and it is a feature of linguistic body language because it serves the same function as the beats of speech rhythm.

The direction of the pointing gestures identifies the referents (you, image), whereas the timing of the beat of the gestures highlights elements as salient (stripy, image), both of which, despite the authors' phonological analysis, are likely to be tonic, with each realising a focus of New information.

[4] To be clear, if the pointing gesture is timed to beat with me, it highlights me as salient. This suggests that the phonological analysis mistakes a salient syllable for a non-salient one. A more congruent rhythm would be:

// 1 ‸ex/plain this / image to / me // 

[5] To be clear, this gallant attempt does not account for the supposed lack of salience, since a lack of salience has to be explained in terms the function of salience — to highlight a potential focus of information — which the authors' account does not do. 

Problems With The Authors' Analysis Of A Discourse Move

 Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 156, 157-8):

In Coraline’s first encounter with Wybie, a boy of her own age from the same neighbourhood, he accuses her of being a water witch to which she responds: //3 ^ and if / I’m a / water / witch //1 ^ then / where’s the secret / well //. The focus in (30) is on the second tone group of this utterance, that is, //1 ^ then / where’s the secret / well //. … 

In the spoken language of this tone group there is apparently no resonant inscribed or invoked linguistic AFFECT. However, before we assume a divergent semovergent relation, there is more to be considered in the verbal and imagic co-text. 

The spoken language in (30) configures a question through a wh- interrogative on a falling tone 1 (signalling ‘certainty’). Taken in conjunction with the PARALINGUISTIC expressions [anger], this discourse move (then where’s the secret well) can be interpreted as a rhetorical question, one that challenges Wybie’s judgemental accusation that she is a water witch. From the perspective of affiliation and the negotiation of bonds (Section 5.3.4), Coraline is forcefully rejecting the coupling proposed by Wybie.

Blogger Comments:

[1] To be clear, the 'certainty' realised by tone 1 is 'polarity known'. Halliday (1994: 302):

[2] This misunderstands both the text and the notion of a rhetorical question. A rhetorical question is one that does not demand information from an addressee. The question then where’s the secret well is not rhetorical, because demands from the addressee the information that would validate the proposition that she is a water witch.

A Problematic Analysis Of Facial Affect

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 125-6):

Expressions of relative FORCE in FACIAL AFFECT are additionally realised through the relative duration over which an expression is held. …

In example (6), Coraline, having sensed danger, tells her Other Parents that she wants to go to bed. Her intention is to escape from the Other world in her sleep. However, the Other Parents follow closely behind her, the Other Mother even offering to tuck her into bed. 

Coraline’s anxiety is not revealed in the spoken exchange with the Other Mother but rather in her expression of FACIAL AFFECT as [spirit:down] realised through eyebrows raised and drawn together and downcast eyes. The expression is extended in duration, sustained over the three tone groups of the exchange (marked as //…//…//…).

Blogger Comments:

As previously argued, from the perspective of SFL Theory, these graded epilinguistic images are of the personal microfunction of protolanguage depicted on clay puppets by animators using the emotion-face code devised by Ekman.

[1] To be clear, since the authors claim (p123-4) that expressions of surprise typically have the briefest duration, the claim here is that surprise is typically has weaker force than other emotions.

[2] To be clear, the Coraline character is here concealing her anxiety from the other characters, as the spoken language demonstrates, so as not to raise suspicion, so the interpretation of this facial configuration — in which the eyes are not downcast — expressing any anxiety at all, let alone stronger anxiety, would seem to be the opposite of what is true.

The Praat waveforms are irrelevant here, since they just represent the articulation of consonants and vowels.