Figures
6.1MORE IS UP expressed in co-speech gesture on the phrase “high number.” The hand starts low and moves up to a higher position (a), with the end point shown in (b).
6.2Co-speech gesture expressing SOCIAL DISTANCE IS PHYSICAL DISTANCE. First the hands are close together (a), then farther apart (b).
6.3Spatial positions of characters expressing SOCIAL DISTANCE IS PHYSICAL DISTANCE in Before Midnight. (a) Jesse criticizes Celine for arguing when they should be making love instead; (b) Celine retaliates by blaming Jesse for having started it.
6.4Spatial positions of characters expressing SOCIAL DISTANCE IS PHYSICAL DISTANCE in Before Midnight. Jesse (a) and Celine (b) in a friendly interaction about a gift from their friends.
6.5Co-speech gesture expressing SOCIAL DISTANCE IS PHYSICAL DISTANCE. Both hands move toward a location in the center of the body for expressing SIMILARITY (a). For expressing DIFFERENCE, the hands move apart (b).
7.1Multimodal instruction about the grammatical category infinitive
8.1Survey of cognitive operations working on frames and image schemas
8.3Double-source amalgam for “Slap some common sense into someone”
13.1DIVERSION. Bugs tumbles from screen left through a bush.
13.3ATTRACTION. Bugs jumps up and down, falling back to earth.
13.4COMPULSION. Bugs is pinned against a tree by Elmer’s gun.
13.6COUNTERFORCE. After Bugs (behind the curtains) has plonked a bath plug in Elmer’s gun, Elmer falls backwards.
13.8ENABLEMENT. Death walks (i.e. “self-propels”) toward the house of the mother and child.
13.10The mother lets hand-like thorns of a rose bush scratch her breasts, drawing blood.
13.11ENABLEMENT. The lake magically sweeps the mother across to the other side.
13.12An old hag takes the mother’s hair in return for giving her directions.
13.13COMPULSION/ENABLEMENT. The hag pushes the mother through the rocky porch into the realm of death.
13.14COUNTERFORCE. Death and the (blind) mother wrestle over the child.
13.15COMPULSION. The mother has surrendered her daughter to Death and pushes him away.
13.16COMPULSION. The potter exerts pressure to make a clay pot.
13.17COUNTERFORCE. The Hand is prevented from entering by the door (BLOCKAGE); the potter pushes against it to keep the Hand out (COUNTERFORCE).
13.18REMOVAL OF RESTRAINT/COMPULSION. The Hand pushes open one of the shutters, causing a potted plant to fall from the window ledge.
13.19COMPULSION. The Hand shows the potter that he should create a hand.
13.20COMPULSION. The Hand draws the potter’s hand toward the clay that he wants made into a hand.
13.21The Hand has put strings on the potter’s hands to manipulate him into making a hand sculpture (DIVERSION, COMPULSION) in a cage.
16.1Introducing the concept and the feeling of a ‘heavy leg’
16.2Explanation of the metaphoric theme: The ‘heavy leg’ becomes a stabilizing anchor chain.
16.3Two different forms of embodying the experiential source domain
16.4Foregrounding the anchor chain as metaphor for the heavy leg: iconicity, interaction, and semantics
16.5Accumulating foregrounding devices: metaphor in gesture, gaze to gesture, large gesture, performed in the center of visual attention, semantic specification
16.6Salience profile of the tango teacher’s waking metaphor HEAVY LEG AS ANCHOR CHAIN
16.7Working with anchor chain metaphors throughout the workshop
