Publications

Abstract

Speakers use differential referring expressions in pragmatically appropriate ways to produce coherent narratives. Languages, however, differ in a) whether REs as arguments can be dropped and b) whether personal pronouns encode gender. We examine two languages that differ from each other in these two aspects and ask whether the co-reference context and the gender encoding options affect the use of REs differentially. We elicited narratives from Dutch and Turkish speakers about two types of three-person events, one including people of the same and the other of mixed-gender. Speakers re-introduced referents into the discourse with fuller forms (NPs) and maintained them with reduced forms (overt or null pronoun). Turkish speakers used pronouns mainly to mark emphasis and only Dutch speakers used pronouns differentially across the two types of videos. We argue that linguistic possibilities available in languages tune speakers into taking different principles into account to produce pragmatically coherent narratives

Abstract

Communication is facilitated when listeners allocate their attention to important information (focus) in the message, a process called "information structure." Linguistic cues like the preceding context and pitch accent help listeners to identify focused information. In multimodal communication, relevant information can be emphasized by nonverbal cues like beat gestures, which represent rhythmic nonmeaningful hand movements. Recent studies have found that linguistic and nonverbal attention cues are integrated independently in single sentences. However, it is possible that these two cues interact when information is embedded in context, because context allows listeners to predict what information is important. In an ERP study, we tested this hypothesis and asked listeners to view videos capturing a dialogue. In the critical sentence, focused and nonfocused words were accompanied by beat gestures, grooming hand movements, or no gestures. ERP results showed that focused words are processed more attentively than nonfocused words as reflected in an N1 and P300 component. Hand movements also captured attention and elicited a P300 component. Importantly, beat gesture and focus interacted in a late time window of 600-900 msec relative to target word onset, giving rise to a late positivity when nonfocused words were accompanied by beat gestures. Our results show that listeners integrate beat gesture with the focus of the message and that integration costs arise when beat gesture falls on nonfocused information. This suggests that beat gestures fulfill a unique focusing function in multimodal discourse processing and that they have to be integrated with the information structure of the message.

Abstract

There is a long-standing assumption that gestural forms are geared by a set of modes of representation (acting, representing, drawing, moulding) with each technique expressing speakers’ focus of attention on specific aspects of referents (Müller, 2013). Beyond different taxonomies describing the modes of representation, it remains unclear what factors motivate certain depicting techniques over others. Results from a pantomime generation task show that pantomimes are not entirely idiosyncratic but rather follow generalisable patterns constrained by their semantic category. We show that a) specific modes of representations are preferred for certain objects (acting for manipulable objects and drawing for non-manipulable objects); and b) that use and ordering of deictics and modes of representation operate in tandem to distinguish between semantically related concepts (e.g., “to drink” vs “mug”). This study provides yet more evidence that our ability to communicate through silent gesture reveals systematic ways to describe events and objects around us

Abstract

Do speakers use spontaneous gestures accompanying their speech for themselves or to communicate their message to their addressees? Two experiments show that speakers change the orientation of their gestures depending on the location of shared space, that is, the intersection of the gesture spaces of the speakers and addressees. Gesture orientations change more frequently when they accompany spatial prepositions such as into and out, which describe motion that has a beginning and end point, rather than across, which depicts an unbounded path across space. Speakers change their gestures so that they represent the beginning and end point of motion INTO or OUT by moving into or out of the shared space. Thus, speakers design their gestures for their addressees and therefore use them to communicate. This has implications for the view that gestures are a part of language use as well as for the role of gestures in speech production.