Points, Spaces, Places/2

David Hennan

Department ofEnglish/Box 8105North Carolina State UniversityRaleigh, NC 27695-8105dhennan@unity.ncsu.edu

Points, Spaces, and Places:

Functions of Gesture in North Carolina Storytelling'

B. Focusing on deictic gestures or points, Haviland (2000) uses the concept of "gesture spaces" tocharacterize the non-simple relation between a pointing gesture and what it refers to. These are the

surrounding contexts or spaces, projected by points, "where the conceptual entities 'pointed to' reside"(2000: 22; cf Liddell1995); they can be calibrated in different ways with the envirofUTIent in which the

speech event itself takes place. Haviland identifies four such gesture spaces:

a local gesture space where the current speech event unfolds;

a narrated gesture space where the situations, entities, or events being told about in;

an interactional gesture space, "defined by the configuration and orientation of the bodies of theinteractants" (23); and .

a narrated interactional gesture space, in which a narrative interaction, being recounted withinanother, framing narrative, is located.

Synopsis: Using videotaped data, this study examines four stories told by three North Carolina storytellers,who produce a range of gestures in narratives told both on-location and off-site. My analysis focuses on howthe storytellers use deictic points and other gestures to map abstract, geometrically describable spaces ontolived, humanly experienced places-to invoke a distinction developed in the context of humanisticgeography, urban studies, ethnography, and other fields (Finnegan 1998; Johnstone forthcoming; Relph1976,1985; Tuan 1977; Entrikin 1991; Duncan 2000). At issue is how narrative imparts phenomenologicaltexture to what would otherwise remain an abstract spatial network of objects, sites, zones, and regions.Story transcripts were coded to indicate the multiple, sometimes layered functions fulfilled by storytellers'gestures; I then conducted frequency counts of gesture use in off-site versus on-location stories. The resultingdistributional patterns suggest that whereas narrative helps constitute place by promoting an experientialsaturation of space, that saturation is variably accomplished depending on the storytelling situation involved.The analysis reveals two overlapping but distinct sub-systems for place making in narrative: on the onehand, a system for simulating place through narrative re-creation of non-proximate experiential domains; onthe other hand, a system for computing place through strategic anchoring of storyworlds in the envirofUTIentof the here and now.

Differences between gesture spaces can be defined in tenns of where they fall on the continuum stretchingfrom relatively presupposing to relatively creative uses of points, among other indexical signs. Figure 2

represents the continuum at issue, which affords a basis for dividing Haviland's gesture spaces into twobroad classes, relatively presupposing and relatively creative:

RP RC. I I ~

localspace/ narratedspace/interactionalspace narratedinteractionalspace

1. Gestures, Gesture Spaces, and Operations on Gesture Spaces

RP = relatively presupposingRC = relatively creative

A. Figure 1 diplays two ofMcNeiII's (2000) gestural continua, on which various modes of gesturalproduction can be situated. My analysis fo.cuseson the subtype of speech-accompanying gestures that can becategorized as gesticulations, with a special emphasis on deictic or pointing gestures.

Figure 2. Gesture Spaces and the Presupposing/Creative Continuum for Indexical Signs

Relationship to Linguistic Properties (ranging from linguistic properties absent to some"linguisticproperties present to full presence of properties):

C. Two key operations (see Haviland 2000: 32-38) can be performed on these gesture spaces over thecourse of a story's telling, increasing exponentially the indexical resources afforded by deiCtic points.~ On the one hand, transpositions or movements from one gesture space to another, can be used to manage

transitions between deictic coordinates organizing the telling of a narrative, with some narrativesinvolving multiple deictic shifts of this sort

~ On the other hand, storytellers can also employ laminations, imposing or layering one gesture space ontoanother, with variable directions of fit.Gesticulation ~ Pantomime ~ Emblem ~ Sign Language

Character of the Semiosis (where global vs. segmented refers to a top-down vs. bottom-updetennination of the meaning of the gesture-in-context, and synthetic vS.,analytic refers to whetherthe semiotic functions ofthe gesture are spread out like a supersegmental feature or else concentratedat a particular point in the utterance):

2. Points in Context: Building an Inventory of Gestural Functions

Gesticulation ~

[global andsynthetic]

Pantomime ~ Emblem ~ Sign Language[global and [segmented [segmented andanalytic] and synthetic] analytic]

Situating pointing gestures in a larger inventory of gesture types, CasseII and McNeilI (1991) distinguishbetween two broad classes of gestures: representational (encompassing iconics and metaphorics) and non-representational (encompassing beats and deictic points). Shifting from a classification of gesture tYpes to aninventory of the communicative functions associated with. gesture use, Table I presents an emichedinventory offunctions; boldface type marks modifications ofCasseII and McNeiII's model. .

Figure 1. Two of McNeill's (2000) Gestural Continuua~ Iconies: gestures that mimic or iconieally represent elements of the propositional content of what's

being said. Cf Ghost Dogs, lines (u-v): and their tails come up behind and rolled up in.a curl [JTHuses both index fingers to mimic the shape ofth~ dogs' curled tails] .

~ Metaphorics: these gestures, too, are representational, but they represent an abstract idea orconceptual relation as opposed to a particular object or event. Cf Chet and Tom, lines (I-m): Tomwas the farmer- and Chet was the black guy who used to help him [JB uses his right index finger toproduce a circular motion that may indicate, metaphorically, the formerly symbiotic relation betweenthe two characters]

. I am grateful to Neal Hutcheson, Ben Torbert, and Wait Wolfram for their assistance with this project, whichwas supported by NSF Grants BCS-0236838 and BCS-9910224. I am also indebted to Drew Grimes andMarjorie McNamara for their insightful projects on gesture in our Discourse Analysis class at North CarolinaState University (fall 2003), and to Emma Kafalenos for her comments on an earlier version of thispresentation.

Points, Spaces, Places/3 Points; Spaces, Places/4

}> Beats: rhythmically timed gestures used to mark the initiation of new discourse topics, markmembers in a list of subtopics, and so on . Cf. Ghost Dogs. lines (s-t): Well I I\seen 'em. THREERED DOGS the SAME size and the SAME color [JTH lifts, drops, and relifts both hands from hislap in concert with his utterance of the words dog, size, and color]

}> DeicticsIPoints: indexically referring gestures.(J grounded deictics =refer to elements of the HERE AND NOW environment of the current

interaction (cf. Rubba 1996); in other words, these are points to entities or locations perceptible

to interactants in the here and now-e.g., the table mentioned by JTH in Ghost Dogs.(J extended deictics = refer to entities or locations not perceptible to interactants but discoverably

available to them in thecurri:mt environmental surround-e.g., the railroad grade mentioned byJTH in Ghost Do!!:s.

(J storyworld deictics = refer to elements of the THEREANDTHEN'environment(s~rstoryworld(s)-in which the narrated events unfold. In other words, these are points to enties or

locations situated in a narrated world; spat~otemporal coordinates for such elements areestablished vis-a-vis the deictic center encoded in the story's telling.

- In the case of narratives such as Chet and Tom which trace an extended developmental

course of events and thus span different time-frames within the storyworld, numbers in

parentheses are used to indicate different temporal phases of the storyworld, e.g., storyworld(1), story world (2), etc.

(J metanarrative deictics= points used to indicate or clarify the status, position, or identity of

objects, events, or participants being told about in the process of narration; although such points

are anchored to entities and events in the narrated space, they are not temporally indexed withinthe storyworld itself, in contrast with storyworld deictics proper, which pick out referents

occupying a particular place within a developmental time-course. At the same time, they have apartial purchase in interactional space, functioning as place-holders used, in the here and now, to.

help describe (rather than narrate) referents located in a story world. Cf. Ghost Dogs, line (w):

Three in a perfect row [JTH produces a slicing gesture with his open right hand three times, as if

marking off three increments along a scale]}> Modality indicators

(J markers of existential modalitv (EX) = gestures indicating what modal status (on a continuumstretching from irrealis to realis) should be assigned to events in narrated space. They also

pertain to interactional space, bearing on how a teller's words should be construed in the here

and now of the current interaction. Cr. Ghost Dogs, line (d): And they wasn't real [JTH shakeshis head when he says wasn't reall

(J markers of eoistemic modalitv (EP) = gestures indicating what modal status (on a scalestretching from uncertainty to certainty) should be assigned to events in narrated space. They

also pertain to interactional space, bearing on how a teller's words should be construed in the

here and now of the current interaction. Cr. Ghost Dogs line (j): Well I don't know if they was

[JTHshakeshis headduringtheproductionof thisutterance] .

}> Uptake markers = gestures anchored in interactional space used phatically to indicate adequate

reception (or not) of an interlocutor's contribution, e.g., a request for clarification as a story is being

launched (Ochs and Capps 2001: 113-29). Cr. Ghost Dogs, lin~ k [JTH nods slightly to indicate

phatic uptake of another participant's comment]

}> Story continuation markers = gestures anchored iri interactional space used to indicate a teller'sintent to continue a story currently underway. Cf. Ghost Do!!:s lines (o-q) [JTH maintains a pointing

gesture across several lines, one of them containing a contribution by another participant, thereby

indicating that he intends to continue the story he is in the process of launching at this juncture]

}> Story completion markers = gestures anchored in interactional space used to mark the completionof a stoty. Cf. Bicvcle Wreck, line (s) [JTH tilts his head slightly back and upward as he completeshis narration]

Table 2 surveys the modes of spatiotempora1 anchorage associated with the gestural functions outlined inTable 1.

Table 2. Anchorage of Gestural Functions in Gesture Spaces

3. Methodology

Table 1. An Enriched Inventory of Gestural Functions

The following served as guiding principles for coding and analysis as I created the story transcripts, tabulatedfrequency counts for gestural functions in general and deictic points in particular, measured the number of

operations on gesture spaces (i.e. transpositions and laminations) across the four stories, and compiled thedata displays presented in my next section. .

i. Clause segmentation and normalized frequency counts: For convenience of reference, and also for

the purposes of establishing normalized frequency counts for gesture use in stories of different lengths;

the narratives under study were segmented into alphabetically labelled clauses. Further, followingstandard procedure in corpus-based research (Biber, Conrad, and Reppen 1998: 32-35; 263-64; cf.

Herman forthcoming), I used normed frequency counts to convert the number of occurrences of

gesturalfunctions to a standard scale (here, 100 lines or clauses). In my corpus, story length rangedfrom 20 to 56 lines/clauses, making normalization an important heuristic tool. .

H. Participation in a multi-modal signalling system: A given gesture functions as it does because of itsparticipation in a verbal-gestural complex or gestalt; conversely, separating out the storytellers' verbal

productions from this same gestalt can result in an impoverished conception of narrative as a system for

meaning making. .

iii. Polyfunctionality and polymorphism: Following in part from (ii), there is a one-many and many-one

relation between gestural productions and communicative functions. Depending on how it is situated

in a storyteller's verbal recounting, a single gesture' can perform many functions. Conversely, a given'

function (e.g., a point) can be accomplished by multiple, morphologically distinct body movements. I .

therefore counted all instances of gestural functions, including cases where several functions were

superimposed on a single gestural production.

iv. Hierarchical ord~ring of functions: Although a given gesture can thus realize a cluster of

communicative functions, not all functions will be equally salient in a given instance. Rather,

interlocutors interpret situated productions of gestures by means of an inferred hierarchical ordering of

functions, of the form iconic> deictic > beat, or deictic > beat> iconic, etc. In turn, (probablistic)

attributions of functional dominance can be assumed to be grounded in basic, cognitively groundedheuristic principles of the sort identified by Grice (1989).

v. Functional transposability: A corollary of (iv) is functional transposability in gesture use. Forexample, in line (gg) of Green Wood PF points twice with his thumb over the course of his utterance of

lnteractionalSpace LocalSpace Narrated SpaceIconic + +Metaphoric + - +Beat + + +Grounded Deictic + + -Extended Deictic - +/- -Storvworld Deictic - - +Metanarrative Deictic +/. - +/-Modalitv Indicator + - +UptakeIndicator + - -Continuation Marker + - -Completion Marker + - -

Points, Spaces, Places/5

vi.

"and then uh.. had a.. the i\first graders over ~here". The first instantiation of the point can be coded aspredominantly a metanarrative deictic and secondarily a beat, whereas the second instantiation

transposes these functions. The first point establishes a region within storyworld space; the second

point is timed to accompany reference to a population within that already-established region which willbe the focused-on group in PF's subsequent discourse.

Anaphoric potential: Although in cases such as line (gg) of Green Wood there is repetition with a

difference, in other cases "reduced" versions of gestural productions function anaphorically, re-evokingwithout functionally transforming previous gestures.

Differential role of iconic and deictic functions: Two gestural functions-iconic and deictic-carry

the highest potential for indicating the spatial coordinates underlying narrative representations. But

they do so in different ways: iconics, by staging or enacting characters' and objects' trajectories of

movement in the storyworlds they visually represent; deictics, by prompting participants to recruit from

material elements of the current environment (cf Hutchins 1995a, 1995b) to construct or update their

mental models of the positions and movements of story world entities. The relative predominance ofeither strategy for spatial reference correlates with the degree to which narrative simulation or narrativecomDutation, respectively, is being used to transform space into place.

vii.

4. Toward a Distributional Analysis

In this section, I present data displays created on the basis of the coded story transcripts included in theApplmdix. As discussed further in section 5, the distributional patterns presented here provide a metric forgauging the relative predominance of simulation versus computation in narrative place making, that is, in theuse of stories to transform abstract spaces into experientially grounded places (on the crucial interconnectionbetween narrative and experientiality, see Fludemik 1996).

Distribution of Gestural Functions

70\11CC>:;:~'Vi'50c GItfI ~I~.:J 40c c- GI-; e 30c GI

:! 6. 20~c~....

60

10

0

Ghost

Dogs

GreenWr:xxj

BicycleWreck

Chet andTom

Stories

Ghost Dogs and Green Wood = Told Off-siteBicycle Wreck and Chet and Tom = Told On-location

Points, Spaces, Places/6

Normed Frequency Countsfor Deictic Functions'

\11CC>:;;g, 50= \11

GI~ ,5 40:;;...1

,~g 30Q"'; t 20..~GI......

1 10=z

60

. Grounded

rnJExtended

€I Storyworld0 Metanarrative

0Ghost

Dogs

GreenWr:xxj

BicycleWreck

Chet andTom

Stories

Ghost Dogs and Green Wood = Told Off-siteBicycle Wreck and Chet and Tom = Told On-location

Figure 4. Distribution (by Story) of Sub-classes of Deictic Functions

Deictic Transpositions

'Vi 18GI

,5 16...I0 140.. 12..".2:; 10

~ 8C>;e 6\11g, 4\0'1la 2..I:- 0

GhostDogs Green Wood Bicycle Wreck Chet and TomStories

Figure 5. Number of Points Used to Effect Transpositions between Gesture Spaces

Figure 3. Distribution (by Story) of Four Functional Macro-Categories

Points, Spaces, Places17 Points, Spaces, Places/8

spatial configuration of the current environment, as the correlated frequencies of storyworld andgrounded deictics in Figure 4 suggest.

Deictic Laminations . .50

45

Simulation Computation

.......VI

~ 40::i0 350

- looser contextual anchoring'

- less lamination of gesture spaces

- punctual (and permanent) deictic

shift to the storyworld- more reliance on iconic gestures

- firmer contextual anchoring

-more lamination of gesture spaces

-durative, ongoing calibration

of story world with here and now-less reliance bn iconic gestures-30t.

~a. 25,.

~ 20~

~ 15=

's 101\1..A

Figure 7. A Continuum of Place-making Strategies in Narrative

» As indicated by the slope of the line in Figure 6 representing percentage of laminations, the extent towhich a narrative recruits from the simulative or the computational sub-system will be situationally

variable. A high percentage of laminations corresponds to a narrative that is firmly contextuallyanchored and recruits heavily from the computational sub-system; less lamination is the hallmark of

stories more loosely anchored in the context of the telling, and thus relying more heavily on narrativesimulation. . .

» But as Figure 4 indicates, reliance on the simulative versus computational sub-systems of narrative isindeed a scalar rather than binarized phenomenon. On the one hand, the higher frequency ofmetanarrative deictics in off-site stories reveals that even when simulation predominates, the

computational function of narrative is still present, metanarrative points being at least partly anchored in

interactional space. On the other hand, iconics do not entirely disappear in on-location versus off-site

tellings, but merely become a less frequently used resource for spatialization.

5

0

Ghost Dogs Green Wood Bicycle Wreck Chet and Tom

Stories

Figure 6. Number of Points Used to Effect Laminations of Gesture Spaces

6. Conclusions5. Narrative, Space,and Place: Parameters for Contextual Anchoring

» The claim that narrative provides a crucial mediating link between spaces and places is valid, but valid indifferent ways for different kinds of storytelling situations. Further research is needed to identify abroader range of narratively organized activity types, and to determine the extent to which each typerecruits from the simulative or computational sub-systems for storying space.

» Research along these lines may confirm the existence of an overarching preference for narrative placemaking-a preference apparently governing spatialization processes in the corpus under study, andsetting parameters for variation across tellers and tellings. Thus, in the shift from off-site to on-locationnarratives, storytellers could in principle have continued to rely predominantly on simulative strategies.However, when objects and locations in the local and extended environment presented themselves aspossible anchors for spatial reference, storytellers demonstrated a preference to use them to help theirinterlocutors compute (and not just simulate) places in storyworlds.

» Hence, the basic cognitive and communicative preference in narrative place making might be formulatedas follows:

Herman (2002: 331-71) uses the term "contextual anchoring" to describe the ways in which narratives cuerecipients to establish a more or less direct or oblique relationship between the stories they are interpretingand the contexts in which they are interpreting them. In a given narrative, the projection relations thatinterpreters are cued to build between these two domains-i.e., the storyworld and the here and now---{;anbemore or less dense or multiplex. Viewed in this light, my findings in the present study can be used togenerate a number of conclusions as well as indicate directions for future research.

» What I have referred to as the simulation versus the computation of place can be seen as the poles ateither end of another scale or continuum (Figure 7). Increments along the continuum correspond todifferent mechanisms for experiential saturations of space, i.e., for the narrative construction of place.Cl Toward the left end such saturation is chiefly enabled by simulative recreation of participants,

events, and settings in a storyworld. Once the story is launched, the immediately present context islargely bracketed, with the representational processes uncoupled from the local environment inwhich they are deployed. In multi-modal narratives like the ones under study, the relative frequencyof iconic gestures is a reliable indicator of the degree to which spatialization requires imaginativerelocation to an uncoupled, told-about world.

Cl By contrast, as we move toward the right end of the continuum, experiential saturation occurs notthrough a bracketing of but rather an immersion in the here and now. In this case, points toconstituent features of the local (and extended) environment can be viewed as what Haviland (2000)calls "analog computational devices" (24), used to reckon the positions and movements of entities inthe storyworld. The storyworld is spatialized in direct proportion with participants' grasp of the

Whenever possible, recruit elements from the current environment and use them to help interlocutorscompute places, thus reducing the amount of narrative simulation that needs to be.done-and ineffect distributing the cognitive burden of place making across as many components of the materialsetting as possible (cf. Goodwin 2003; Goodwin and Goodwin 2001; Herman 2003; Hutchins 1995a,1995b; Vygotsky 1978). .

Points, Spaces, Places/9 Points, Spaces, Places/l 0

Appendix: Sample Transcript (Bicvcle Wreck) (k) and the road was gravel

{While producing lines (k) and (I), JTH rotates his head back to its original position, prior to line 0);but his right arm and extend~d right index finger remain outstretched, his turning torso havingcaused a slight change in the absolute position to which his finger is pointing: EXTENDEDDEICTIC+GROUNDEDDEICTIC+ STORYWORLDDEICTIC}

0) and that was about 4:30 to 5:00 in the evening.(m) It lasted I\one day.

{As he produces line (m), JTH holds up the index finger of his left hand, his right hand and right indexfinger remaining outstretched in the same general direction; as he says one dav he moves his lefthand and index finger outward from his body and downward in space:: EXTENDEDDEICTIC+GROUNDEDDEICTIC+ STORYWORLDDEICTIC(with right hand); METANARRATIVEDEICTIC+ BEAT(with lefthand)}

(n) I come through here I\a-flyin'

{As he produces line (n), JTH's left arm is now down by his side (and out of the camera frame), whilehe sweeps his outstretched right arm and right index fingerfrom right to left, tracing a vector thatruns parallel with the road next to which he, the camera, and interviewer are currently positioned:GROUNDEDDEICTIC+ STORYWORLDDEICTIC+ ICONIC}

(0) and it.. got to shimmy in' right down there at that house with me, ,

{As he produces line (0), his extended right arm and pointing right index finger remain stationery,indicating the end-point of the imaginary vector he has used the gesture to trace in line (n). Further,as he produces the words riaht down there at that house JTH tilts his head (and looks) to the rightand then restores it to an upright position (and returns his gaze to its previous position), using thatgesture to specify where exactly in the local environment the house in question is located and thuswhere the "shimmying" of the bike took place: GROUNDEDDEICTIC+ STORYWORLDDEICTIC+ ICONIC(with right hand); GROUNDEDDEICTIC+ STORYWORLDDEICTIC(with head movements and position ofgaze)}

(p) it was just UPSIDE DOWN

{As he produces line (p), JTH steps back from the camera slightly and begins mimicking a tumbling,. end-over-end form of motion with both hands:. ICONIC]

(q) it tore that thing..

{As he produces line (q) JTH holds both hands out in front of him, about 24 inches apart, the palm ofhis left hand facing downward and that of his right hand facing the camera; he moves his handstoward one another as he searches for words to describe what happened during the incident:METAPHORIC?+ ICONIC}

(r) it was wantin' to..the wheel's just like that.

{As he produces line (r), he makes a flapping motion with his open right hand, the palm facing thecamera, indicating the wobble or "shimmy" of the bicycle's wheel: ICONIC}

(s) And we demolished that thing in one day.{As he produces (s) JTH raises both hands, held loosely open, and then moves them both downwardto his hips in concert as he says the word demolished. At the same he tilts his head slightly back andup, his chin elevated from its angle in previous utterances: BEAT+ indicator of STORYCOMPLETION?}

((Interviewer laughs»

(t) Yeah Vemon said I'll never buy al\nother.

{JTH shakes his head as produces the first part of line (u), and nods during the production of the word~: markersof MODALITY,transposed with JTH's verbal productions in this instance}

Transcription conventions (adapted from Tannen 1993 and, Ochs et al. 1992):... represents a measurable pause, more than 0.1 seconds.. represents a slight break in timing. indicates sentence-final intonation

, indicates clause-final intonation ("more to come")Syllables with - were spoken with heightened pitchSyllables with" were spoken with heightened loudnessWords and syllables transcribed with ALL CAPITALS were emphatically lengthened speech

productions .[ indicates overlap between different speakers' utterances= indicates an utterance continued across another speaker's overlapping utterance11 enclose transcriptions that are not certain( ) enclose nonverbal forms of expression, e.g. laughter unaccompanied by words% symbols enclose words uttered as part of a laugh token, Le., with a laughing quality of voice«)) enclose interpolated commentary{} enclose descriptions of gestural productions accompanying speaker's verbal utterances, with terms inSMALLCAPSindicating the gestural function(s) instantiated, + indicating where a single gesture is intepretedas blending several communicative functions, and? indicating uncertainty about coding choices

Bicvcle Wreck

(story told by JTH, from Graham Co., NC; 20 lines)

This story waS told on-location in Snowbird, NC, during an interview recorded in May, 2002. All utterances(except the interviewer's laugh between lines (s) and (t» are by JTH.

(a) Talking about bicycles,(b) my first cousin lives right down there.

, {As he says mv first cousin JTH points to a location to the left of the camera, his head and torso atapproximately a 45-degree angle to the camera. He drops his hand to waist level again after hecompletesthe utterancein line (b): GROUNDEDDEICTIC}

(c) Wewasabout...about12yearsold. .{JTH nods his head forward, down, and to the left as he says about 12 vears old: BEAT}

(d) And his brother was in the service,

(e) and they bought Chad and Vance a I\Shelby bicycle

{JTH nods his head slightly when he says the name Chad: BEAT}(t) that was the name of it Shelby

(g) for Christmas...«(3.5 second pause»{JTH nods again when he produces the word Christmas: BEAT}

(h) We rode it ALL day{As he produces the words we rode it, JTH lifts his right arm, the index of his right hand extended toform a pointing gesture, and moves his hand and arm downward in front of him, the pointing gestureextended beyond the camera frame. As he produces the words up the highway in line (i) he moveswhat can be inferred to be his still-extended finger to indicate further progression along the vector(adistal-proximal axis) indicated by his point: GROUNDEDDEICTIC+ EXTENDEDDEICTIC+ STORYWORLDDEICTIC+ ICONIC}

0) /we took time about it! up the highway{JTH makes a circular motion with his outstretched hand and pointing finger as he produces the(inaudible) first part of line (i): STORYWORLDDEICTIC+ EXTENDEDDEICTIC+ICONIC}

Ci) and I brought it right up here..{As he produces line 0), JTH rotates his torso and head to the right, turning away from the camera;his outstretched right arm with extended index finger points to a position situated at a nearly exactly90-degree angle to the front part of JTH's body. In other word, his point indicates a vector situated atabout 3 o'clock vis-a-vis the position JTH is currently facing: EXTENDEDDEICTIC+ GROUNDEDDEICTIC+ STORYWORLDDEICTIC}

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