Schegloff1998
| Schegloff1998 | |
|---|---|
| BibType | ARTICLE |
| Key | Schegloff1998 |
| Author(s) | Emanuel A. Schegloff |
| Title | Body torque |
| Editor(s) | |
| Tag(s) | EMCA |
| Publisher | |
| Year | 1998 |
| Language | |
| City | |
| Month | |
| Journal | Social Research |
| Volume | 65 |
| Number | 5 |
| Pages | 536–596 |
| URL | Link |
| DOI | |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
Prompted originally by an art historian's description of the posture of a protagonist in a well known painting by Titian, the line of inquiry on which I am reporting here explores a type of postural configuration best described as "body torque"- by which I mean, roughly, divergent orientations of the body sectors above and below the neck and waist, respectively. A sketch of various possible features of body torque is followed by an exploration of these features as displayed in episodes of ordinary interaction, and their relevance for understanding classical paintings meant to depict quite extraordinary episodes of interaction.' Among the features of body torque that will be of interest are, first, its capacity to project postural instability and types of potential resolutions of this instability; second, its capacity to display engagement with multiple courses of action and interactional involvements, and differential ranking of those courses of action and involvements; third, some possible dispositions of conduct in this domain, such as one to "minimize torque"; and, fourth, the constraints and affordances that body torque, by virtue of these features, can bring to the character of the activities in which the body's deployer is engaged.
Notes
