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| | |Pages=536–596 | | |Pages=536–596 |
| | |URL=http://www.jstor.org/stable/40971262 | | |URL=http://www.jstor.org/stable/40971262 |
| − | |Abstract=Prompted originally by an art historian's
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| − | description of the posture of a protagonist in a
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| − | well known painting by Titian, the line of inquiry
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| − | on which I am reporting here explores a type of
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| − | postural configuration best described as "body
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| − | torque"- by which I mean, roughly, divergent
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| − | orientations of the body sectors above and below
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| − | the neck and waist, respectively. A sketch of
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| − | various possible features of body torque is
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| − | followed by an exploration of these features as
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| − | displayed in episodes of ordinary interaction,
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| − | and their relevance for understanding classical
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| − | paintings meant to depict quite extraordinary
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| − | episodes of interaction.' Among the features of
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| − | body torque that will be of interest are, first,
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| − | its capacity to project postural instability and
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| − | types of potential resolutions of this
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| − | instability; second, its capacity to display
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| − | engagement with multiple courses of action and
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| − | interactional involvements, and differential
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| − | ranking of those courses of action and
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| − | involvements; third, some possible dispositions
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| − | of conduct in this domain, such as one to
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| − | "minimize torque"; and, fourth, the constraints
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| − | and affordances that body torque, by virtue of
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| − | these features, can bring to the character of the
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| − | activities in which the body's deployer is
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| − | engaged.
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| | }} | | }} |
