L'Art du Geste ( la Chironomie de QUINTILIEN ) était , à Rome , pratiqué jusqu'à l'excès ; Il est resté une composante du mode d'expression de l'Italie .ENGLISH : In ancient Rome , the Art of Gesture ( Quintilian's chironomia ) was practiced to the extreme ; it has remained a component of the mode of expression in Italy as illustrated in this sketchbook : 270 gestures , 202 italian expressions , 579 definitions , 111 références to " LA MIMICA" by Andrea de Jorio .
8 mai 2016
ITALIAN GESTURE , ROMAN CHIRONOMY : AN ANCIENT ART
FRENCH VERSION : CLICK ON ADJACENT " ARCHIVES DU BLOG 2012 "
ILLUSTRATIONS : CLICK ON ADJACENT " ARCHIVES DU BLOG 2010 "
ANDREA DE JORIO ( 1769 - 1851 ) , Neapolitan canon and curator of the Museo Real Borbonico , was an archeologist .
He wanted to understand the meaning behind the gestures of the various painted , carved , engraved and sculpted figures from antiquity .
In his book " La Mimica degli Antichi investigata nel Gestire Napoletano" ( 1832 ) he describes a structured line of reasoning , supporting argument that were erudite , novel , even daring in archeologie :if all the gestures described by classical authors are identical to contemporary ( circa 1830 ) Neapolitan gestures , then all other contemporary gestures must also date from antiquity and thus be interpretable and translatable .
ADAM KENDON renders this idea explicit in the title of his translation and exegesis " Gesture in Naples and Gesture in Classical Antiquity" ( Indiana University Press - 2000 ) .
The same reasoning can be applied to The Art of Italian Gesture .
The arc cast over the 1700 years between ancient Rome and La Mimica and prolonged by that cast over the 150 years between La Mimica and the Sketchbook 1974 - 1978 , proves the perenniality of Chironomia Romana : we find 111 references to La Mimica in 245 gestures ( excepting Section F ) .
It is therfore plausible that this Corpus reproduces the Actio ( action in the Quintilian sense ) of a Roman epoch in which , Cicero dixit , each word was practcally doubled by a gesture .
One might fear the progressive disappearence of this antique cultural patrimony that was sown on the shores of the Mare Nostrum , exported by the various diasporas , misunderstood by foreigners , mocked by ignorants , ignored by Latin scholars , latinizing perinde ac cadaver and forgotten or even denied by its successors .
Today the Anglo - Saxon nescire gestum dominantes the Latin non nescire : ubi major , minor cessat .
Yet gestures havelong been publically recognized : it was , after all , in London in the 18th century that one used the most gestures and , in the 19th century , to Kronprinz Friedrich Wilhelm that Andrea De Jorio dedicated La Mimica .
This preamble does not pertain to the signs in Section F Mafia .
Quintilian Chironomy and Sicilian mafia body language are distinct :
- the former involves the hands and the arms ; the latter have to do with body language and clothing .
- the former is public and accessible to everyone ; the latter are specific to each Cosca ( peach , fruits and vegetables , etc ) and indiscernable by third parties because they are naturally integrated into everyday gestures and movement .
- the former links gesture and spoken word ; the latter are silent , encoded messages transmitted from distance .
- the former can be counted , listed ; the latter are difficult to codify , as much due to the diversity of the many Cosche as to the Omerta . As one Picciotto said " to be able to talk about the mafia , one must be in the mafia and when one is inthe mafia , it is impossible to talk about it " .