Within the depth-psychology and phenomenological corpus, ‘gesture’ occupies a contested intersection of motor theory, communicative theory, and embodied cognition. Gallagher’s sustained analysis — drawing on Ian Waterman’s neuropathy and McNeill’s gesture-speech synchrony research — establishes gesture as an ‘expressive movement’ irreducible to either pure body-schema motor control or disembodied linguistics, positioning it instead as a prenoetic performance where cognitive, semantic, and pragmatic factors govern timing and morphokinesis. Merleau-Ponty grounds this lineage earlier, insisting that gesture does not signify anger but simply is anger, collapsing the sign-referent gap and making gesture a direct disclosure of lived intentionality. Nietzsche pushes further still, contrasting gesture — which he regards as bound to the phenomenal world and the genius of species — with musical sound, which dissolves phenomenal limits into Dionysian will. McGilchrist reads gesture neurologically, noting that its metaphoric character originates in the right hemisphere and must be routed for execution to the left, a finding borne out in split-brain patients. Levine locates gesture at the most conscious, voluntary end of a behavioral spectrum that descends into visceral and archetypal registers, warning of the pseudo-feeling quality of volitional gesture deployed without somatic authenticity. Infant-research perspectives in Lanius complicate any simple lateralization account, finding gestural development independent of the linguistic system. Across these positions, the central tension is whether gesture is primarily motor, primarily communicative, or a genuinely hybrid expressive category that reshapes how we understand embodiment, language, and intersubjectivity.