Sound-Emotion Interaction in Poetry : Rhythm, Phonemes, Voice Quality.

Intro -- Sound-Emotion Interaction in Poetry -- Editorial page -- Title page -- Copyright page -- Table of contents -- Preface -- Personal preface by Chen Gafni -- Reuven Tsur -- Introduction -- Iconicity, phonetic symbolism and symbolic language -- The nature of metalanguage and scientific predictions -- Part I. Phonetic symbolism -- Chapter 1. Methodological issues in the study of phonetic symbolism -- 1.1 Introduction -- 1.2 A welter of conflicting findings -- 1.3 A structural theory of phonetic symbolism -- 1.3.1 Organisation of the mental database -- 1.3.2 The structure of emotions -- 1.3.3 The structure of phonemes -- 1.3.4 Principles of sound symbolism -- 1.4 The case of onomatopoeia -- 1.5 Selective fine-grained distinctions -- 1.6 Accommodating conflicting findings -- 1.7 Non-reductive statistical investigation -- 1.8 Emotive dictionaries -- 1.9 Conclusions -- Chapter 2. Phonetic symbolism: Double-edgedness and aspect switching -- 2.1 Introduction -- 2.2 Cognitive theory -- 2.2.1 Double-edgedness and aspect-switching -- 2.2.2 Encodedness of speech sounds and modes of speech perception -- 2.3 Phonetic symbolism in the lexicon and in poetry -- 2.3.1 Phonetic symbolism in the lexicon -- 2.3.2 Literary phonetic symbolism -- 2.4 Phonetic symbolism in the laboratory -- 2.4.1 Experimental evidence for the cognitive model underlying phonetic symbolism -- 2.4.2 Experimental evidence for sound symbolism -- 2.5 Resonance, co-articulation, and precategorical perception -- 2.6 Phonetic symbolism, innateness, and the brain -- 2.7 Objections to the foregoing conception -- 2.8 Conclusions -- Chapter 3. Statistics, case study and the "Full Fine Structure of the World" -- 3.1 Introduction -- 3.2 Objection: No empirical data -- 3.3 Empirical study -- 3.4 Additional supporting evidence -- 3.5 Objection: Content is language-dependent -- 3.6 Case studies.

3.7 Conclusions -- Chapter 4. Synaesthetic metaphor, Audition Colorée and phonetic symbolism -- 4.1 Introduction -- 4.2 Childhood synaesthesia and phonetic symbolism as cognitive aids -- 4.3 The precedent of synaesthesia -- 4.4 Synaesthetic metaphor and phonetic symbolism -- 4.5 Cognitive principles: Poetic effects -- 4.6 A natural experiment: Audition Colorée -- Chapter 5. Hypnotic poetry: Glides, liquids, nasals -- Chapter 6. Lexical regularities -- 6.1 Introduction -- 6.2 Whissell on phonosymbolism -- 6.3 Sound-Symbolism and the lexicon -- 6.4 The phonestheme fl- -- 6.5 The frequency code -- 6.6 The frequency code and phonesthemes -- 6.7 Phonestheme as open concept -- 6.8 Conclusions -- Chapter 7. Statistical vs structural-cognitive approaches to phonetic symbolism: Two case studies -- 7.1 Introduction -- 7.2 First case study: What is not sound symbolism -- 7.2.1 The experiment -- 7.3 Theoretical perspective -- 7.4 Interim conclusion -- 7.5 Second case study -- 7.6 Expressive potentials of formant dispersion -- 7.7 Conclusions -- Chapter 8. Comparing approaches -- 8.1 Introduction -- 8.2 Theory adequacy and empirical results -- 8.3 Minimal pairs: Similar meaning, different sound -- 8.4 Test case: On Kraxenberger's home ground -- 8.5 Focussed and diffuse patterns -- 8.6 Conclusions -- Part II. Participants' decision process -- Chapter 9. Enjambment - Irony, wit, emotion: A case study suggesting wider principles -- 9.1 Introduction -- 9.2 Three ways to perform enjambment -- 9.3 Enjambment and shift of meaning -- 9.4 Milton vs. Milton - "Other Things Being Equal" -- 9.5 The empirical study -- 9.5.1 Results -- 9.5.2 Discussion -- 9.6 Conclusions -- Chapter 10. Studying emotive effects in poetry by quantifying open-ended impressions -- 10.1 Introduction -- 10.2 Analysis of the emotive quality of poems -- 10.3 Our study -- 10.4 Methods.

10.5 Analysis and results -- 10.5.1 Emotive effect -- 10.5.2 Sound-Emotion interaction -- 10.6 Discussion -- Chapter 11. Poetic structure, personality style and theoretical sophistication -- 11.1 Introduction: The reader and real readers -- 11.2 Personality style and opposite responses -- 11.3 Evaluation -- 11.4 Metaphor and sound-symbolism: Personality style and theoretical sophistication -- 11.5 Insensitivity to the resonance of speech sounds: Poor readers and (Some) expert readers -- 11.6 Perceptual hypotheses -- Part III. Voice quality -- Chapter 12. Voice quality in the vocal performance of poetry: Acoustics -- 12.1 Introduction -- 12.2 Voice quality -- 12.3 Speech production -- 12.4 Speech acoustics -- 12.5 An acoustic model of softened voice -- 12.6 Acoustic properties of softened voice in two readings of "Kubla Khan" -- 12.6.1 Methodological remarks -- 12.6.2 Acoustic analysis -- 12.6.3 Results -- 12.7 Conclusions -- Chapter 13. Voice quality in the vocal performance of poetry: Perceived effect -- 13.1 Introduction -- 13.2 Methodological challenges -- 13.3 The perceived effect of softened voice in two readings of "Kubla Khan" -- 13.3.1 Procedure -- 13.3.2 Results -- 13.3.2.1 Rating judgements -- 13.3.2.2 Verbal responses -- 13.3.2.3 Emotive qualities and acoustic correlates -- 13.4 Discussion -- Part IV. Metre and rhythm -- Chapter 14. Metre, rhythm and emotion in poetry: A cognitive approach -- 14.1 Introduction -- 14.2 Approaches to the versification-Emotion relationship -- 14.3 Emotion and emotional qualities -- 14.4 Convergent and divergent poetry -- 14.5 Convergent and divergent delivery style -- 14.6 Hypnotic poetry -- 14.7 Metre, rhythm, dignity -- 14.8 Stress maxima in weak positions -- 14.9 Tarlinskaja and the stress valley -- 14.10 Structural and anthropomorphic resemblance -- 14.11 "Aestheticist" delivery style -- 14.12 Conclusions.

Chapter 15. Metricalness and rhythmicalness: What our ear tells our mind -- 15.1 Introduction -- 15.2 Metrical/Unmetrical -- 15.3 Synchronic and diachronic perspective -- 15.4 A diachronic model -- 15.5 Kiparsky and the inversion rule -- Chapter 16. Postmodern un-prosody -- 16.1 Introduction -- 16.2 Test case: Apollinaire -- 16.3 Emily Dickinson's prosody -- 16.4 Perceptual dynamics of the verse line -- 16.5 Humpty-Dumpty and feminist criticism -- 16.6 Conclusions -- Part V. Winding up -- Chapter 17. Aesthetic response as problem solving -- 17.1 Introduction: Aesthetic response and electric wires -- 17.2 Impressionism, iconicity, complex interaction -- Chapter 18. Retrospect -- Appendix A. Encodedness -- Appendix B. Colour interaction -- Appendix C. Identifying voiced plosives -- Appendix D. Articulatory aspect switching -- Appendix E. Perceptual forces and prosodic boundaries -- References -- Name index -- Subject index.

This book is a collection of studies providing a unique view on two central aspects of poetry: sounds and emotive qualities, with emphasis on their interactions.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.