In:Sound–Emotion Interaction in Poetry: Rhythm, Phonemes, Voice Quality
Reuven Tsur † and Chen Gafni
[Linguistic Approaches to Literature 39] 2022
► pp. v–x
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Published online: 3 June 2022
https://doi.org/10.1075/lal.39.toc
https://doi.org/10.1075/lal.39.toc
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
1.1Introduction
1.2A welter of conflicting findings
1.3A structural theory of phonetic symbolism
1.3.1Organisation of the mental database
1.3.2The structure of emotions
1.3.3The structure of phonemes
1.3.4Principles of sound symbolism
1.4The case of onomatopoeia
1.5Selective fine-grained distinctions
1.6Accommodating conflicting findings
1.7Non-reductive statistical investigation
1.8Emotive dictionaries
1.9Conclusions
Chapter 2.Phonetic symbolism: Double-edgedness and aspect-switching
2.1Introduction
2.2Cognitive theory
2.2.1Double-edgedness and aspect-switching
2.2.2Encodedness of speech sounds and modes of speech
perception
2.3Phonetic symbolism in the lexicon and in poetry
2.3.1Phonetic symbolism in the lexicon
2.3.2Literary phonetic symbolism
2.4Phonetic symbolism in the laboratory
2.4.1Experimental evidence for the cognitive model underlying
phonetic symbolism
2.4.2Experimental evidence for sound symbolism
2.5Resonance, co-articulation, and precategorical perception
2.6Phonetic symbolism, innateness, and the brain
2.7Objections to the foregoing conception
2.8Conclusions
Chapter 3.Statistics, case study and the “Full Fine Structure of the
World”
3.1Introduction
3.2Objection: No empirical data
3.3Empirical study
3.4Additional supporting evidence
3.5Objection: Content is language-Dependent
3.6Case studies
3.7Conclusions
Chapter 4.Synaesthetic metaphor, Audition Colorée and phonetic
symbolism
4.1Introduction
4.2Childhood synaesthesia and phonetic symbolism as cognitive
aids
4.3The precedent of synaesthesia
4.4Synaesthetic metaphor and phonetic symbolism
4.5Cognitive principles: Poetic effects
4.6A natural experiment: Audition Colorée
Chapter 5.Hypnotic poetry – Glides, liquids, nasals
Chapter 6.Lexical regularities
6.1Introduction
6.2Whissell on phonosymbolism
6.3Sound symbolism and the lexicon
6.4The phonestheme fl-
6.5The frequency code
6.6The frequency code and phonesthemes
6.7Phonestheme as open concept
6.8Conclusions
Chapter 7.Statistical vs structural-cognitive approaches to phonetic
symbolism: Two case studies
7.1Introduction
7.2First case study: What is not sound symbolism
7.2.1The experiment
7.3Theoretical perspective
7.4Interim conclusion
7.5Second case study
7.6Expressive potentials of formant dispersion
7.7Conclusions
Chapter 8.Comparing approaches
8.1Introduction
8.2Theory adequacy and empirical results
8.3Minimal pairs: Similar meaning, different sound
8.4Test case: On Kraxenberger’s home ground
8.5Focussed and diffuse patterns
8.6Conclusions
Part II.Participants’ decision process
Chapter 9.Enjambment – Irony, wit, emotion: A case study suggesting wider principles
9.1Introduction
9.2Three ways to perform enjambment
9.3Enjambment and shift of meaning
9.4Milton vs Milton – “Other Things Being Equal”
9.5The empirical study
9.5.1Results
9.5.2Discussion
9.6Conclusions
Chapter 10.Studying emotive effects in poetry by quantifying open-ended
impressions
10.1Introduction
10.2Analysis of the emotive quality of poems
10.3Our study
10.4Methods
10.5Analysis and results
10.5.1Emotive effect
10.5.2Sound-emotion interaction
10.6Discussion
Chapter 11.Poetic structure, personality style and theoretical
sophistication
11.1Introduction: The reader and real readers
11.2Personality style and opposite responses
11.3Evaluation
11.4Metaphor and sound symbolism: Personality style and theoretical sophistication
11.5Insensitivity to the resonance of speech sounds: Poor readers and (Some) expert readers
11.6Perceptual hypotheses
Part III.Voice quality
Chapter 12.Voice quality in the vocal performance of poetry: Acoustics
12.1Introduction
12.2Voice quality
12.3Speech production
12.4Speech acoustics
12.5An acoustic model of softened voice
12.6Acoustic properties of softened voice in two readings of “Kubla
Khan”
12.6.1Methodological remarks
12.6.2Acoustic analysis
12.6.3Results
12.7Conclusions
Chapter 13.Voice quality in the vocal performance of poetry: Perceived effect
13.1Introduction
13.2Methodological challenges
13.3The perceived effect of softened voice in two readings of “Kubla
Khan”
13.3.1Procedure
13.3.2Results
13.4Discussion
Part IV.Metre and rhythm
Chapter 14.Metre, rhythm and emotion in poetry: A cognitive approach
14.1Introduction
14.2Approaches to the versification–emotion relationship
14.3Emotion and emotional qualities
14.4Convergent and divergent poetry
14.5Convergent and divergent delivery style
14.6Hypnotic poetry
14.7Metre, rhythm, dignity
14.8Stress maxima in weak positions
14.9Tarlinskaja and the stress valley
14.10Structural and anthropomorphic resemblance
14.11“Aestheticist” delivery style
14.12Conclusions
Chapter 15.Metricalness and rhythmicalness: What our ear tells our mind
15.1Introduction
15.2Metrical/Unmetrical
15.3Synchronic and diachronic perspective
15.4A diachronic model
15.5Kiparsky and the inversion rule
Chapter 16.Postmodern un-prosody
16.1Introduction
16.2Test case: Apollinaire
16.3Emily Dickinson’s prosody
16.4Perceptual dynamics of the verse line
16.5Humpty-Dumpty and feminist criticism
16.6Conclusions
Part V.Winding up
Chapter 17.Aesthetic response as problem solving
17.1Introduction: Aesthetic response and electric wires
17.2Impressionism, 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
