What Makes Sound Patterns Expressive?: The Poetic Mode of Speech Perception
Duke University Press, 1992 - 174 pagine
Poets, academics, and those who simply speak a language are subject to mysterious intuitions about the perceptual qualities and emotional symbolism of the sounds of speech. Such intuitions are Reuven Tsur’s point of departure in this investigation into the expressive effect of sound patterns, addressing questions of great concern for literary theorists and critics as well as for linguists and psychologists.
Research in recent decades has established two distinct types of aural perception: a nonspeech mode, in which the acoustic signals are received in the manner of musical sounds or natural noises; and a speech mode, in which acoustic signals are excluded from awareness and only an abstract phonetic category is perceived. Here, Tsur proposes a third type of speech perception, a poetic mode in which some part of the acoustic signal becomes accessible, however faintly, to consciousness.
Using Roman Jakobson’s model of childhood acquisition of the phonological system, Tsur shows how the nonreferential babbling sounds made by infants form a basis for aesthetic valuation of language. He tests the intersubjective and intercultural validity of various spatial and tactile metaphors for certain sounds. Illustrating his insights with reference to particular literary texts, Tsur considers the relative merits of cognitive and psychoanalytic approaches to the emotional symbolism of speech sounds.
Cosa dicono le persone - Scrivi una recensione
Nessuna recensione trovata nei soliti posti.
Altre edizioni - Visualizza tutto
abstract according acoustic alliteration analogous appears articulatory aspects associated attention attribute auditory back vowels called certain chapter cognitive color combination concerning consider consistent consonants context continuous contrast critical dark described differentiated dimension direction discussed distinctions effect emotional example expect experience explanation expressive fact follows formant frequency front gestures greater hand hear higher important instance intuitions issue kind language later less light linguistic listener meaning mode musical nasal nasal vowels nature objects occur opposition organized pair patterns perceived perception periodic phonetic phonological phrases poem poetic poetry position possible potential precategorical present processes psychological reader reason refer relationship relatively relevant rich scale seems semantic sense sensory sequence signal similar sonnet sound patterns spatial specific speech sounds stanza stops structure subjects suggested theory thick things tion tone Tsur usually voiced vowels whereas