Most studies examining children's understanding of transitive sentences focus on the morphosyntactic properties of the construction and ignore prosody. But adults use prosody in many different ways to interpret ambiguous sentences. In two studies we investigated whether 5-year-old German children use prosody to determine participant roles in object-first (OVS) sentences with novel verbs (i.e., whether they use prosodic marking to overrule word order as a cue). Results showed that children identify participant roles better in this atypically ordered (...) construction when sentences are realized with the marked, OVS-typical intonational pattern, especially in combination with case marking (Study 1). In a second study, we embedded these sentences into an appropriate discourse context. The results show that, even in the absence of any case marking, children understand participant roles when they are realized with the appropriate intonational pattern. These findings demonstrate that young children can use intonation to help identify participant roles in transitive sentences, at least in marked constructions such as the German object-first (OVS) construction. (shrink)

The acquisition of syntactic categories is a crucial step in the process of acquiring syntax. At this stage, before a full grammar is available, only surface cues are available to the learner. Previous computational models have demonstrated that local contexts are informative for syntactic categorization. However, local contexts are affected by sentence-level structure. In this paper, we add sentence type as an observed feature to a model of syntactic category acquisition, based on experimental evidence showing that pre-syntactic children (...) are able to distinguish sentence type using prosody and other cues. The model, a Bayesian Hidden Markov Model, allows for adding sentence type in a few different ways; we find that sentence type can aid syntactic category acquisition if it is used to characterize the differences in word order between sentence types. In these models, knowledge of sentence type permits similar gains to those found by extending the local context. (shrink)

By manipulating the location of prosodic boundary and the semantic bias of the ambiguous “V+N1+de+N2” phrase, which is composed of one verb (V), one noun (N1), one functional word (de), and another noun (N2), this study investigated how prosodic boundary and the semantic bias affect the processing of temporary ambiguous sentences formed by the ambiguous phrase “V+N1+de+N2” through an eye movement experiment. We found the effect of prosodic boundary in the late processing stage and observed an interaction between prosodic boundary (...) and the semantic bias of ambiguous phrases as well. The participants required more time for fixation and more regressions occurred when the meaning of the ambiguous phrase guided by prosodic boundary was inconsistent with context, especially when the ambiguous phrase was biased to the narrative-object phrase. This result suggests that prosodic boundary affects the processing of temporal ambiguous sentences and is influenced by the semantic bias of the ambiguous phrase. These findings provide further evidence from Chinese that indicate that implicit prosody plays a general role in language comprehension. (shrink)

Numerous studies have examined the acoustic correlates of sentential stress and its underlying linguistic functionality. However, the mechanism that connects stress cues to the listener's attentional processing has remained unclear. Also, the learnability versus innateness of stress perception has not been widely discussed. In this work, we introduce a novel perspective to the study of sentential stress and put forward the hypothesis that perceived sentence stress in speech is related to the unpredictability of prosodic features, thereby capturing the attention (...) of the listener. As predictability is based on the statistical structure of the speech input, the hypothesis also suggests that stress perception is a result of general statistical learning mechanisms. To study this idea, computational simulations are performed where temporal prosodic trajectories are modeled with an n-gram model. Probabilities of the feature trajectories are subsequently evaluated on a set of novel utterances and compared to human perception of stress. The results show that the low-probability regions of F0 and energy trajectories are strongly correlated with stress perception, giving support to the idea that attention and unpredictability of sensory stimulus are mutually connected. (shrink)

This study briefly describes the prosodic and pragmatic characteristics of the discourse marker ni zhidao in spoken Chinese. It mainly explores the interaction between its prosody and pragmatics using instrumental methods. It is the first attempt to use acoustic and statistical analysis to examine the prosodic parameters and prosody-pragmatics interaction of a Chinese discourse marker. The corpus includes 71 interview conversations totaling more than 30 h, in which 490 discourse marker tokens of ni zhidao were found. Ni zhidao (...) mainly fulfilled four broad pragmatic functions of initiating a topic when occurring sentence-initially, of holding the floor when appearing within clauses, of marking coherence when making its presence between clauses, and of projecting attitudes and feelings when showing up sentence-finally. Drawing on the algorithm of random forest in R, the acoustic and statistical analysis of the performance of ni zhidao in these four functions showed that its prosodic features, including duration, tempo, pre-pause, post-pause, F0, and intensity, significantly relate to and thus imply its pragmatic functions, that the interaction between its prosody and pragmatics can be modeled statistically, and that the established pragmatics classification model based on prosody can be utilized to predict the pragmatics of ni zhidao. These findings seem to strengthen the hypothesis that prosodic variables play a role in deciphering the different pragmatic functions of ni zhidao. This study uses prosodic evidence to more objectively reveal not only the part of ni zhidao in dynamically constructing and embodying specific contexts but also its communicative functions and the underlying meta-pragmatic awareness behind it. This study breaks through the limitations of traditional discourse marker research, which mainly relies on context and discourse characteristics for subjective reasoning. (shrink)

The current study assessed the extent to which the use of referential prosody varies with communicative demand. Speaker–listener dyads completed a referential communication task during which speakers attempted to indicate one of two color swatches (one bright, one dark) to listeners. Speakers' bright sentences were reliably higher pitched than dark sentences for ambiguous (e.g., bright red versus dark red) but not unambiguous (e.g., bright red versus dark purple) trials, suggesting that speakers produced meaningful acoustic cues to brightness when the (...) accompanying linguistic content was underspecified (e.g., “Can you get the red one?”). Listening partners reliably chose the correct corresponding swatch for ambiguous trials when lexical information was insufficient to identify the target, suggesting that listeners recruited prosody to resolve lexical ambiguity. Prosody can thus be conceptualized as a type of vocal gesture that can be recruited to resolve referential ambiguity when there is communicative demand to do so. (shrink)

While previous research has found an in-group advantage (IGA) favouring native speakers in emotional prosody perception over non-native speakers, the effects of semantics on emotional prosody perception remain unclear. This study investigated the effects of semantics on emotional prosody perception in Chinese words and sentences for native and non-native Chinese speakers. The critical manipulation was the congruence of prosodic (positive, negative) and semantic (positive, negative, and neutral) valence. Participants listened to a series of audio clips and judged (...) whether the emotional prosody was positive or negative for each utterance. The results revealed an IGA effect: native speakers perceived emotional prosody more accurately and quickly than non-native speakers in Chinese words and sentences. Furthermore, a semantic congruence effect was observed in Chinese words, where both native and non-native speakers recognised emotional prosody more accurately in the semantic-prosody congruent condition than in the incongruent condition. However, in Chinese sentences, this congruence effect was only present for non-native speakers. Additionally, the IGA effect and semantic congruence effect on emotional prosody perception were influenced by prosody valence. These findings illuminate the role of semantics in emotional prosody perception, highlighting perceptual differences between native and non-native Chinese speakers. (shrink)

Reported is a study of French & Eng prosody. A list of items was developed which allowed the closest possible transposition between langs (eg, a photograph/une photographie). The items were placed in carrier phrase of the type It's a .../C'est une ... Ss were asked to read each sentence with neutral, emphatic, & surprised intonation. Ss were French & US students (N = 1 each). In a second phase, French-speaking students were asked to repeat the Eng sentences from (...) a written text &, later, from the model of the recording obtained in the first phase. Based on the analysis of these productions, suggestions are made concerning teaching of pronunciation. It was found that many of the French speakers tended to hypercorrect when speaking Eng. Students did not sufficiently lower the accent on unaccented syllables, perhaps as an effect of intonation patterns carried over from French. 13 References. B. Annesser Murray. (shrink)

During natural speech perception, listeners rely on a wide range of cues to support comprehension, from semantic context to prosodic information. There is a general consensus that prosody plays a role in syntactic parsing, but most studies focusing on ambiguous relative clauses (RC) show that prosodic cues, alone, are insufficient to reverse the preferred interpretation of sentence. These findings suggest that universally preferred structures (e.g., Late Closure principle) matter far more than prosodic cues in such cases. This study (...) explores an alternative hypothesis: that the weak effect of prosody might be due to the influence of various syntactic, lexical-semantic, and acoustic confounding factors, and investigate the consequences of prosodic breaks while controlling these variables. We used Spanish RC sentences in three experimental conditions where the presence and position (following the first or second noun phrase) of prosodic breaks was manipulated. The results showed that the placement of a prosodic break determined sentence interpretation by changing the preferred attachment of the RC. Listeners’ natural preference for low attachment (in the absence of break) was reinforced when a prosodic break was placed after the first noun. In contrast, a prosodic break placed after the second noun reversed the preferred interpretation of the sentence, toward high attachment. We argue that, in addition to other factors, listeners indeed use prosodic breaks as robust cues to syntactic parsing during speech processing, as these cues may direct listeners toward one interpretation or another. (shrink)

Alexithymia is characterised by difficulties in identifying, recognising, and describing emotions. We studied alexithymia in the context of speech comprehension, specifically investigating the incongruent condition between prosody and the literal meaning of words in emotion-based discourse. In two experiments, participants were categorised as having high or low alexithymia scores based on the TAS-20 scale and listened to three-sentence narratives where the emotional prosody of a key phrase or a keyword was congruent or incongruent with its literal meaning. (...) The incongruent condition resulted in slower reaction times and lower accuracy in recognition of emotions. This incongruence effect was also evident for individuals with high alexithymia, except for anger. They recognised anger as accurately in both congruent and incongruent conditions. Contrary to our hypothesis, however, individuals with high alexithymia did not show an overall difference in emotion recognition compared to the low alexithymia group. These findings highlight the nuanced relationship between emotional prosody and literal meaning, offering insights into how individuals with varying levels of alexithymia process emotional discourse. Understanding these dynamics has implications for both cognitive research and clinical practice, providing valuable perspectives on speech comprehension, especially in situations involving incongruence between prosody and word meaning. (shrink)

Understanding a sentence and integrating it into the discourse depends upon the identification of its focus, which, in spoken German, is marked by accentuation. In the case of written language, which lacks explicit cues to accent, readers have to draw on other kinds of information to determine the focus. We study the joint or interactive effects of two kinds of information that have no direct representation in print but have each been shown to be influential in the reader’s text (...) comprehension: i. the (low-level) rhythmic-prosodic structure that is based on the distribution of lexically stressed syllables, and ii. the (high-level) discourse context that is grounded in the memory of previous linguistic content. Systematically manipulating these factors, we examine the way readers resolve a syntactic ambiguity involving the scopally ambiguous focus operator auch (engl. `too') in both oral (Experiment 1) and silent reading (Experiment 2). The results of both experiments attest that discourse context and local linguistic rhythm conspire to guide the syntactic and, concomitantly, the focus-structural analysis of ambiguous sentences. We argue that reading comprehension requires the (implicit) assignment of accents according to the focus structure and that, by establishing a prominence profile, the implicit prosodic rhythm directly affects accent assignment. (shrink)

This paper reviews a series of experimental studies that address what we call ‘interface judgement’, which is the complex judgment involving integration from multiple levels of grammatical representation such as the syntax-semantics and prosody-semantics interface. We first discuss the results from the ERP literature connected to NPI licensing in different languages, paying particular attention to the N400 and the P600 as neural correlates of this specific phenomenon and focusing on the study by Xiang et al. (2016). The results of (...) this study show evidence that there are two distinct NPI licensing mechanisms, i.e., licensing and rescuing, in line with Giannakidou (1998, 2006). Then we discuss an acceptability judgement task on Greek NPIs which supports the negativity as a scale hypothesis (Zwarts 1995, 1996, Giannakidou 1998). For the semantics-prosody interface judgment, we discuss two types of findings on two different phenomena and languages: (i) the study by Giannakidou & Yoon (2016) on scalar and non-scalar NPIs in Greek and Korean, which serves as the foundation for Chatzikontantinou (2016)’s study of production data showing distinct prosodic properties in emphatic (scalar) and non-emphatic (non-scalar) Greek NPIs; (ii) a (production and perception) study by Etxeberria & Irurtzun (2015) on the prosodic disambiguation of the scalar/non-scalar readings of sentences containing the focus particle ‘ere’ in Basque. The main conclusion of the paper is that experimental methods of the kind discussed in the paper are useful in establishing physical, quantitative correlates of interface judgement. (shrink)

We investigate the interactions between scalar implicatures and presuppositions in sentences containing both a scalar item and presupposition trigger. We first critically discuss Gajewski and Sharvit’s previous approach. We then closely examine two ways of integrating an exhaustivity-based theory of scalar implicatures with a trivalent approach to presuppositions. The empirical side of our discussion focuses on two novel observations: the interactions between prosody and monotonicity, and what we call presupposed ignorance. In order to account for these observations, our final (...) proposal relies on two mechanisms of scalar strengthening, the Presupposed Ignorance Principle and an exhaustivity operator which lets the presuppositions of negated alternatives project. (shrink)

Recent work in supersemantics and in the semantic interpretation of prosody has showed that non-words (gestural, prosodic an iconic elements) can make truth conditional contributions. This paper contends that the way that they make their contributions—the way that they are integrated into semantic representations—calls into question foundational assumptions about how semantics works. I explore the case of a prosodic contour that can act as an intensifier (a word like ‘very’ or ‘really’) and argue that its compositional behaviour indicates that (...) it is integrated into sentence meaning in a secondary, dependent way and that this reveals a novel form of layering in semantic interpretation. (shrink)

Speech and music reflect extraordinary aspects of human cognitive abilities. Pitch, as an important parameter in the auditory domain, has been the focus of previous research on the relations between speech and music. The present study continues this line of research by focusing on two aspects of pitch processing: pitch prominence and melodic expectation. Specifically, we examined the perceived boundary of prominence for focus/accent in speech and music, plus the comparison between the pitch expectation patterns of music and speech. Speech (...) (Mandarin Chinese) and music stimuli were created with different interval steps that increased from 1 semitone to 12 semitones from the third to the fourth word/note of a sentence/melody. The results showed that ratings of both accent/focus and expectation/surprise increased with increasing semitone distance from the baseline (though this pattern was mixed with tonal stability profiles for the melodies). Nevertheless, the perceived boundary of prominence was different for music and speech, with the boundary for detecting prominence in speech higher than that in music. Expectation also showed different patterns for speech and music. The results thus favor the suggestion that speech prosody and music melody tend to require specialized pitch patterns unique to their own respective communication purposes. (shrink)

What makes a human voice agreeable is a matter of scientific discussion. Whereas prosody was shown to play a role regarding “male-female” attraction, the impact of frequency modulations in “non-sexual”, notably commercial, contexts has attracted little attention. Another point unaddressed in the literature is auditory sensitivity to short-term frequency modulations as current studies focus more on sentence. Thirty French female operators were recorded over the phone. All “bonjour” greeting words were classified in terms of frequency modulation linearity and (...) orientation at the syllable and word levels. Then, the different voices were played back to students and seniors who had to rate each voice according to their degree of agreeableness. Listeners preferred non-monotonous voices. Differences between age-classes were greater than between sex-classes. Results suggest that short-term frequency changes are important for auditory evaluation of voice agreeableness. This study opens new research perspectives concerning the importance of prosody during consumer-seller interactions. (shrink)

Older adults process emotional speech differently than young adults, relying less on prosody (tone) relative to semantics (words). This study aimed to elucidate the mechanisms underlying these age-related differences via an emotional speech-in-noise test. A sample of 51 young and 47 older adults rated spoken sentences with emotional content on both prosody and semantics, presented on the background of wideband speech-spectrum noise (sensory interference) or on the background of multi-talker babble (sensory/cognitive interference). The presence of wideband noise eliminated (...) age-related differences in semantics but not in prosody when processing emotional speech. Conversely, the presence of babble resulted in the elimination of age-related differences across all measures. The results suggest that both sensory and cognitive-linguistic factors contribute to age-related changes in emotional speech processing. Because real world conditions typically involve noisy background, our results highlight the importance of testing under such conditions. (shrink)

The tradition of Lughz and muʿammā in Arab poetry has an important place. Ibn al-Fāriḍ (d. 632/1235) is a divine love poet that lived in the Ayyubids period. He is an important point in the process of change and transformation of Arabic poetry language. This research aims to carry out a theoretical and anecdotal examination of the Lughzes in Ibn al-Fāriḍ’s Dīwān. The work explains, firstly, the concept of Lughz in terms of conceptual content and theoretical structure and summarizes its (...) own method to be applied in solving and evaluating Lughzes in ten articles. The paper indicates whether the Lughzes in Dīwānhave a theoretical structure or not. In this context, it distinguishes the Lughzes from the number of layers, simple and compound structure maintenance. It examines the theoretical and functional contributions of the tahsīl, takmīl, tashīland tazyīlmethods, the stages of the establishment and the solution of the Lughzes.Abstract: Abū Hafs Sharafuddīn Omar b. Ali al-Hamavī al-Mısrī (d. 632/1235) known as the king of lovers, and called Ibn al-Fārid, is a divine love poet that lived in Egypt during the Ayyubids period (1171-1462). He is an important figure in the process of change and transformation of poetry language in Arabic literature. The lughz and muʿammā (enigma, enigmetic speech, allusion, inversion riddle, poetry puzzle, synecdoche and metaphoric language) means a word pointing to a name or something by symbol and sign. Numerous books have been written about lughzes. These include Arabic poetry, Persian poetry, Classical Turkish poetry, Arabic grammar, Islamic law, hadith, mathematics and inheritance law. The lughz and muʿammā have some linguistic features related to phonetics, statistical linguistics, morphology, lexicology, grammar, syntax, semantics and prosody. This tradition has an important place in Arabic poetry. The research aims to carry out a theoretical and anecdotal examination of the lughzes and muʿammās in Ibn al-Fārız’s Dīwān. The paper explains, firstly, the concept of lughz in terms of conceptual content and theoretical structure. The article summarizes its own method to be applied in analyzing and evaluating lughzes within ten items. The research examines the series of lughzes in Dīwānand divides them into parts according to the original question in the riddles. This work examines the secondary lughzes given in the details of poems in solution parts. The paper indicates whether the lughzes in Dīwānhave a theoretical structure or not. In this context, the research examines lughzes in terms of language and structure, especially in terms of the processes of establishment and solution. This paper categorizes the lughzes according to the number of layers and to whether they have a simple or compound structure. This paper examines the theoretical and functional contributions of the amal al-tahsīlī, amal al-takmīlī, amal al-tashīlī and amal al-tazyīlī methods in the stages of the establishment and the solution of the lughzes. The work applies the theoretical perspectives of these methods to each lughz. The research also examines the contribution of these four methods to the lughzes.There are many lughzes in Ibn al-Fārid’s poems. In Ibn al-Fārid’s Dīwān, in general, fifty-four things are asked. Fifty-one of them are words. Three of them are verbs. One of the verbs is in the order structure and two in the past tense. His lughzes have a theoretical and methodical structure. In terms of organizational structure, lughzes are generally multi-layered, intricate, compound and integrated. Composite lughzes are multi-layered, simple poems are single-layered. Approximately twenty words are asked in the lughzes. These words are always in the first layer of lughz, whether simple or compound. Thirty-seven words in the lughz are secondary lughz with an auxiliary and complementary nature. They are located between the second and sixth layers. Seventeen of the lughzes asked in the auxiliary nature are located in the second layer, thirteen in the third layer, five in the fourth layer, one in the fifth layer and one in the sixth layer. One of the lughzes is six-layered, one of them are five-layered, four of them are four-layered, eight are three-layered, four are double-layered and three are single-layered. According to this, the majority of lughzes in Ibn al-Fārid’s poems are in the unified form and multilayered.The lughzes are formed in terms of word, composition, phrase, grammar and meaning levels. The lughzes have both lexical and semantic characteristics. Ibn al-Fārid uses the configuration (amal al-tahsīlī), completion (amal al-takmīlī), facilitation (amal al-tashīlī) and addition (amal al-tazyīlī) methods to design the lughzes. The structure in the lughzes is shaped by these methods. The words in his lughzes constitute eleven categories, consisting of names, acts and noun verbs. The answers of the questions asked in the poems consist in general of prophet names, surah names, tribal names, administrator’s surnames, letters, cities, animals, food and drink names, attributes and actions. Verbs are in the past time or order form. Some of the lughzes in Ibn al-Fārid’s poems are built in an extraordinary style beyond being interesting. Not all the sentences used in couplets are part of the lughzes. These elements are mentioned in order to complete the lughzes in terms of rhythm and meaning. To be able to solve the lughzes of Ibn al-Fārid, one must be knowledgeable about the language and narrative features of Arabic and Islamic culture, as well as subjects such as the Quran, Sufism, abjad calculation, mathematics, geometry, geography, biology, botany and zoology. His poems contributes to the development and transformation of Arabic poetry. (shrink)

I begin by distinguishing constant properties of consciousness from variable properties. Foci of active consciousness are seen as reflected in language in intonation units. Within them, ideas are expressed differently depending on their activation cost, characterizable in terms of given, accessible, or new information. By hypothesizing that each focus of consciousness is limited to one new idea, it is possible to achieve a clearer understanding of lexicalization and related phenomena. Coherent chunks of semiactive information are reflected in language as discourse (...) topics, within which decisions regarding intermediate levels of coherence lead to sentences. Immediate and displaced consciousness have distinct properties, which are sometimes exploited by fiction writers with the pretense of displaced immediacy, a style of language that highlights a basic distinction between spatiotemporal adverbs and tense. It is concluded that we need to take consciousness seriously if we are to understand more fully a variety of linguistic phenomena, including pronouns, adverbs, conjunctions, tense, person, sentences, paragraphs, and prosody. (shrink)

We combine two recent probabilistic approaches to natural language understanding, exploring the formal pragmatics of communication on a noisy channel. We first extend a model of rational communication between a speaker and listener, to allow for the possibility that messages are corrupted by noise. In this model, common knowledge of a noisy channel leads to the use and correct understanding of sentence fragments. A further extension of the model, which allows the speaker to intentionally reduce the noise rate on (...) a word, is used to model prosodic emphasis. We show that the model derives several well-known changes in meaning associated with prosodic emphasis. Our results show that nominal amounts of actual noise can be leveraged for communicative purposes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

The conflicting findings from the few studies conducted with regard to gender differences in the recognition of vocal expressions of emotion have left the exact nature of these differences unclear. Several investigators have argued that a comprehensive understanding of gender differences in vocal emotion recognition can only be achieved by replicating these studies while accounting for influential factors such as stimulus type, gender-balanced samples, number of encoders, decoders, and emotional categories. This study aimed to account for these factors by investigating (...) whether emotion recognition from vocal expressions differs as a function of both listeners' and speakers' gender. A total of N = 290 participants were randomly and equally allocated to two groups. One group listened to words and pseudo-words, while the other group listened to sentences and affect bursts. Participants were asked to categorize the stimuli with respect to the expressed emotions in a fixed-choice response format. Overall, females were more accurate than males when decoding vocal emotions, however, when testing for specific emotions these differences were small in magnitude. Speakers' gender had a significant impact on how listeners' judged emotions from the voice. The group listening to words and pseudo-words had higher identification rates for emotions spoken by male than by female actors, whereas in the group listening to sentences and affect bursts the identification rates were higher when emotions were uttered by female than male actors. The mixed pattern for emotion-specific effects, however, indicates that, in the vocal channel, the reliability of emotion judgments is not systematically influenced by speakers' gender and the related stereotypes of emotional expressivity. Together, these results extend previous findings by showing effects of listeners' and speakers' gender on the recognition of vocal emotions. They stress the importance of distinguishing these factors to explain recognition ability in the processing of emotional prosody. (shrink)

In this article we argue that discourse structure constrains the set ofpossible constituents in a discourse that can provide the relevantcontext for structuring information in a target sentence, whileinformation structure critically constrains discourse structureambiguity. For the speaker, the discourse structure provides a set of possible contexts for continuation while information structure assignment is independent of discourse structure. For the hearer, the information structure of a sentence together with discourse structure instructs dynamic semantics how rhematic information should be used (...) to update the meaning representation of the discourse. (shrink)

Affect has been found to play important role in word and sentence processing. What is less understood is the role it plays in the process by which interlocutors arrive at what speakers mean. In the present review, the way affect modulates how we comprehend what others mean is examined. This is done by reviewing studies that have employed experimental methods using both written materials and spoken utterances. The goal of the present review is to better understand how the inferential (...) process is framed by affective factors and to propose ways of integrating affectivity into pragmatics. In Part 1, the motivation for the present review is explicated. In Part 2, experimental evidence is presented and suggestions are offered about how to best operationalise variables crucial for disentangling affect from other mechanisms that contribute to utterance interpretation. In Part 3, central notions of pragmatics are discussed with regard to affectivity, which it is proposed that, if construed as a goal-oriented activity that serves interpersonal configuration, can account for several pragmatic phenomena. (shrink)

We present a detailed process theory of the moment‐by‐moment working‐memory retrievals and associated control structure that subserve sentence comprehension. The theory is derived from the application of independently motivated principles of memory and cognitive skill to the specialized task of sentence parsing. The resulting theory construes sentence processing as a series of skilled associative memory retrievals modulated by similarity‐based interference and fluctuating activation. The cognitive principles are formalized in computational form in the Adaptive Control of Thought–Rational (ACT–R) (...) architecture, and our process model is realized in ACT–R. We present the results of 6 sets of simulations: 5 simulation sets provide quantitative accounts of the effects of length and structural interference on both unambiguous and garden‐path structures. A final simulation set provides a graded taxonomy of double center embeddings ranging from relatively easy to extremely difficult. The explanation of center‐embedding difficulty is a novel one that derives from the model' complete reliance on discriminating retrieval cues in the absence of an explicit representation of serial order information. All fits were obtained with only 1 free scaling parameter fixed across the simulations; all other parameters were ACT–R defaults. The modeling results support the hypothesis that fluctuating activation and similarity‐based interference are the key factors shaping working memory in sentence processing. We contrast the theory and empirical predictions with several related accounts of sentence‐processing complexity. (shrink)

William P. Alston. difference in the scope of the rule reflects the fact that I-rules exist for the sake of making communication possible. Whereas their cousins are enacted and enforced for other reasons. We could distinguish I-rules just by this ...

A word-by-word human sentence processing complexity metric is presented. This metric formalizes the intuition that comprehenders have more trouble on words contributing larger amounts of information about the syntactic structure of the sentence as a whole. The formalization is in terms of the conditional entropy of grammatical continuations, given the words that have been heard so far. To calculate the predictions of this metric, Wilson and Carroll's (1954) original entropy reduction idea is extended to infinite languages. This is (...) demonstrated with a mildly context-sensitive language that includes relative clauses formed on a variety of grammatical relations across the Accessibility Hierarchy of Keenan and Comrie (1977). Predictions are derived that correlate significantly with repetition accuracy results obtained in a sentence-memory experiment (Keenan & Hawkins, 1987). (shrink)

Reponse to Peter Milne (2005)'s argument agaist maximalism about truthmaking.

In this book, Lawrence Hatab provides an accessible and provocative exploration of one of the best-known and still most puzzling aspects of Nietzsche's thought: eternal recurrence, the claim that life endlessly repeats itself identically in every detail. Hatab argues that eternal recurrence can and should be read literally, in just the way Nietzsche described it in the texts. The book offers a readable treatment of most of the core topics in Nietzsche's philosophy, all discussed in the light of the consummating (...) effect of eternal recurrence. Although Nietzsche called eternal recurrence his most fundamental idea, most interpreters have found it problematic or needful of redescription in other terms. For this reason, Hatab's book is an important and challenging contribution to Nietzsche scholarship. (shrink)

Recent experiments have shown that people iconically modulate their prosody corresponding with the meaning of their utterance. This article reports findings from a story reading task that expands the investigation of iconic prosody to abstract meanings in addition to concrete ones. Participants read stories that contrasted along concrete and abstract semantic dimensions of speed and size. Participants read fast stories at a faster rate than slow stories, and big stories with a lower pitch than small stories. The effect (...) of speed was distributed across the stories, including portions that were identical across stories, whereas the size effect was localized to size-related words. Overall, these findings enrich the documentation of iconicity in spoken language and bear on our understanding of the relationship between gesture and speech. (shrink)

An emerging trend in cognitive science is to explore central epistemological questions using psychological methods. Early work in this growing area of research has revealed that epistemologists’ theories of knowledge diverge in various ways from the ways in which ordinary people think of knowledge. Reflecting the practices of epistemology as a whole, the vast majority of these studies have focused on the concept of propositional knowledge, or knowledge-that. Many philosophers, however, have argued that knowing how to do something is importantly (...) different from knowing that something is the case. Hence, in this paper we turn our attention to people’s concept of knowledge-how. We present data from two experiments that employed a sentence recognition task as an implicit measure of conceptual activation. The data from this implicit measure suggest that, contrary to prominent intellectualist theories of know-how, according to which know-how is a species of propositional knowledge, people’s concept of know-how more closely aligns with anti-intellectualism, the view that knowing how to perform some task consists in having the appropriate skills or abilities. (shrink)

Chapter INTRODUCTION: OTTO NEURATH, THE VIENNA CIRCLE AND THE PROTOCOL SENTENCE DEBATE Everybody familiar with contemporary analytical philosophy is likely ...