Auditory imagery in poetry11/28/2023 To be constricted, as it were, to wording proper. Hand, this impression of comparable arbitrariness is less likely. The words chosen may seem comparably arbitrary. Relative to the baseline, »literal« meaning-making associated with inner reverberations, Because of the experiential intensity of such meaning-making Outer reverberation are quicker in receding outside awareness, possibly due to the In outer compared to inner reverberations. The many coexistent meanings of one’s utterance.Ĭonsequently, meaning may be experienced as more dynamic and less firmly tied to wording Speech has taken, one does not reflect, on equal terms with one’s interlocutors, on Although one may be surprised at the specific course one’s Some extent, requiring some interpretation. What the underlying thought and meaning is. It is only when the voice is not mine that one is left to wonder In analogy to ordinary overt speech: When the voice is mine, the thought In what X could mean, the less one can possibly be engaged in the saying of X, and One’s bodily appropriation of the discourse on the other. This is due toĪ trade-off between one’s degree of openness to interpretation on the one hand and The presence or absence of spontaneous interpretation, respectively. On the level of higher-order meaning-making, outer and inner reverberations link with Sense of medium opacity, while outer reverberations may rather be associated with More generally, then, inner reverberationsĬan be said to result from the language of an utterance appearing markedly non-situated.Īs a consequence, inner reverberations entail a Reader, and the specific reading session. The cuing process is subject to many variables pertaining to the text, the individual May be more likely to occur with discourse particularly lacking in such cues. Speaker familiarity, and situational embedding. Outer reverberations may effectively be prompted by textual cues such as oral style, In the articulatory apparatus is a distinctive trait of inner reverberations alone. Some kinesthetic qualities such as a sense of resonance in the reader’s torso, kinestheticĮxperience is much more pronounced in inner reverberations, and felt motor activity Although outer reverberations can feature Text as raw language, where the only auditory qualities to be explored are those ofįirst-person (subvocal) speech production. Perceptual detail of the imaginary voice, inner reverberations rather tend to represent While outer reverberations represent text as situated speech and may accommodate Meanwhile, inner reverberations reach the mind’sĮar via subvocal rehearsal, i. e., covert articulatory activity in the reader’s mouthĪnd throat. Outer reverberations put the reader in the position of a vicarious listener, feeding The two ends will be referred to as outer and inner reverberations. Two distinct types, or more precisely, position themselves between two ends of a continuum. ButĪs we begin to study narrative VAI experiences in greater detail, they soon fall into This description of VAI, however apt, is not very elaborate. The reader’s awareness qua spoken discourse. Spontaneous literary interpretation standsįor any process of meaning-making, however inarticulate, that reaches the reader’sĬonsciousness in an uninterrupted course of reading.Īlthough the necessity of phonological access for the silent processing of print isĭisputed, the experimental contexts in which VAI has proven to depend on lower-orderĮmbodied processes, and/or to have a pronounced effect on silent reading, are countless.īut what is it like, in terms of embodiment, to consciously experience VAI? The basicįelt quality of all VAI is that the linguistic medium of a written narrative enters e., that discrete types of VAI are associated with discrete tendencies Is that distinctions within the domain of embodied VAI also apply to higher-order Or emotion, contribute to our understanding of literary narrative. Which, along with more widely researched phenomena such as sensorimotor enactment More generally, the aim is to isolate a new set of embodied experiences This is a first attempt to provide a systematic theoreticalĪccount of the felt qualities and underlying cognitive mechanics of VAI, based onĬonvergent evidence from the experimental cognitive sciences, psycholinguistic theory,Īnd introspection. (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglectedīy literary and other theorists. The words on a page, matters in the silent reading of poetry. It is generally acknowledged that verbal auditory imagery, the reader’s sense of hearing Inner Reverberations: Verbal Auditory Imagery and Meaning-Making in Literaryįull-length article in: JLT 7/1-2 (2013), 111–134.
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