Achtung und Anerkennung

Demmerling, Christoph; Landweer, Hilge

doi:10.1007/978-3-476-05200-1_2

Cited by 4 publications

(5 citation statements)

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“…In a previous study (Kraxenberger and Menninghaus, 2016b ), four of these poems had been classified as joyful (Werner Bergengruen: Sommersonett ; Paul Haller: O leuchtender Septembertag ; Klabund: Liebeslied, Dein Mund ; Joachim Ringelnatz: Morgenwonne ), and four as sad (Yvan Goll: Trauermarsch ; Ferdinand Hardekopf: Spät ; Else Lasker-Schüler: Dämmerung ; Jesse Thoor: Die Zerwartung ). This classification was first based on matching the poems' main themes to phenomenological descriptions of joy and sadness (Schmitz, 1969 ; Demmerling and Landweer, 2007 ) and subsequently approved by an analysis of variance. Thus, the poems that were a priori classified as joyful turned out to be rated as significantly more joyful and as less sad than the poems classified as sad (see Kraxenberger and Menninghaus, 2016b ).…”

Section: Methodsmentioning

confidence: 99%

“…Thus, joy also encompasses emotions like happiness and elation, whereas sadness comprises the emotion of grief. Despite the fact that they are considered in this broad sense, joy and sadness still represent distinct, polar emotions with markedly different phenomenological qualia (Schmitz, 1969 ; Demmerling and Landweer, 2007 ; also see Kraxenberger and Menninghaus, 2016a , b ). Also, and most importantly for this study, joy and sadness are commonly understood to be universally available (Ekman and Cordaro, 2011 ) and to serve a communicative function, for instance in terms of the emotional prosody of an utterance.…”

Section: Introductionmentioning

confidence: 99%

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Prosody-Based Sound-Emotion Associations in Poetry

2018

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Conveying emotions in spoken poetry may be based on a poem's semantic content and/or on emotional prosody, i.e., on acoustic features above single speech sounds. However, hypotheses of more direct sound–emotion relations in poetry, such as those based on the frequency of occurrence of certain phonemes, have not withstood empirical (re)testing. Therefore, we investigated sound–emotion associations based on prosodic features as a potential alternative route for the, at least partially, non-semantic expression and perception of emotions in poetry. We first conducted a pre-study designed to validate relevant parameters of joy- and sadness-supporting prosody in the recitation, i.e. acoustic production, of poetry. The parameters obtained thereof guided the experimental modification of recordings of German joyful and sad poems such that for each poem, three prosodic variants were constructed: one with a joy-supporting prosody, one with a sadness-supporting prosody, and a neutral variant. In the subsequent experiment, native German speakers and participants with no command of German rated the joyfulness and sadness of these three variants. This design allowed us to investigate the role of emotional prosody, operationalized in terms of sound-emotion parameters, both in combination with and dissociated from semantic access to the emotional content of the poems. The findings from our pre-study showed that the emotional content of poems (based on pre-classifications into joyful and sad) indeed predicted the prosodic features pitch and articulation rate. The subsequent perception experiment revealed that cues provided by joyful and sad prosody specifically affect non-German-speaking listeners' emotion ratings of the poems. Thus, the present investigation lends support to the hypothesis of prosody-based iconic relations between perceived emotion and sound qualia. At the same time, our findings also highlight that semantic access substantially decreases the role of cross-language sound–emotion associations and indicate that non-German-speaking participants may also use phonetic and prosodic cues other than the ones that were targeted and manipulated here.

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Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Prosody-Based Sound-Emotion Associations in Poetry

2018

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“…We based our a priori classification of the poems as either joyful or sad on phenomenological descriptions of joy and sadness (cf. Schmitz, 1969; Demmerling and Landweer, 2007) and the poems' main themes (cf. Kraxenberger and Menninghaus, 2016).…”

Section: Methodsmentioning

confidence: 99%

Affinity for Poetry and Aesthetic Appreciation of Joyful and Sad Poems

Kraxenberger

Menninghaus

2017

Front. Psychol.

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Artworks with sad and affectively negative content have repeatedly been reported to elicit positive aesthetic appreciation. This topic has received much attention both in the history of poetics and aesthetics as well as in recent studies on sad films and sad music. However, poetry and aesthetic evaluations of joyful and sad poetry have received only little attention in empirical studies to date. We collected beauty and liking ratings for 24 sad and 24 joyful poems from 128 participants. Following previous studies, we computed an integrated measure for overall aesthetic appreciation based on the beauty and liking ratings to test for differences in appreciation between joyful and sad poems. Further, we tested whether readers' judgments are related to their affinity for poetry. Results show that sad poems are rated significantly higher for aesthetic appreciation than joyful poems, and that aesthetic appreciation is influenced by the participants' affinity for poetry.

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“…We based this qualitative a priori classification on the poems' emotional content and phenomenological descriptions of emotional quality (Schmitz, 1969; Demmerling and Landweer, 2007; see above).…”

Section: Methodsmentioning

confidence: 99%

“…Following other empirical studies on phonological iconicity in poetry, we too focused on the basic emotions of joy and sadness (Russell, 1980; Ekman, 1992; Jack et al, 2014). Phenomenological accounts of emotional qualities have conceived of joy, happiness, and pleasure as being mainly characterized by ease, uplift, and spatiotemporal expansion (German: Weitung ), i.e., by a person's feeling of being light, free, and flowing (Schmitz, 1969; Demmerling and Landweer, 2007). Sadness, on the other hand, is typically characterized by the opposite features: as bleak, compressed, heavy, and downward-oriented, as a feeling of oppression and depression (Schmitz, 1969), and as anxious, passive, and burdened (Demmerling and Landweer, 2007).…”

Section: Introductionmentioning

confidence: 99%

Mimological Reveries? Disconfirming the Hypothesis of Phono-Emotional Iconicity in Poetry

Kraxenberger

2016

Front. Psychol.

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The present study retested previously reported empirical evidence suggesting an iconic relation between sound and emotional meaning in poetry. To this end, we analyzed the frequency of certain phoneme classes in 48 German poems and correlated them with ratings for emotional classification. Our analyses provide evidence for a link between the emotional classification of poems (joyful vs. sad) and the perception of tonal contrast as reflected in the attribution of phenomenological sound qualia (bright vs. dark). However, we could not confirm any of the previous hypotheses and findings regarding either a connection between the frequencies of occurrence of specific vowel classes and the perception of tonal contrast, or a relation between the frequencies of occurrence of consonant classes and emotional classification.

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Achtung und Anerkennung

Cited by 4 publications

References 1 publication

Prosody-Based Sound-Emotion Associations in Poetry

Prosody-Based Sound-Emotion Associations in Poetry

Affinity for Poetry and Aesthetic Appreciation of Joyful and Sad Poems

Mimological Reveries? Disconfirming the Hypothesis of Phono-Emotional Iconicity in Poetry

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