Readers’ responses to sub-genre and rhyme scheme in poetry

Carminati, Maria Nella; Stabler, Jane; Roberts, Andrew Michael; Fischer, Martin H.

doi:10.1016/j.poetic.2006.05.001

Cited by 35 publications

(33 citation statements)

References 10 publications

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“…Both novice and experienced readers are sensitive to these features, and the initial stages of reading are dependent, at least in part, on general linguistic competence rather than simply on literary training or experience (Miall & Kuiken, 1994, 1998. To date, research has tended to investigate forms of graphic and phonetic manipulation in poetry that are strongly associated with foregrounding, such as rhyme schemes (Carminati, Stabler, Roberts, & Fischer, 2006) and enjambment (Koops van't Jagt, Hoeks, Dorleijn, & Hendriks, 2014). Such studies demonstrate that readers' on-line responses and processing are affected by a range of micro and macro textual features.…”

Section: Processing Punctuation and Word Changes In Different Editionmentioning

confidence: 99%

Processing punctuation and word changes in different editions of prose fiction

Carrol

Conklin

Guy³

et al. 2015

SSOL

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A note on versions:The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher's version. Please see the repository url above for details on accessing the published version and note that access may require a subscription.For more information, please contact eprints@nottingham.ac.uk This is only a preprint version of the citable published paper. The actual published version may be somewhat different due to editors' corrections and additional modifications. Only the published version should be considered authoritative. All citations and quotes should be from the published version, and page references should be from the published version. The digital era has brought with it a shift in the field of literary editing in terms of the amount and kind of textual variation that can reasonably be annotated by editors.However, questions remain about how far readers engage with textual variants, especially minor ones such as small-scale changes to punctuation. In this study we present an eye-tracking experiment investigating reader sensitivity to variations in surface textual features of prose fiction. We monitored eye movements while participants read textual variants from Dickens and James, hypothesising that readers may pay more attention to lexical rather than punctuation changes. We found longer reading times for both types, but only lexical changes also increased reading times for the rest of the sentence. In addition, eye movement behaviour and conscious ability to report changes were highly correlated. We discuss the implications for how such methods might be applied to questions of "literary" significance and textual processing.

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Section: Processing Punctuation and Word Changes In Different Editionmentioning

confidence: 99%

Processing punctuation and word changes in different editions of prose fiction

Carrol

Conklin

Guy³

et al. 2015

SSOL

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“…Carminati and colleagues [3] studied whether expectancy of a particular rhyme scheme develops during silent reading. They presented their participants with several randomly ordered stanzas from one of two poetic sub-genres: ottava rima poems by Byron [4] or elegies by Gray [5].…”

Section: Introductionmentioning

confidence: 99%

“…Carminati et al [3] found relatively little evidence for rhyme scheme expectations to matter during processing when contrasting two relatively similar rhyme schemes (ottava rima and elegy) during silent reading. However, Limerick recipients should strongly expect the last line of the Limerick to rhyme with the first two, thus allowing for a simpler and potentially stronger test of rhyme expectancy compared to [3]. Another difference to [3] is that we presented our stimuli in the auditory modality to further enhance rhyme-related phonological processing.…”

Section: Introductionmentioning

confidence: 99%

“…However, Limerick recipients should strongly expect the last line of the Limerick to rhyme with the first two, thus allowing for a simpler and potentially stronger test of rhyme expectancy compared to [3]. Another difference to [3] is that we presented our stimuli in the auditory modality to further enhance rhyme-related phonological processing.…”

Section: Introductionmentioning

confidence: 99%

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Listening to Limericks: A Pupillometry Investigation of Perceivers’ Expectancy

et al. 2013

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What features of a poem make it captivating, and which cognitive mechanisms are sensitive to these features? We addressed these questions experimentally by measuring pupillary responses of 40 participants who listened to a series of Limericks. The Limericks ended with either a semantic, syntactic, rhyme or metric violation. Compared to a control condition without violations, only the rhyme violation condition induced a reliable pupillary response. An anomaly-rating study on the same stimuli showed that all violations were reliably detectable relative to the control condition, but the anomaly induced by rhyme violations was perceived as most severe. Together, our data suggest that rhyme violations in Limericks may induce an emotional response beyond mere anomaly detection.

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“…Their ability to differentiate between genres is of great importance. Genre impressions in different media may have their use for viewers and readers in priming attention (Roskos-Ewoldsen and Dillman-Carpentier, 2002), in shaping perceptual behavior and reading style (Carminati et al, 2006;Hanauer, 1998;Hawkins et al, 2005), in generating narrative expectations (Grodal, 1997) and in the development of emotions (e.g. Tan, 1995;Smith, 2003).…”

Section: Introductionmentioning

confidence: 99%

Narrative versus style: Effect of genre-typical events versus genre-typical filmic realizations on film viewers’ genre recognition

Visch

Tan

2008

Poetics

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This study investigated whether film viewers recognize four basic genres (comic, drama, action and nonfiction) on the basis of genre-typical event cues or of genretypical filmic realization cues of events. Event cues are similar to the narrative content of a film sequence, while filmic realization cues are similar to stylistic surface cues of a film sequence. It was predicted that genre recognition of short film fragments is cued more by filmic realization cues than by event cues. The results showed that: (a) filmic realization was the stronger cue in viewers' genre recognition, except for drama recognition; (b) the influence of a genre-typical event on genre recognition decreased stepwise from drama to action to comic to nonfiction. The latter result is explained in terms of specific genre characteristics. The former result is consistent with a conception of memory for film that acknowledges the role of media-specific mental representations.It is suggested viewers possess a specific genre knowledge embodied in visual simulators that in most cases is dominant over genre knowledge embodied in event simulators, at least in a task requiring genre classification of film fragments lasting up to 24 seconds.

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Readers’ responses to sub-genre and rhyme scheme in poetry

Cited by 35 publications

References 10 publications

Processing punctuation and word changes in different editions of prose fiction

Processing punctuation and word changes in different editions of prose fiction

Listening to Limericks: A Pupillometry Investigation of Perceivers’ Expectancy

Narrative versus style: Effect of genre-typical events versus genre-typical filmic realizations on film viewers’ genre recognition

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