Refine
Document Type
- Article (4)
- Part of a Book (1)
Language
- English (5)
Has Fulltext
- yes (5)
Keywords
- Lyrik / Lyrik (5)
- Verstehen (3)
- Augenfolgebewegung (2)
- Leseverhalten (2)
- Abweichung (1)
- Altchinesisch (1)
- Couplet (1)
- Dichtersprache (1)
- Erwartung (1)
- Fachwissen (1)
Publicationstate
- Veröffentlichungsversion (4)
- Postprint (1)
- Zweitveröffentlichung (1)
Reviewstate
- Peer-Review (5)
Publisher
- Elsevier (1)
- Finnish Literature Society (1)
- Routledge (1)
- Royal Society (1)
- Universitätsbibliothek Bern (1)
We report results from an exploratory study of college students’ conceptions of poetry in which we asked them to name three things they expect from a poem. Frequency- and list-based analyses of their responses revealed that they primarily expect poems to rhyme, but they also identified a number of form-, content-, and reception-related genre expectations, which we discuss in relation to relevant previous research. We propose that rhyme’s predominance in college students’ genre expectations reflects its perceptual and cognitive salience during incremental poetry comprehension rather than its frequency in contemporary poetic practice. Our results characterize the genre conceptions of the population that empirical studies of poetry comprehension typically investigate, and thus provide relevant background information for the interpretation of empirical
findings in this field.
We examined genre-specific reading strategies for literary texts and hypothesized that text categorization (literary prose vs. poetry) modulates both how readers gather information from a text (eye movements) and how they realize its phonetic surface form (speech production). We recorded eye movements and speech while college students (N = 32) orally read identical texts that we categorized and formatted as either literary prose or poetry. We further varied the text position of critical regions (text-initial vs. text-medial) to compare how identical information is read and articulated with and without context; this allowed us to assess whether genre-specific reading strategies make differential use of identical context information. We observed genre-dependent differences in reading and speaking tempo that reflected several aspects of reading and articulation. Analyses of regions of interests revealed that word-skipping increased particularly while readers progressed through the texts in the prose condition; speech rhythm was more pronounced in the poetry condition irrespective of the text position. Our results characterize strategic poetry and prose reading, indicate that adjustments of reading behavior partly reflect differences in phonetic surface form, and shed light onto the dynamics of genre-specific literary reading. They generally support a theory of literary comprehension that assumes distinct literary processing modes and incorporates text categorization as an initial processing step.
Studying the role of expertise in poetry reading, we hypothesized that poets’ expert knowledge comprises genre-appropriate reading- and comprehension strategies that are reflected in distinct patterns of reading behavior.
We recorded eye movements while two groups of native speakers (n=10 each) read selected Russian poetry: an expert group of professional poets who read poetry daily, and a control group of novices who read poetry less than once a month. We conducted mixed-effects regression analyses to test for effects of group on first-fixation durations, first-pass gaze durations, and total reading times per word while controlling for lexical- and text variables.
First-fixation durations exclusively reflected lexical features, and total reading times reflected both lexical- and text variables; only first-pass gaze durations were additionally modulated by readers’ level of expertise. Whereas gaze durations of novice readers became faster as they progressed through the poems, and differed between line-final words and non-final ones, poets retained a steady pace of first-pass reading throughout the poems and within verse lines. Additionally, poets’ gaze durations were less sensitive to word length.
We conclude that readers’ level of expertise modulates the way they read poetry. Our findings support theories of literary comprehension that assume distinct processing modes which emerge from prior experience with literary texts.
Poetic diction routinely involves two complementary classes of features: (i) parallelisms, i.e. repetitive patterns (rhyme, metre, alliteration, etc.) that enhance the predictability of upcoming words, and (ii) poetic deviations that challenge standard expectations/predictions regarding regular word form and order. The present study investigated how these two prediction-modulating fundamentals of poetic diction affect the cognitive processing and aesthetic evaluation of poems, humoristic couplets and proverbs. We developed quantitative measures of these two groups of text features. Across the three text genres, higher deviation scores reduced both comprehensibility and aesthetic liking whereas higher parallelism scores enhanced these. The positive effects of parallelism are significantly stronger than the concurrent negative effects of the features of deviation. These results are in accord with the hypothesis that art reception involves an interplay of prediction errors and prediction error minimization, with the latter paving the way for processing fluency and aesthetic liking.
Ancient Chinese poetry is constituted by structured language that deviates from ordinary language usage; its poetic genres impose unique combinatory constraints on linguistic elements. How does the constrained poetic structure facilitate speech segmentation when common linguistic and statistical cues are unreliable to listeners in poems? We generated artificial Jueju, which arguably has the most constrained structure in ancient Chinese poetry, and presented each poem twice as an isochronous sequence of syllables to native Mandarin speakers while conducting magnetoencephalography (MEG) recording. We found that listeners deployed their prior knowledge of Jueju to build the line structure and to establish the conceptual flow of Jueju. Unprecedentedly, we found a phase precession phenomenon indicating predictive processes of speech segmentation—the neural phase advanced faster after listeners acquired knowledge of incoming speech. The statistical co-occurrence of monosyllabic words in Jueju negatively correlated with speech segmentation, which provides an alternative perspective on how statistical cues facilitate speech segmentation. Our findings suggest that constrained poetic structures serve as a temporal map for listeners to group speech contents and to predict incoming speech signals. Listeners can parse speech streams by using not only grammatical and statistical cues but also their prior knowledge of the form of language.