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The idea of this article is to take the immaterial and somehow ethereal nature of aesthetic concepts seriously by asking how aesthetic concepts are negotiated and thus formed in communication. My examples come from theatrical production where aesthetic decisions naturally play a major role. In the given case, an aesthetic concept is introduced with which only the director, but none of the actors is familiar in the beginning of the rehearsals. The concept, Wabi Sabi, comes from Japanese culture. As the whole rehearsal process was video recorded, it is possible to track the process of how the concept is negotiated and acquired over time. So, instead of defining criteria what Wabi Sabi as an aesthetic concept “consists of,” this article seeks to show how the concept is introduced, explained and “used” within a practical context, in this case a theater rehearsal. In contrast to conventional models of aesthetic experience, I am interested in the ways in which an aesthetic concept is configured in and through socially organized interaction, and — vice versa — how that interaction contributes to the situational accomplishment of the same concept. In short: I am interested in the “doing” of aesthetic concepts, especially in “doing Wabi Sabi.”
Repeating the movements associated with activities such as drawing or sports typically leads to improvements in kinematic behavior: these movements become faster, smoother, and exhibit less variation. Likewise, practice has also been shown to lead to faster and smoother movement trajectories in speech articulation. However, little is known about its effect on articulatory variability. To address this, we investigate the extent to which repetition and predictability influence the articulation of the frequent German word “sie” [zi] (they). We find that articulatory variability is proportional to speaking rate and the duration of [zi], and that overall variability decreases as [zi] is repeated during the experiment. Lower variability is also observed as the conditional probability of [zi] increases, and the greatest reduction in variability occurs during the execution of the vocalic target of [i]. These results indicate that practice can produce observable differences in the articulation of even the most common gestures used in speech.