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The neural processing of speech and music is still a matter of debate. A long tradition that assumes shared processing capacities for the two domains contrasts with views that assume domain-specific processing. We here contribute to this topic by investigating, in a functional magnetic imaging (fMRI) study, ecologically valid stimuli that are identical in wording and differ only in that one group is typically spoken (or silently read), whereas the other is sung: poems and their respective musical settings. We focus on the melodic properties of spoken poems and their sung musical counterparts by looking at proportions of significant autocorrelations (PSA) based on pitch values extracted from their recordings. Following earlier studies, we assumed a bias of poem-processing towards the left and a bias for song-processing on the right hemisphere. Furthermore, PSA values of poems and songs were expected to explain variance in left- vs. right-temporal brain areas, while continuous liking ratings obtained in the scanner should modulate activity in the reward network. Overall, poem processing compared to song processing relied on left temporal regions, including the superior temporal gyrus, whereas song processing compared to poem processing recruited more right temporal areas, including Heschl's gyrus and the superior temporal gyrus. PSA values co-varied with activation in bilateral temporal regions for poems, and in right-dominant fronto-temporal regions for songs. Continuous liking ratings were correlated with activity in the default mode network for both poems and songs. The pattern of results suggests that the neural processing of poems and their musical settings is based on their melodic properties, supported by bilateral temporal auditory areas and an additional right fronto-temporal network known to be implicated in the processing of melodies in songs. These findings take a middle ground in providing evidence for specific processing circuits for speech and music in the left and right hemisphere, but simultaneously for shared processing of melodic aspects of both poems and their musical settings in the right temporal cortex. Thus, we demonstrate the neurobiological plausibility of assuming the importance of melodic properties in spoken and sung aesthetic language alike, along with the involvement of the default mode network in the aesthetic appreciation of these properties.
This monograph contributes to research in content and language integrated learning (CLIL). Amidst the absence of any educational standards as well as other research deficits, Chapter II sketches a conceptual framework with a competence model for multilingual CLIL classes in the social sciences. It develops a line of argument for the promotion of global discourse competence for democratic participation within a transnational civil society. The subsequent four chapters, comprising one conceptual, one methodological and two empirical contributions, look at different aspects of the conceptual framework. Chapter III defends the developed competence model and further specifies its idea of thought in proposing the construction of multilingual 'cosmopolitan classroom glocalities' for the genesis of 21st century skills. The example of #climonomics, a multilingual EU parliamentary debate about climate change, illustrates its practical realization within school education and exemplifies the contribution to education for sustainable development (ESD) and the value of democratic and participatory learning arrangements. Chapter IV introduces design-based action research (DBAR), the method used in Chapters V & VI. DBAR is a hybrid of action and design-based research and is thereby ideally suited for bridging the gap of theory and practice in educational research. Chapter IV argues for closer cooperation between academics and practitioners, along with pragmatic stakeholder participation by involving students and teachers into research, in a quest for inductively making practical knowledge scientific. Chapter V, more language-biased, draws on the notion of translanguaging and presents the concept of 'trans-foreign-languaging' as a multilingual approach to CLIL with first language (L1) use. During six weeks DBAR, a comprehensive CLIL teaching model with judicious and principled L1 use was designed together with the study group. The model offers affordance-based and differentiated methods for different learner types. Its genesis is reconstructed by a thick description of the natural classroom dynamics. Chapter VI, rather subjectbased, asks about the influence of such bilingual language use on emotions, in particular on the formation of political judgments. It suggests different ways to measure emotions during various natural classroom settings. The chapter concludes that CLIL with L1 use has the potential to engender a perfect equilibrium of emotional and rational learning, integrating emotions into learning and valuing its positive contribution towards appropriate and multilayered political judgments. The concluding Chapter VII binds the previous chapters together and discusses the results. Criteria for the generalization of the results are assessed, and limits demarcated. It highlights the contribution to CLIL research and looks into the future, suggesting further direct classroom interventions, also with the goal to prepare the research field for larger undertakings.
KEIN SCHLUSSSTRICH! Bundesweites dezentrales Theaterprojekt zum NSU-Komplex : Die Nachbetrachtung
(2022)
This article examines Jamal Mahjoub's 2003 novel Travelling with Djinns from a transcultural perspective. Drawing on Wolfgang Welsch's definition of transculturality, I argue that the road trip plays an integral role in how the novel maps 21st century Europe as a heterogeneous construct. While driving from Germany through France to Spain, the main character Yasin adopts a fluid understanding of identity, informed by his experience of being on the move. Simultaneously, the novel conceptualises the European continent as irrevocably shaped by its history of migration, relating the road trip to other historic experiences of travel, migration and exile, some – but not all – of which linked to Europe's colonial past. Extensive intertextual references also support the novel's central idea that cultural encounters have shaped Europe for centuries. Since transcultural exchanges tend to be an ever-growing phenomenon in the face of mass migration, globalisation and communication technology, Travelling with Djinns sets out to underscore the continent's transcultural condition as both historic and ongoing.
Since Vietnamese is an isolating language, word order plays an important role in identifying the function of a particular word. Yet in some contexts word order may be flexible especially in the case of special information-structural settings. Discontinuous noun phrases constitute a specific case of non-canonical word order in Vietnamese.
I have conducted two read-speech experiments in order to find out whether there are prosodic or intonational effects in a comparison between continuous and discontinuous noun phrases in Vietnamese. In the first experiment, speakers from the Northern dialect were recorded and in the second experiment speakers from the Southern dialect. The results showed prosodic differences in the two word order conditions in both dialects. The duration of the classifier is significantly longer (p<0.001, ANOVA calculation) in the case of discontinuous noun phrases and the rising tone (sắc) is clearly articulated as rising. In the case of continuous noun phrases, the duration of the classifier is significantly shorter (p<0.001, ANOVA calculation) and a classifier with rising tone may lose its rising property. These prosodic effects are related to prosodic boundaries. In the case of discontinuous noun phrases, the classifier constitutes the prosodic boundary, whereas with continuous noun phrases, the (right) prosodic boundary occurs further to the right.
I assume that in Vietnamese there is generally a correspondence between syntactic and prosodic structure as in Selkirk (2011) and Féry (2017).
This means that for example the DP hai trái cam ‘two oranges’ (two CLF orange) is matched by a prosodic phrase, thus (hai trái cam)Φ. However, when the noun cam ‘orange’ is separated from the numeral-classifier complex, the noun and the classifier form a prosodic phrase on their own: (hai trái)Φ. It can thus be concluded that intonation effects in Vietnamese are not only present when expressing sentence modality and when changing the role of function words (Đỗ et al. 1998 and Hạ & Grice 2010), but they also play a role in word order change, as in discontinuous nominal phrases.
When it comes to syntactic aspects of discontinuous noun phrases, I discuss whether split constructions in Vietnamese involve movement as proposed by Trịnh (2011) or base-generation as put forward by Fanselow & Féry (2006). I argue for base-generation analysis since the second part of a discontinuous NP (remnant) may also occur outside of discontinuous noun phrases without its head noun and some discontinuous noun phrases do not have a continuous counterpart. My study confirms the connection between syntax and prosody.
The two parts of the discontinuous noun phrase form their own phrases syntactically as well as prosodically.