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Hauffs Werk und Erfolg wurden in der Forschung immer wieder aufs neue und variantenreich durch drei Topoi charakterisiert. [...] Die Wirkmächtigkeit dieser drei Topoi, Eklektizismus, Marktanpassung
und virtuose Technik, scheint so stark und umfassend zu sein, daß das Interesse der Forschung an Hauffs spezifischer Literarizität gegenüber der fast ausschließlichen Konzentration auf die soziologische Analyse eines Erfolgsautors marginalisiert wurde. [...] Vielmehr deutet vieles darauf hin, daß hinter den Marktstrategien Hauffs ein literaturästhetisches, ja sogar ein literaturpolitisches Konzept steht. Eine Voraussetzung für eine diesbezügliche neue Sicht auf Hauff und sein Werk dürfte allerdings sein, daß die spezifische politisch-publizistische Sondersituation Württembergs in den 20er Jahren des 19. Jahrhunderts in den Blick genommen wird.
Wenn die Beschäftigung mit dem Thema Erinnerung heutzutage als Mode erscheint, so indiziert das nichts anderes, als dass das Erinnern in ein Stadium der Selbstreflexion eingetreten ist, das das Vergessen nicht vergessen lässt. Zugleich erscheint das Erinnern durch den Bezug auf das Vergessen in einer dynamisierten Form, insofern es nicht mehr über einen einzelnen Term, sondern über das Wechselspiel zweier Terme erklärt wird. Dieses dynamisierende Spiel mit zwei Termen beschränkt sich in der aktuellen Memoriaforschung keineswegs auf das Erinnern und Vergessen. Vielmehr erscheint es als Effekt des mittlerweile erreichten selbstreflexiven Niveaus der Erinnerung und bestimmt auch, wie im Folgenden angedeutet werden soll, den Gegensatz von außerwissenschaftlicher Erinnerungsarbeit und wissenschaftlicher Erinnerungsforschung; da Nebeneinander von transdisziplinärer und interdisziplinärer Erinnerungsforschung, das Verhältnis von raum- und zeitorientierten Erinnerungsmodellen, den Zusammenhang von individuellem und kollektivem Gedächtnis, sowie die Spannung zwischen einer national bzw. lokal verorteten und einer global entorteten Erinnerung.
Der Beginn der literarischen Karriere des Andenkens lässt sich in der
empfindsamen Literatur ausmachen. Dort finden sich auch Hinweise auf die Genese des Alltagsphänomens, die auf eine besondere Beziehung von Andacht und Andenken deuten. Im Folgenden soll die historische Konstellation der beiden Kulturpraktiken Andacht und Andenken skizziert werden. Den Ausgangspunkt bildet die begriffsgeschichtlich bezeugte Verbindung von Andacht und Andenken. Danach soll diese Beziehung mediengeschichtlich, erinnerungstheoretisch und ästhetisch erhellt werden.
Das Unsichtbare in der Schrift : magische Texttheorie im Paracelsus-Diskurs der Frühen Neuzeit
(2005)
Die Metapher des "velum" nimmt ihren Ursprung in der antiken Texttheorie - und hat auch in der Sprachverwendung der natürlichen Magie ihren festen Platz. Paracelsus', Böhmes und Weigels Gedankenfigur von dem "velum" über den "mysteria" findet ihre - teilweise wortgleiche - Entsprechung in der Mythentheorie Bacons [...] und in der frühen Naturalmagie selbst.
In diesem Aufsatz möchte ich den Zusammenhang zwischen pikturalen Kosmographien und kosmologisch argumentierenden Texten analysieren, die aus dem Bereich des Paracelsismus stammen, einem europaweit von Philosophen, Ärzten, Alchemikern und Literaten geführten Diskurs des 16. und 17. Jahrhunderts, dessen Gegenstand die Ars magica oder Magia naturalis ist, und der sich durch einen Rückgriff auf die Autorität Paracelsus legitimiert.
Der folgende Beitrag rekapituliert anhand der aufeinander aufbauenden Positionen von Marcel Mauss, Georges Bataille und Jean Baudrillard zunächst die religionssoziologische Bestimmung des Tausches im Rahmen der polemischen Entgegensetzung von Archaik und Moderne der französischen Theoretiker, um in einem zweiten Schritt am Beispiel der Antigone auf die Frage nach dem Zusammenhang von Tausch und Tod zurückzukommen, die schon bei Hesiod aufgeleuchtet war und auf die Baudrillard mit dem Begriff des Symbolischen zurückzukommen versucht.
This paper discusses the typology of focus structure types (variation of information structuring in the clause) and how information structure can be used to explain all of the word order patterns in Chinese without reference to grammatical relations.
Das Medium, um das es in meinem Beitrag gehen soll, das Plakat, unterscheidet sich von jenen Medien, die in den anderen Beitragen dieses Bandes verhandelt werden, in einem. wesentlichen Punkt. Ob es sich nämlich um das Buch, die Zeitung, das Internet, die Oper, den Film, das Fernsehen oder das Radio handelt, so betreten wir die Raume, in denen diese Medien wie Rhetorik entfalten, mehr oder weniger willentlich. Das Buch haben wir in der Buchhandlung erstanden oder einer Bibliothek entliehen;' die Zeitung haben wir abonniert; die Fernsehbilder beginnen erst zu rauschen, nachdem wir das Gerät per Fernbedienung eingeschaltet haben; ins Kino oder ins Theater begeben wir uns nach Durchsicht des Spielplans. Ins Internet müssen wir uns einloggen und um Karten für die letzte Ausstellung in der Tübinger Kunsthalle haben wir unter Umstanden lange angestanden – Den Raum jedoch, in dem das Plakat seine rhetorische Wirkung entfaltet, betreten wir in der Regel auf sehr viel unvermitteltere Art und Weise, jedes Mal nämlich, wenn wir auf die Straße hinaustreten. Denn Plakate gehören mit einer solchen Selbstverständlichkeit zum urbanen Lebensraum der Moderne, dass uns für bloßes Vorkommen in einem gewissen Sinne kaum mehr auffällt. Um den Wahrheitswert dieser Aussage zu prüfen, genügt es schon, sich nur einmal zu vergegenwärtigen, an wie vielen Exemplaren dieser Gattung man allein im Verlauf eines einzigen Tages vorbeikommt. Mit ziemlicher Sicherheit werden wir bereits Schwierigkeiten haben, allein die Artzahl zu bestimmen, geschweige denn zu sagen, welchen Gegenständen sie gegolten haben. Aber das heißt keineswegs, dass diese Begegnungen spur- und wirkungslos an uns vorübergegangen waren. Denn auf eben diese Situation, auf den Umstand nämlich, dass ihm oft nur Sekunden bleiben, um seine rhetorische Macht zu entfalten, ist das Plakat sehr gut abgestellt. Fast ist man versucht, in Analogie zur Darwinschen Evolutionstheorie der biologischen Arten von einer optimalen Anpassung dieser Gattung an ihre Umwelt zu sprechen. Ja, diese Anpassung ist so hervorragend, dass von einem Veralten des Plakats selbst im Zeitalter der digitalen Medien nicht die Rede sein kann. 1m Gegenteil verzeichnet die Plakatbranche für die gerade zu Ende gegangenen neunziger Jahre enorme Wachstumsraten. Eine Erfolgsgeschichte also durchaus.
Die Frage, ob sich ästhetische Postulate ins Konzept des „ganzen Menschen“ integrieren lassen, rückt in den letzten Jahrzehnten des 18. Jahrhunderts immer mehr ins Zentrum des anthropologischen Diskurses. An ihr verlaufen Fronten, die den Anspruch auf Ganzheitlichkeit selbst zu fragmentarisieren scheinen. Zum Problem wird nämlich, ob das, was ein Ganzes ist - der Mensch in seinem unverschönerten physischen und psychischen Funktionszusammenhang -, überhaupt noch als ein Gegenstand betrachtet werden kann, der dem emphatischen Menschenbild des Jahrhunderts entspricht. [...] Während die Wissenschaften vom Menschen den Weg zu ihrer bevorstehenden Ausdifferenzierung im 19. Jahrhundert einschlagen und beginnen, die Idee der Ganzheit aufzugeben, rettet sich der Mensch vor den Folgen des ihm im 18. Jahrhundert gewidmeten Interesses erst einmal in die Ästhetisierung seiner Wertungssysteme. [...] Trotzdem ist nicht alles ein Ganzes, was schön ist, und schön, was ein Ganzes ist. Im anthropologischen Stimmengewirr sind auch Programme vernehmbar, die der anthropologischen Gefahr gegenüber unbekümmert den Anspruch auf eine philosophische Begründung des Menschen aufrechterhalten, ohne dessen Aisthetisierung in Ästhetisierung aufgehen zu lassen. Besonders interessant gestaltet sich dies im Fall Johann Karl Wezels, dessen Werk - neben zahlreichen anderen philosophischen und historischen Aktualitäten - auch mit dem zeitgleich entstehenden ästhetisch-anthropologischen Diskurs in unterschwelliger Diskussion steht.
Low- dimensional and speaker-independent linear vocal tract parametrizations can be obtained using the 3-mode PARAFAC factor analysis procedure first introduced by Harshman et al. (1977) and discussed in a series of subsequent papers in the Journal of the Acoustical Society of America (Jackson (1988), Nix et al. (1996), Hoole (1999), Zheng et al. (2003)). Nevertheless, some questions of importance have been left unanswered, e.g. none of the papers using this method has provided a consistent interpretation of the terms usually referred to as "speaker weights". This study attempts an exploration of what influences their reliability as a first step towards their consistent interpretation. With this in mind, we undertook a systematic comparison of the classical PARAFAC1 algorithm with a relaxed version, of it, PARAFAC2. This comparison was carried out on two different corpora acquired by the articulograph, which varied in vowel qualities, consonantal contexts, and the paralinguistic features accent and speech rate. The difference between these statistical approaches can grossly be described as follows: In PARAFAC1, observation units pertain to the same set of variables and the observation units are comparable. In PARAFAC2, observations pertain to the same set of variables, but observation units are not comparable. Such a situation can be easily conceived in a situation such as we are describing: The operationalization we took relies on the comparability of fleshpoint data acquired from different speakers, which need not be a good assumption due to influences like sensor placement and morphological conditions.
In particular, the comparison between the two different approaches is carried out by means of so-called "leverages" on different component matrices originating in regression analysis, calculated as v = diag(A(A A)−1A ) and delivering information on how "influential" a particular loading matrix is for the model. This analysis could potentially be carried out component by component, but we confined ourselves to effects on the global factor structure. For vowels, the most influential loadings are those for the tense cognates of non-palatal vowels. For speakers, the most prominent result is the relative absence of effects of the paralinguistic variables. Results generally indicate that there is quite little influence of the model specification (i.e. PARAFAC1 or PARAFAC2) on vowel and subject components. The patterns for the articulators indicate that there are strong differences between speakers with respect to the most influential measurement as revealed by PARAFAC2: In particular, the most influential y-contribution is the tongue-back for some talkers and the tongue-dorsum for other speakers. With respect to the speaker weights, again, the leverage patterns are very similar for both PARAFAC-versions. These patterns converge with the results of the loading plots, where the articulator profiles seem to be most altered by the use of PARAFAC2. These findings, in general, are interpreted as evidence for the reliability of the PARAFAC1 speaker weights.
It has been shown that visual cues play a crucial role in the perception of vowels and consonants. Conflicting consonantal stimuli presented in the visual and auditory modalities can even result in the emergence of a third perceptual unit (McGurk effect). From a developmental point of view, several studies report that newborns can associate the image of a face uttering a given vowel to the auditory signal corresponding to this vowel; visual cues are thus used by the newborns. Despite the large number of studies carried out with adult speakers and newborns, very little work has been conducted with preschool-aged children. This contribution is aimed at describing the use of auditory and visual cues by 4 and 5-year-old French Canadian speakers, compared to adult speakers, in the identification of voiced consonants. Audiovisual recordings of a French Canadian speaker uttering the sequences [aba], [ada], [aga], [ava], [ibi], [idi], [igi], [ivi] have been carried out. The acoustic and visual signals have been extracted and analysed so that conflicting and non-conflicting stimuli, between the two modalities, were obtained. The resulting stimuli were presented as a perceptual test to eight 4 and 5-year-old French Canadian speakers and ten adults in three conditions: visual-only, auditory-only, and audiovisual. Results show that, even though the visual cues have a significant effect on the identification of the stimuli for adults and children, children are less sensitive to visual cues in the audiovisual condition. Such results shed light on the role of multimodal perception in the emergence and the refinement of the phonological system in children.
In this paper the issue of the nature of the representations of the speech production task in the speaker's brain is addressed in a production-perception interaction framework. Since speech is produced to be perceived, it is hypothesized that its production is associated for the speaker with the generation of specific physical characteristics that are for the listeners the objects of speech perception. Hence, in the first part of the paper, four reference theories of speech perception are presented, in order to guide and to constrain the search for possible correlates of the speech production task in the physical space: the Acoustic Invariance Theory, the Adaptive Variability Theory, the Motor Theory and the Direct-Realist Theory. Possible interpretations of these theories in terms of representations of the speech production task are proposed and analyzed. In a second part, a few selected experimental studies are presented, which shed some light on this issue. In the conclusion, on the basis of the joint analysis of theoretical and experimental aspects presented in the paper, it is proposed that representations of the speech production task are multimodal, and that a hierarchy exists among the different modalities, the acoustic modality having the highest level of priority. It is also suggested that these representations are not associated with invariant characteristics, but with regions of the acoustic, orosensory and motor control spaces.
A fundamental question in the study of speech is about the invariance of the ultimate percepts, or features. The present paper gives an overview of the noninvariance problem and offers some hints towards a solution. Examination of various data on place and voicing perception suggests the following points. Features correspond to natural boundaries between sounds, which are included in the infant's predispositions for speech perception. Adult percepts arise from couplings and contextual interactions between features. Both couplings and interactions contribute to invariance. But this is at the expense of profound qualitative changes in perceptual boundaries implying that features are neither independently nor invariantly perceived. The question then is to understand the principles which guide feature couplings and interactions during perceptual development. The answer might reside in the fact that: (1) adult boundaries converge to a single point of the perceptual space, suggesting a context-free central reference; (2) this point corresponds to the neutral vocoïd, suggesting the reference is related to production; (3) at this point perceptual boundaries correspond to the natural ones, suggesting the reference is anchored in predispositions for feature perception. In sum, perceptual invariance seems to be grounded on a radial representation of the vocal tract around a singular point at which boundaries are context-fee, natural and coincide with the neutral vocoïd.
This paper presents the results of Open Quotient measurements in EGG signals of young (18 to 30 year old) and elderly (59 to 82 year old) male and female speakers. The paper further presents quantitative results on the relation between the OQ and the perception of a speaker's age. Higgins & Saxman (1991) found a decreased OQEGG with increasing age for females, whereas the OQEGG in sustained vowel material increased for males as the speakers age increased. In Linville (2002), however, the spectral amplitudes in the region of F0 (obtained by LTAS-measurements of read speech material) increased with increasing age independent of gender; this could be interpreted indirectly as an increasing OQ. We measured the OQEGG not only for sustained vowels, but also in vowels taken from isolated words. In order to analyse the relation between breathiness in terms of an increased OQ and the mean perceived age per stimulus a perception test was carried out in which listeners were asked to estimate speaker's age based on sustained /a/-vowel stimuli varying in vocal effort (soft - normal - loud) during production. The results indicated the following: (i) The decreased OQ for elderly females originally found by Higgins & Saxman is not apparent in our data for sustained /a/-vowels. For our female speakers no significant difference between the OQ of young and old speakers was found; for elderly males, however, we also found an increasing OQ with increasing age.(ii) In addition, a statistically significant increased OQEGG occurs for the group of the elderly males for the vowels from the word material. (iii) Our results show a strong positive relation between perceived age and OQ in male voices. Regarding (i) and (ii), at least the male speaker's voice becomes more breathy as age increases. Considering (iii), increased breathiness may contribute to the listener’s perception of increased age.
Studying kinematic behavior in speech production is an indispensable and fruitful methodology in order to describe for instance phonemic contrasts, allophonic variations, prosodic effects in articulatory movements. More intriguingly, it is also interpreted with respect to its underlying control mechanisms. Several interpretations have been borrowed from motor control studies of arm, eye, and limb movements. They do either explain kinematics with respect to a fine tuned control by the Central Nervous System (CNS) or they take into account a combination of influences arising from motor control strategies at the CNS level and from the complex physical properties of the peripheral speech apparatus. We assume that the latter is more realistic and ecological. The aims of this article are: first, to show, via a literature review related to the so called '1/3 power law' in human arm motor control, that this debate is of first importance in human motor control research in general. Second, to study a number of speech specific examples offering a fruitful framework to address this issue. However, it is also suggested that speech motor control differs from general motor control principles in the sense that it uses specific physical properties such as vocal tract limitations, aerodynamics and biomechanics in order to produce the relevant sounds. Third, experimental and modelling results are described supporting the idea that the three properties are crucial in shaping speech kinematics for selected speech phenomena. Hence, caution should be taken when interpreting kinematic results based on experimental data alone.
Syllable cut is said to be a phonologically distinctive feature in some languages where the difference in vowel quantity is accompanied by a difference in vowel quality like in German. There have been several attempts to find the corresponding phonetic correlates for syllable cut, from which the energy measurements of vowels by Spiekermann (2000) proved appropriate for explaining the difference between long, i.e. smoothly, and short, i.e. abruptly cut, vowels: in smoothly cut vowels, a larger number of peaks was counted in the energy contour which were located further back than in abruptly cut segments, and the overall energy was more constant throughout the entire nucleus. On this basis, we intended to compare German as a syllable cut language and Hungarian where the feature was not expected to be relevant. However, the phonetic correlates of syllable cut found in this study do not entirely confirm Spiekermann's results. It seems that the energy features of vowels are more strongly connected to their duration than to their quality.
This study reports on the results of an airflow experiment that measured the duration of airflow and the amount of air from release of a stop to the beginning of a following vowel in stop vowel-sequences of German. The sequences involved coronal, labial and velar voiced and voiceless stops followed by the vocoids /j, i:, ı, ɛ, ʊ, a/. The experiment tested the influence of the three factors voicing of stop, place of stop articulation, and the following vocoid context on the duration and amount of air as possible explanation for assibilation processes. The results show that the voiceless stops are related to a longer duration and more air in the release phase than voiced ones. For the influence of the vocoids, a significant difference could be established between /j/ and all other vocoids for the duration of the release phase. This difference could not be found for the amount of air over this duration. The place of articulation had only restricted influence. Velars resulted in significantly longer duration of the release phase compared to non-velars. A significant difference in amount of air between the places of articulation could not be found.
The present article is a follow-up study of the investigation of labiodentals in German and Dutch by Hamann & Sennema (2005), where we looked at the perception of the Dutch labiodental three-way contrast by German listeners without any knowledge of Dutch and German learners of Dutch. The results of this previous study suggested that the German voiced labiodental fricative /v/ is perceptually closer to the Dutch approximant /ʋ/ than to the corresponding Dutch voiced labiodental fricative /v/. These perceptual indications are attested by the acoustic findings in the present study. German /v/ has a similar harmonicity median and a similar centre of gravity to Dutch /ʋ/, but differs from Dutch /v/ in these parameters. With respect to the acoustic parameter of duration, German /v/ lies closer to the Dutch /v/ than to the Dutch /ʋ/.
(Non)retroflexivity of slavic affricates and its motivation : Evidence from polish and czech <č>
(2005)
The goal of this paper is two-fold. First, it revises the common assumption that the affricate <č> denotes /t͡ʃ/ for all Slavic languages. On the basis of experimental results it is shown that Slavic <č> stands for two sounds: /t͡ʃ/ as e.g. in Czech and /ʈʂ/ as in Polish.
The second goal of the paper is to show that this difference is not accidental but it is motivated by perceptual relations among sibilants. In Polish, /t͡ʃ/ changed to /ʈʂ/ thus lowering its sibilant tonality and creating a better perceptual distance to /tɕ/, whereas in Czech /t͡ʃ/ did not turn to /ʈʂ/, as the former displayed sufficient perceptual distance to the only affricate present in the inventory, namely, the alveolar /t͡s/. Finally, an analysis of Czech and Polish affricate inventories is offered.
While the perilinguistic child is endowed with predispositions for the categorical perception of phonetic features, their adaptation to the native language results from a long evolution from the end of the first year of age up to the adolescence. This evolution entails both a better discrimination between phonological categories, a concomitant reduction of the discrimination between within-category variants, and a higher precision of perceptual boundaries between categories. The first objective of the present study was to assess the relative importance of these modifications by comparing the perceptual performances of a group of 11 children, aged from 8 to 11 years, with those of their mothers. Our second objective was to explore the functional implications of categorical perception by comparing the performances of a group of 8 deaf children, equipped with a cochlear implant, with normal-hearing chronological age controls. The results showed that the categorical boundary was slightly more precise and that categorical perception was consistently larger in adults vs. normal-hearing children. Those among the deaf children who were able to discriminate minimal distinctions between syllables displayed categorical perception performances equivalent to those of normal-hearing controls. In conclusion, the late effect of age on the categorical perception of speech seems to be anchored in a fairly mature phonological system, as evidenced the fairly high precision of categorical boundaries in pre-adolescents. These late developments have functional implications for speech perception in difficult conditions as suggested by the relationship between categorical perception and speech intelligibility in cochlear implant children.