We investigated the perception of developmental changes in timing patterns that happen in the course of second language (L2) acquisition, provided that the native and the target languages of the learner are rhythmically similar (German and English). It was found that speech rhythm in L2 English produced by German learners becomes increasingly stress-timed as acquisition progresses. This development is captured by the tempo-normalized rhythm measures of durational variability. Advanced learners also deliver speech at a faster rate. (...) However, when native speakers have to classify the timing patterns characteristic of L2 English of German learners at different proficiency levels, they attend to speech rate cues and ignore the differences in speech rhythm. (shrink)

Temporal patterns in human movement, and in speech in particular, occur on multiple timescales. Regularities in such patterns have been observed between speech gestures, which are relatively quick movements of articulators (e.g., tongue fronting and lip protrusion), and also between rhythmic units (e.g., syllables and metrical feet), which occur more slowly. Previous work has shown that patterns in both domains can be usefully modeled with oscillatory dynamical systems. To investigate how rhythmic and gestural domains interact, an experiment was (...) conducted in which speakers performed a phrase repetition task, and gestural kinematics were recorded using electromagnetic articulometry. Variance in relative timing of gestural movements was correlated with variance in rhythmic timing, indicating that gestural and rhythmic systems interact in the process of planning and producing speech. A model of rhythmic and gestural planning oscillators with multifrequency coupling is presented, which can simulate the observed covariability between rhythmic and gestural timing. (shrink)

Introduction. A radical tendency in modern approaches to understanding the mechanisms of the brain is the tendency of some scientists to believe that the brain is a receptor capable of capturing thoughts; the nature of the occurrence of the thoughts themselves, however, is not to be clarified. However, speech expressing thoughts is undoubtedly the result of the work of the brain, so studies of the frequency structure of speech can be the basis for considering the material structure of (...) the brain as a kind of “antenna”. In this approach, the problem of noise protection against the background of the undeniable frequency similarity of speech and music appears to us from somewhat different positions. This study raises the question of how essential the overall height of the musical system is to the perception of music (are there musical systems that are harmful or useful, in terms of their effects on the psyche). This question is also relevant to speech perception.Methodology and sources. The main sources in which the work of the brain and the essence of consciousness are considered from the positions indicated above were for us the work of American and British neurophysiologists and psychiatrists (Sam Parnia, Peter Fenwick). These scientists are studying the phenomena that accompany clinical death, and argue that at these moments the brain functions to the greatest extent as a receiving “antenna”. Assuming that any antenna is to be tuned, we are trying to identify possible ways to “tune” the brain. To do this, we propose to study the frequency characteristics of speech (in the simplest case, when singing vowels in a calm state) for their belonging to a particular musical system, as well as the peculiarities of music perception depending on the musical system (on the height of the note “la”). Varying the frequency characteristics of speech in a particular musical system can be considered, in our opinion, the main way to “tune” the brain. The methodology of the method is based on the use of frequency analysis of sound and the basic provisions of the elementary theory of music.Results and discussion. The main conclusion made by Western psychiatrists is the brain is not an organ of thought, consciousness exists independently from outside, the work of consciousness cannot be explained by the functioning of the brain – it requires a hardware check. If the neural network is an “antenna” that captures thoughts, and its “adjustment” at the physical level can be carried out (and is carried out) through sensory systems (including the hearing organ), the study of the frequency structure of speech will answer a number of important questions, including including related and higher brain functions (insight, creativity). Our experiments (Saint Petersburg Electrotechnical University, FIBS, department of EUT) showed that the influence of the “increased” or “lowered” musical-speech system on brain activity is insignificant. The study revealed the equiprobability of the frequency structure of speech. Since our brain lacks some characteristic set of frequencies – elements of a uniformly temperamental system, it is not necessary to talk about the harmful (or any other noise) effect of the “raised” and “lowered” systems due to deviation from the “internal standard”.Conclusion. In response to the assumptions made by Western experts, we proposed a frequency interpretation of the processes occurring in the brain, which, perhaps, will explain in more detail such phenomena as inspiration, discovery, etc., which occur with minimal activity of consciousness. Despite the limited methods of hardware study of factors that influence the activity of the brain and largely determine its higher functions (for example, creativity), the results of the brain's work in relation to music (both in terms of its creation and in terms of our reaction to it) are quite analyzable, which was shown in this study. The “musicality” of speech is extremely vividly represented in its frequency structure and allows one to reveal, to one degree or another, the features of the brain. (shrink)

The available evidence indicates that the music of a culture reflects the speech rhythm of the prevailing language. The normalized pairwise variability index (nPVI) is a measure of durational contrast between successive events that can be applied to vowels in speech and to notes in music. Music–language parallels may have implications for the acquisition of language and music, but it is unclear whether native-language rhythms are reflected in children's songs. In general, children's songs exhibit greater rhythmic regularity (...) than adults' songs, in line with their caregiving goals and frequent coordination with rhythmic movement. Accordingly, one might expect lower nPVI values (i.e., lower variability) for such songs regardless of culture. In addition to their caregiving goals, children's songs may serve an intuitive didactic function by modeling culturally relevant content and structure for music and language. One might therefore expect pronounced rhythmic parallels between children's songs and language of origin. To evaluate these predictions, we analyzed a corpus of 269 English and French songs from folk and children's music anthologies. As in prior work, nPVI values were significantly higher for English than for French children's songs. For folk songs (i.e., songs not for children), the difference in nPVI for English and French songs was small and in the expected direction but non-significant. We subsequently collected ratings from American and French monolingual and bilingual adults, who rated their familiarity with each song, how much they liked it, and whether or not they thought it was a children's song. Listeners gave higher familiarity and liking ratings to songs from their own culture, and they gave higher familiarity and preference ratings to children's songs than to other songs. Although higher child-directedness ratings were given to children's than to folk songs, French listeners drove this effect, and their ratings were uniquely predicted by nPVI. Together, these findings suggest that language-based rhythmic structures are evident in children's songs, and that listeners expect exaggerated language-based rhythms in children's songs. The implications of these findings for enculturation processes and for the acquisition of music and language are discussed. (shrink)

Perception of temporal patterns is fundamental to normal hearing, speech, motor control, and music. Certain types of pattern understanding are unique to humans, such as musical rhythm. Although human responses to musical rhythm are universal, there is much we do not understand about how rhythm is processed in the brain. Here, I consider findings from research into basic timing mechanisms and models through to the neuroscience of rhythm and meter. A network of neural areas, including (...) motor regions, is regularly implicated in basic timing as well as processing of musical rhythm. However, fractionating the specific roles of individual areas in this network has remained a challenge. Distinctions in activity patterns appear between "automatic" and "cognitively controlled" timing processes, but the perception of musical rhythm requires features of both automatic and controlled processes. In addition, many experimental manipulations rely on participants directing their attention toward or away from certain stimulus features, and measuring corresponding differences in neural activity. Many temporal features, however, are implicitly processed whether attended to or not, making it difficult to create controlled baseline conditions for experimental comparisons. The variety of stimuli, paradigms, and definitions can further complicate comparisons across domains or methodologies. Despite these challenges, the high level of interest and multitude of methodological approaches from different cognitive domains (including music, language, and motor learning) have yielded new insights and hold promise for future progress. (shrink)

The Qur’ānic rhythmicity, represented in the intonations of the music emitted in folds of the Great Qur'ān came as the basis for the passion for recitation and listening pleasure. Although there have been several studies on this subject, the focus of the research has been on rhythmic forms: What they are, their composition, and the effect of their representation in Qur’ānic styles as a kind of renewed vision, understanding, and perception of Qur’ānic discourse. The research, therefore, followed the approach of (...) characterizing these forms and analyzing them by devising the bonds that made the rhythm spread meaning differently. It began by referring to the role of music provided by the rhythms of the Qur’ānic verses in paying attention to the vocal miracle, next presents the basic types of this rhythm and shows the foundations of this study that support the idea of its presence in the verses, to highlight its role in clarifying the meaning. This study focused on illustrating the forms of rhythm, ranging from the splendid through the rhythm of the suggestive rhythm, and ending with the syllabic rhythm, by describing each form and searching for it between letters, words, structures, and methods. Besides, it pays attention to rhythm's effects and indicates its reflection on meaning. The research has shown that the rhythm makes emotion peak, showing meaning embodied in terms. This embodiment represents the power of performance in demonstrating the exact purpose of speech choices within specific contexts and through various exquisite styles colored in psychological meanings. The importance and objectives of the research Rhythm are directly related to the different connotations it generates. Phonetic formations are activities and interactions between meanings. The sound structure, an essential element in the Holy Qur’ān, is one of the elements that form the rhythm in the structure of the verses of the Qur’ān. Its interaction with other elements contributes to shaping the Qur’ānic discourse with its creative vision and artistic and aesthetic dimensions while showing verbal consistency, collecting homogeneous words, and linking words. Common and synonymous in one sentence is something that avoids the language, and we find it common in the language of the Qur’ān to the maximum extent, to give it a harmonious rhythm distinct from the rhythm of poetry among the Arabs, and this is what attracted them to it and prompted them to pay attention to what it conveyed to them. (shrink)

Previous chapter Rhythm as Ornament of Speech – Cicero's De oratore As one may know, in De oratore, Cicero exposes through the character of Crassus a full-fledged theory of rhetoric. The latter starts his speech by emphasizing that there is no science, that is no speculatively elaborated knowledge of oratory and that this theory in modern sense is no theoria in Latin or Greek sense. It is much closer to the practical knowledge gathered through - Sur le (...) concept de rythme – Nouvel article. (shrink)

Ce texte a déjà paru dans Arno Böhler, Christian Herzog, Alice Pechriggl , Korporale Performanz, Zur bedeutungsgenerierenden Dimension des Leibes, Bielefeld, Transcript, 2013, S. 87-106. Nous remercions Sophie Klimis de nous avoir autorisé à le reproduire ici. To introduce my speech, I must make three preliminary methodological remarks. The first is that I will express myself in English, which is neither my mother tongue, nor yours. As I have never lived in an English-speaking country, I - Pour une éthique (...) et une politique du rythme – Nouvel article. (shrink)

The paper analyses the formal features of the characters of Oresteia in Greek tragedy. The protagonists and the minor characters are compared, for which the rhythmical liveliness and variability of the personages’ utterances, the length and number of utterances, and the number of dialogue verses in the metrical repertoire of the corresponding personage are taken into account. The analysis revealed that the data of Sophocles and Euripides are more close to each other both in the respect of general “liveliness” and (...) the “liveliness” of characters’ utterances. Certain differences in the metrics and rhythmics of the main and minor characters’ verses become most obvious when we compare Electra’s part with minor characters (e. g., in Electra’s part there is always the biggest proportion of lyrical parts, more unstandard settlements, more verses with splits than any other character). The index of liveliness of Electra’s part is almost the same in all the authors. Although the same tendencies in Orestes are more schematical, the metrics and rhythmics of his utterances are rather similar to those of Electra. Thus, in respect of the proportion of lyrical verses, he always comes second after Electra; he also has quite many split verses. The parts of minor characters are usually made up entirely of iambic trimesters, the rhythmical variety of their speeches is higher than average, but there are no splits in their parts (except for Aegisthus). However, there are characters which parts have unstandard rhythm, e.g., the pedagogue in Sophocles or Chrysothemis, who is a contrast to Electra by her nature as well as her rhythmics. The contrast with other minor characters is even bigger. Clytaemnestra’s part is both rhythmically and metrically intermediate: inAeschylus her utterances consist entirely of iambic trimeters, but in Sophocles and Euripides she pronounces also a couple of lyrical verses. There are alsosome splits in her verses which usually do not occur in minor persons. (shrink)

The paper analyses the formal features of the characters of Oresteia in Greek tragedy. The protagonists and the minor characters are compared, for which the rhythmical liveliness and variability of the personages’ utterances, the length and number of utterances, and the number of dialogue verses in the metrical repertoire of the corresponding personage are taken into account. The analysis revealed that the data of Sophocles and Euripides are more close to each other both in the respect of general “liveliness” and (...) the “liveliness” of characters’ utterances. Certain differences in the metrics and rhythmics of the main and minor characters’ verses become most obvious when we compare Electra’s part with minor characters (e. g., in Electra’s part there is always the biggest proportion of lyrical parts, more unstandard settlements, more verses with splits than any other character). The index of liveliness of Electra’s part is almost the same in all the authors. Although the same tendencies in Orestes are more schematical, the metrics and rhythmics of his utterances are rather similar to those of Electra. Thus, in respect of the proportion of lyrical verses, he always comes second after Electra; he also has quite many split verses. The parts of minor characters are usually made up entirely of iambic trimesters, the rhythmical variety of their speeches is higher than average, but there are no splits in their parts (except for Aegisthus). However, there are characters which parts have unstandard rhythm, e.g., the pedagogue in Sophocles or Chrysothemis, who is a contrast to Electra by her nature as well as her rhythmics. The contrast with other minor characters is even bigger. Clytaemnestra’s part is both rhythmically and metrically intermediate: inAeschylus her utterances consist entirely of iambic trimeters, but in Sophocles and Euripides she pronounces also a couple of lyrical verses. There are alsosome splits in her verses which usually do not occur in minor persons. (shrink)

Temporal regularities in speech, such as interdependencies in the timing of speech events, are thought to scaffold early acquisition of the building blocks in speech. By providing on-line clues to the location and duration of upcoming syllables, temporal structure may aid segmentation and clustering of continuous speech into separable units. This hypothesis tacitly assumes that learners exploit predictability in the temporal structure of speech. Existing measures of speech timing tend to focus on first-order regularities (...) among adjacent units, and are overly sensitive to idiosyncrasies in the data they describe. Here, we compare several statistical methods on a sample of 18 languages, testing whether syllable occurrence is predictable over time. Rather than looking for differences between languages, we aim to find across languages (using clearly defined acoustic, rather than orthographic, measures), temporal predictability in the speech signal which could be exploited by a language learner. First, we analyse distributional regularities using two novel techniques: a Bayesian ideal learner analysis, and a simple distributional measure. Second, we model higher-order temporal structure—regularities arising in an ordered series of syllable timings—testing the hypothesis that non-adjacent temporal structures may explain the gap between subjectively-perceived temporal regularities, and the absence of universally-accepted lower-order objective measures. Together, our analyses provide limited evidence for predictability at different time scales, though higher-order predictability is difficult to reliably infer. We conclude that temporal predictability in speech may well arise from a combination of individually weak perceptual cues at multiple structural levels, but is challenging to pinpoint. (shrink)

Isochrony is crucial to the rhythm of human music. Some neural, behavioral and anatomical traits underlying rhythm perception and production are shared with a broad range of species. These may either have a common evolutionary origin, or have evolved into similar traits under different evolutionary pressures. Other traits underlying rhythm are rare across species, only found in humans and few other animals. Isochrony, or stable periodicity, is common to most human music, but isochronous behaviors are also found (...) in many species. It appears paradoxical that humans are particularly good at producing and perceiving isochronous patterns, although this ability does not conceivably confer any evolutionary advantage to modern humans. This article will attempt to solve this conundrum. To this end, we define the concept of isochrony from the present functional perspective of physiology, cognitive neuroscience, signal processing, and interactive behavior, and review available evidence on isochrony in the signals of humans and other animals. We then attempt to resolve the paradox of isochrony by expanding an evolutionary hypothesis about the function that isochronous behavior may have had in early hominids. Finally,we propose avenues for empirical research to examine this hypothesis and to understand the evolutionary origin of isochrony in general. (shrink)

Culture can be said to be about the business of 'self-replication'. From the moment of conception, it impresses its patterns and rhythms on the developing, infinitely plastic neuronal substrate of the fetal organism. It shapes this substrate to become preferentially sensitive to its patterns and thus to seek to replicate them as an adult. This process of neural shaping continues throughout life as the capacity of the brain to reorganize itself according to the uses to which it addresses itself never (...) ceases. The extraordinary capacity of culture to extract different abilities from the biological form is clearly manifest in the lexical, vocal, tool manufacture, and writing capabilities emerging in bonobos raised in a Pan/Homo culture. These findings render moot old questions regarding the innate limits of the ape brain. They raise instead far more productive questions about the form and function of the perpetual dance that is constantly taking place between plastic neuronal systems and their external culturally devised ways of being. (shrink)

In Plato’s Symposium Eryximachus provides a metaphysical theory based on the attraction of basic elements which he applies to a variety of domains, including music. In the text of his speech there is a variation in the manuscripts at 187d2 between two readings, “μέλεσί τε καὶ μέτροις” and “μέλεσί τε καὶ ῥυθμοῖς”. Though the former is almost universally followed, I argue that the latter is the correct reading, based on three sources of evidence: (1) the manuscript tradition, (2) Plato’s (...) style and diction, and (3) the logic of the passage. In all three cases ῥυθμοῖς is the preferable reading. (shrink)

Individuals typically produce auditory sequences, such as speech or music, at a consistent spontaneous rate or tempo. We addressed whether spontaneous rates would show patterns of convergence across the domains of music and language production when the same participants spoke sentences and performed melodic phrases on a piano. Although timing plays a critical role in both domains, different communicative and motor constraints apply in each case and so it is not clear whether music and speech would display similar (...) timing mechanisms. We report the results of two experiments in which adult participants produced sequences from memory at a comfortable spontaneous (uncued) rate. In Experiment 1, monolingual pianists in Buffalo, New York engaged in three production tasks: speaking sentences from memory, performing short melodies from memory, and tapping isochronously. In Experiment 2, English-French bilingual pianists in Montréal, Canada produced melodies on a piano as in Experiment 1, and spoke short rhythmically-structured phrases repeatedly. Both experiments led to the same pattern of results. Participants exhibited consistent spontaneous rates within each task. People who produced one spoken phrase rapidly were likely to produce another spoken phrase rapidly. This consistency across stimuli was also found for performance of different musical melodies. In general, spontaneous rates across speech and music tasks were not correlated, whereas rates of tapping and music were correlated. Speech rates (for syllables) were faster than music rates (for tones) and speech showed a smaller range of spontaneous rates across individuals than did music or tapping rates. Taken together, these results suggest that spontaneous rate reflects cumulative influences of endogenous rhythms (in consistent self-generated rates within domain), peripheral motor constraints (in finger movements across tapping and music), and communicative goals based on the cultural transmission of auditory information (slower rates for to-be-synchronized music than for speech). (shrink)

Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies (...) implementing auditory same-different tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience (“song memory advantage hypothesis”), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember (“experience advantage hypothesis”). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch–a feature that characterises music across cultures–might be that it enhances auditory memory. (shrink)

Rhythmic structure in speech is characterized by sequences of stressed and unstressed syllables. A large body of literature suggests that speakers of English attempt to achieve rhythmic harmony by evenly distributing stressed syllables throughout prosodic phrases. The question remains as to how speakers plan metrical structure during speech production and whether it is planned independently of phonemes. To examine this, we designed a tongue twister task consisting of disyllabic word pairs with overlapping phonological segments and either matching or (...) non‐matching metrical structure. Results showed that speakers had more difficulty producing metrically regular word pairs, compared to irregular pairs; that is, word pairs with irregular meter had faster productions and fewer speech errors in this production task. This finding of metrical regularity inhibiting production is inconsistent with an abstract metrical structure that is planned independently of phonemes at the point of phonological encoding. (shrink)

Perceptual grouping is fundamental to many auditory processes. The Iambic–Trochaic Law (ITL) is a default grouping strategy, where rhythmic alternations of duration are perceived iambically (weak‐strong), while alternations of intensity are perceived trochaically (strong‐weak). Some argue that the ITL is experience dependent. For instance, French speakers follow the ITL, but not as consistently as German speakers. We hypothesized that learning about prosodic patterns, like word stress, modulates this rhythmic grouping. We tested this idea by training French adults on a German‐like (...) stress contrast. Individuals who showed better phonological learning had more ITL‐like grouping, particularly over duration cues. In a non‐phonological condition, French adults were trained using identical stimuli, but they learned to attend to acoustic variation that was not linguistic. Here, no learning effects were observed. Results thus suggest that phonological learning can modulate low‐level auditory grouping phenomena, but it is constrained by the ability of individuals to learn from short‐term training. (shrink)

When infants and toddlers are confronted with sequences of sounds, they are required to segment the sounds into meaningful units to achieve sufficient understanding. Rhythm has been regarded as a crucial cue for segmentation of speech sounds. Although previous intermodal methods indicated that infants and toddlers could detect differences in speech sounds based on stress-timed and syllable-timed units, these methods could not clearly indicate how infants and toddlers perform sound segmentation. Thus, the present study examined whether Japanese (...) infants and toddlers could segment word speech sounds comprising basic morae, on the basis of concurrent basic mora units within syllable units, using the new intermodal matching procedure. The results indicated that, regardless of their ages and linguistic abilities, Japanese infants and toddlers aged 6–25 months tended to segment Japanese words comprising basic morae sounds on the basis of concurrent basic mora units within syllable units. This implies that infants' and toddlers' use of syllable units for segmentation of speech sounds at an early age could be evident among many infants and toddlers learning various languages. Although this finding should be interpreted carefully, the present study demonstrated the utility of the new intermodal matching procedure for examining segmentation of speech sounds and word sounds by infants and toddlers, on the basis of specific rhythm units. (shrink)

The nineteenth-century poet, critic and philosopher, Samuel Taylor Coleridge, once characterized the mind of William Shakespeare as "oceanic". Oceans, of course, teem with myriad forms of life: is philosophy one such form in the oceanic vastness of Shakespeare 's creative genius? If so, how do we identify philosophic elements in his plays and assess the place they occupy? What sense does it make to speak of "philosophical criticism" of individual plays? How does Shakespeare incorporate epistemologies of his own time and (...) how dramatically appropriate are they? To what extent is Shakespeare of use to contemporary philosophers and how does he anticipate them; and, vice-versa, can such philosophies refine our understanding of certain issues to which literary critics may fail to do justice? That is, can philosophy take us beyond the purely literary examination of plot structure, character, poetic imagery, speech rhythms, dialogues, settings, etc. to grant us new insight into the problematical issues the plays raise? In the time at my disposal, I am going to attempt some answers to at least some of these questions, by dwelling briefly on The Merchant of Venice, Romeo and Juliet, and Hamlet. (shrink)

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) enhances the perception of musical rhythmic variation in general, regardless of first and second languages’ rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement of musical rhythmic perception could (...) be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their ability to perceive musical rhythmic variation. Participants’ phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a second language rather than exposure to musical rhythmic complexity could explain individuals’ enhanced perception of musical rhythmic variation. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Mandarin and Turkish in comparison with Dutch L2 learners of English seem to suggest. Our findings provide further support for a cognitive transfer between the language and music domain, which may find its grounds on a common evolutionary basis. (shrink)

[The Mechanics of Sorcery in the Context of Deceptive-Imitative Poetry] When we inquire as to how people could have a perverted preference for ignorance over knowledge, Plato’s statement that people are deprived of true opinions only against their will provides us with an essential clue for starting out: Depriving a person of something against their will is only possible by theft, by spells of sorcery, or by force. Victims of sorcery alter their opinions under the spell of pleasure or are (...) terrified by fear. However, the “sorcery” mentioned here is not a mysterious effect, but rather the deterioration of the harmony established between the three aspects of the soul in favor of appetite. The measure and harmony in the cosmos apply to the fundamental principles of the human soul, and rhythm is engraved on the soul as the protector of measure and harmony. Rhythmic speech is the reflection of “divine language” in the human world; the poet of the ancient period was the interpreter of the “sacred language” through which the divine word appeared. When the poet and the poetry both degenerate, the poet is reduced to nothing more than a common diviner or sorcerer. Since he knows nothing but how to imitate, he embellishes his work with colors from ancient arts. He speaks his words in rhythm, measure, and harmony in order to deceive reason, which is the aspect of our soul that is most prone to measurement and calculation. This is how the poet paralyzes it. Therefore, imitative poetry vitiates our soul “without even our souls hearing it”. (shrink)

Prompted by Eryximachus’ speech about the relationship between Eros and health in Plato’s Symposium, this paper engages the nature of poiēsis as it arises in the works of Martin Heidegger, Julia Kristeva, and Aristotle. All three address poiēsis as a human activity that points beyond an individual person, and in so doing speaks to what’s possible for human life. Section I addresses Heidegger, whose insistance on the interplay between “earth” and “world” in “The Origin of a Work of Art” (...) speaks to a continuous strife at the heart of poiēsis. Section II explains Kristeva’s situating of rhythm as the unarticulated undulation driving human life, grounding any subsequent articulation in poiēsis. Section III engages Aristotle, who, in his Poetics, opens his discussion of poiēsis and mimesis through rhythmos. All do so, I submit, with catharsis—itself a kind of love and health—in view. This catharsis is seen through an affirmation of poietic possibility in art (Heidegger), the practice of the speaking subject (Kristeva), and tragedy (Aristotle). (shrink)

This paper aims to define the position of Protagoras on poetry, taking some crucial passages of Platonic Protagoras as texts that express the positions of the historical Protagoras. These passages, strictly incompatible with some essential theses of Plato’s thought, are the Great Speech (320c8-328d2), the intervention on the variety and variability of the good (334a3-c6) and the comment on the poem by Simonides (338e6-339d9). From these passages we can infer the position of the sophist towards poetry which could be (...) summarized in the following theses: 1. Poetry is an essential part of education. Epic poetry provides models for the education. Lyric poetry in turn helps to internalize in the souls of children the rhythm and the harmony that its verses contain. 2. However, an educated person should know how to evaluate what is right or wrong in the words of the poets. Criticism of Simonides’ poem is an example. From this perspective, the myth of Prometheus contained in the Protagoras Great Speech, which amends the versions of Hesiod and Aeschylus, can be considered as an model of poetic orthoepeia. (shrink)

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research has (...) been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

Previous chapter Rhythm in Public Speech – Aristotle's Rhetoric In his Rhetoric, Aristotle addresses an important question that was left open in The Politics—that of language in public sphere—and this leads him to consider rhythm in speech and subsequently loosen a little more the Platonic definition of rhythm. In Book 3, after having dealt with proof, Aristotle focuses on the manner of expressing oneself, elocution, “for it is not sufficient to know what one ought - (...) Sur le concept de rythme – Nouvel article. (shrink)

The traditional verbal/nonverbal dichotomy is inadequate for completely describing cerebral lateralization. Musical functions are not necessarily mediated by the right hemisphere; evidence for a specialist left-hemisphere mechanism dedicated to the encoded speech signal is weakening, and the right hemisphere possesses considerable comprehensional powers. Right-hemisphere processing is often said to be characterized by holistic or gestalt apprehension, and face recognition may be mediated by this hemisphere partly because of these powers, partly because of the right hemisphere's involvement in emotional affect, (...) and possibly through the hypothesized existence of a specialist face processor or processors in the right. The latter hypothesis may, however, suffer the same fate as the one relating to a specialist encodedness processor for speech in the left. Verbal processing is largely the province of the left because of this hemisphere's possession of sequential, analytic, time-dependent mechanisms. Other distinctions are special cases of an analytic/holistic dichotomy. More fundamentally, however, the left hemisphere is characterized by its mediation of discriminations involving duration, temporal order, sequencing, and rhythm, at thesensory level, and especially at themotorlevel. Spatial aspects characterize the right, the mapping of exteroceptive body space, and the positions of fingers, limbs, and perhaps articulators, with respect to actual and target positions. Thus there is a continuum of function between the hemispheres, rather than a rigid dichotomy, the differences being quantitative rather than qualitative, of degree rather than of kind. (shrink)

Introduction -- Prelude: a paradox of the ineffable. Schopenhauer's deep copy ; The Platonic solutions ; Four dialectical responses (after Nietzsche) -- Bloch's tone. The tone ; The natural klang ; The expressive tone ; Bloch's magic rattle ; The tone's inner ineffability ; The event-forms ; A dialectical account of music history ; Utopian musical speech -- Adorno's musical fracture. Adorno's tone ; Adorno's conception of history ; The tendenz des materials ; Music's language-like ineffability ; The immanent (...) critique ; The paradox of Mahler's vernacular ; The curve of inconsistency -- Interlude: Wittgenstein's silence -- Jankelevitch's inconsistency. Bergson and the inconsistency of time ; The aporetic source of fidelity ; Charm ; Cosmic silence ; Unwoven dialectics -- Deleuze and Guattari's rhythm. Deleuze's rhythm ; The rhythm of sense ; A structuralist quadrivium ; The rhythm of life ; Sonorous co-extensions -- Conclusion: a paradox of the vernacular. (shrink)

The interdisciplinary spring school “Language, music, and cognition: Organizing events in time” was held from February 26 to March 2, 2018 at the Institute of Musicology of the University of Cologne. Language, speech, and music as events in time were explored from different perspectives including evolutionary biology, social cognition, developmental psychology, cognitive neuroscience of speech, language, and communication, as well as computational and biological approaches to language and music. There were 10 lectures, 4 workshops, and 1 student poster (...) session. Overall, the spring school investigated language and music as neurocognitive systems and focused on a mechanistic approach exploring the neural substrates underlying musical, linguistic, social, and emotional processes and behaviors. In particular, researchers approached questions concerning cognitive processes, computational procedures, and neural mechanisms underlying the temporal organization of language and music, mainly from two perspectives: one was concerned with syntax or structural representations of language and music as neurocognitive systems (i.e., an intrapersonal perspective), while the other emphasized social interaction and emotions in their communicative function (i.e., an interpersonal perspective). The spring school not only acted as a platform for knowledge transfer and exchange but also generated a number of important research questions as challenges for future investigations. (shrink)

The Aeolic dimeter and trimeter constitute so considerable a part of Greek lyric and dramatic poetry that the correct apprehension of their form is a matter of great moment. The Greek metricians comprehended this rightly, in the main, but in the first half of the nineteenth century the doctrine of these learned men was supplanted by a new theory that attempted to apply the principles that underlie modern poetry to the explanation of the undoubtedly complex rhythm of these clauses. (...) Many scholars persistently maintain this theory. It is not difficult to discover why it was invented and why it remains attractive. That the quantitative rhythms and metres of Greek poetry should seem complicated to men whose language is accentual is inevitable, whereas modern metres and rhythms are notoriously simple. The limitations imposed upon poetic form by accentual speech are extreme. No modern poet, for example, has attempted Ionic or Cretic measures. Again Greek music was simple, and both music and dance were under the control of the singers, but modern music is a complex art, and casts language in an iron mould. Nevertheless musical expression must be the basis of comparison, so far as we allow ourselves to institute it, between ancient and modern rhythms. The attempt to conform Greek lyrics to the elementary—and uncertain—rhythms of modern poetry that is merely read or recited implies a fundamental misconception of relations. Greek lyrics were melic. Agathon, in the Thesmophoriazusae, sings as he composes. These Greek songs were never intended to be read by anybody, Greek or barbarian. (shrink)

The predictable rhythmic structure is important to most ecologically relevant sounds for humans, such as is found in the rhythm of speech or music. This study addressed the question of how rhythmic predictions are maintained in the auditory system when there are multiple perceptual interpretations occurring simultaneously and emanating from the same sound source. We recorded the electroencephalogram (EEG) while presenting participants with a tone sequence that had two different tone feature patterns, one based on the sequential rhythmic (...) variation in tone duration and the other on sequential rhythmic variation in tone intensity. Participants were presented with the same sound sequences and were instructed to listen for the intensity pattern (ignore fluctuations in duration) and press a response key to detected pattern deviants (attend intensity pattern task); to listen to the duration pattern (ignore fluctuations in intensity) and make a button press to duration pattern deviants (attend duration pattern task), and to watch a movie and ignore the sounds presented to their ears (attend visual task). Both intensity and duration patterns occurred predictably 85% of the time, thus the key question involved evaluating how the brain treated the irrelevant feature patterns (standards and deviants) while performing an auditory or visual task. We expected that task-based feature patterns would have a more robust brain response to attended standards and deviants than the unattended feature patterns. Instead, we found that the neural entrainment to the rhythm of the standard attended patterns had similar power to the standard of the unattended feature patterns. In addition, the infrequent pattern deviants elicited the event-related brain potential called the mismatch negativity component (MMN). The MMN elicited by task-based feature pattern deviants had a similar amplitude to MMNs elicited by unattended pattern deviants that were unattended because they were not the target pattern or because the participant ignored the sounds and watched a movie. Thus, these results demonstrate that the brain tracks multiple predictions about the complexities in sound streams and can automatically track and detect deviations with respect to these predictions. This capability would be useful for switching attention rapidly among multiple objects in a busy auditory scene. (shrink)

The tradition of Lughz and muʿammā in Arab poetry has an important place. Ibn al-Fāriḍ (d. 632/1235) is a divine love poet that lived in the Ayyubids period. He is an important point in the process of change and transformation of Arabic poetry language. This research aims to carry out a theoretical and anecdotal examination of the Lughzes in Ibn al-Fāriḍ’s Dīwān. The work explains, firstly, the concept of Lughz in terms of conceptual content and theoretical structure and summarizes its (...) own method to be applied in solving and evaluating Lughzes in ten articles. The paper indicates whether the Lughzes in Dīwānhave a theoretical structure or not. In this context, it distinguishes the Lughzes from the number of layers, simple and compound structure maintenance. It examines the theoretical and functional contributions of the tahsīl, takmīl, tashīland tazyīlmethods, the stages of the establishment and the solution of the Lughzes.Abstract: Abū Hafs Sharafuddīn Omar b. Ali al-Hamavī al-Mısrī (d. 632/1235) known as the king of lovers, and called Ibn al-Fārid, is a divine love poet that lived in Egypt during the Ayyubids period (1171-1462). He is an important figure in the process of change and transformation of poetry language in Arabic literature. The lughz and muʿammā (enigma, enigmetic speech, allusion, inversion riddle, poetry puzzle, synecdoche and metaphoric language) means a word pointing to a name or something by symbol and sign. Numerous books have been written about lughzes. These include Arabic poetry, Persian poetry, Classical Turkish poetry, Arabic grammar, Islamic law, hadith, mathematics and inheritance law. The lughz and muʿammā have some linguistic features related to phonetics, statistical linguistics, morphology, lexicology, grammar, syntax, semantics and prosody. This tradition has an important place in Arabic poetry. The research aims to carry out a theoretical and anecdotal examination of the lughzes and muʿammās in Ibn al-Fārız’s Dīwān. The paper explains, firstly, the concept of lughz in terms of conceptual content and theoretical structure. The article summarizes its own method to be applied in analyzing and evaluating lughzes within ten items. The research examines the series of lughzes in Dīwānand divides them into parts according to the original question in the riddles. This work examines the secondary lughzes given in the details of poems in solution parts. The paper indicates whether the lughzes in Dīwānhave a theoretical structure or not. In this context, the research examines lughzes in terms of language and structure, especially in terms of the processes of establishment and solution. This paper categorizes the lughzes according to the number of layers and to whether they have a simple or compound structure. This paper examines the theoretical and functional contributions of the amal al-tahsīlī, amal al-takmīlī, amal al-tashīlī and amal al-tazyīlī methods in the stages of the establishment and the solution of the lughzes. The work applies the theoretical perspectives of these methods to each lughz. The research also examines the contribution of these four methods to the lughzes.There are many lughzes in Ibn al-Fārid’s poems. In Ibn al-Fārid’s Dīwān, in general, fifty-four things are asked. Fifty-one of them are words. Three of them are verbs. One of the verbs is in the order structure and two in the past tense. His lughzes have a theoretical and methodical structure. In terms of organizational structure, lughzes are generally multi-layered, intricate, compound and integrated. Composite lughzes are multi-layered, simple poems are single-layered. Approximately twenty words are asked in the lughzes. These words are always in the first layer of lughz, whether simple or compound. Thirty-seven words in the lughz are secondary lughz with an auxiliary and complementary nature. They are located between the second and sixth layers. Seventeen of the lughzes asked in the auxiliary nature are located in the second layer, thirteen in the third layer, five in the fourth layer, one in the fifth layer and one in the sixth layer. One of the lughzes is six-layered, one of them are five-layered, four of them are four-layered, eight are three-layered, four are double-layered and three are single-layered. According to this, the majority of lughzes in Ibn al-Fārid’s poems are in the unified form and multilayered.The lughzes are formed in terms of word, composition, phrase, grammar and meaning levels. The lughzes have both lexical and semantic characteristics. Ibn al-Fārid uses the configuration (amal al-tahsīlī), completion (amal al-takmīlī), facilitation (amal al-tashīlī) and addition (amal al-tazyīlī) methods to design the lughzes. The structure in the lughzes is shaped by these methods. The words in his lughzes constitute eleven categories, consisting of names, acts and noun verbs. The answers of the questions asked in the poems consist in general of prophet names, surah names, tribal names, administrator’s surnames, letters, cities, animals, food and drink names, attributes and actions. Verbs are in the past time or order form. Some of the lughzes in Ibn al-Fārid’s poems are built in an extraordinary style beyond being interesting. Not all the sentences used in couplets are part of the lughzes. These elements are mentioned in order to complete the lughzes in terms of rhythm and meaning. To be able to solve the lughzes of Ibn al-Fārid, one must be knowledgeable about the language and narrative features of Arabic and Islamic culture, as well as subjects such as the Quran, Sufism, abjad calculation, mathematics, geometry, geography, biology, botany and zoology. His poems contributes to the development and transformation of Arabic poetry. (shrink)

7 lectures, Torquay, UK, August 12-20, 1924 (CW 311) These seven intimate, aphoristic talks were presented to a small group on Steiner's final visit to England. Because they were given to "pioneers" dedicated to opening a new Waldorf school, these talks are often considered one of the best introductions to Waldorf education. Steiner shows the necessity for teachers to work on themselves first, in order to transform their own inherent gifts. He explains the need to use humor to keep their (...) teaching lively and imaginative. Above all, he stresses the tremendous importance of doing everything in the knowledge that children are citizens of both the spiritual and the earthly worlds. And, throughout these lectures, he continually returns to the practical value of Waldorf education. These talks are filled with practical illustrations and revolve around certain themes--the need for observation in teachers; the dangers of stressing the intellect too early; children's need for teaching that is concrete and pictorial; the education of children's souls through wonder and reverence; the importance of first presenting the "whole," then the parts, to the children's imagination. Here is one of the best introductions to Waldorf education, straight from the man who started it all. German source: Die Kunst des Erziehens aus dem Erfassen der Menschenwesenhiet (GA 311). ∞ ∞ ∞ SYNOPSIS OF THE LECTURES LECTURE 1: The need for a new art of education. The whole of life must be considered. Process of incarnation as a stupendous task of the spirit. Fundamental changes at seven and fourteen. At seven, the forming of the "new body" out of the "model body" inherited at birth. After birth, the bodily milk as sole nourishment. The teacher's task to give "soul milk" at the change of teeth and "spiritual milk" at puberty. LECTURE 2: In first epoch of life child is wholly sense organ. Nature of child's environment and conduct of surrounding adults of paramount importance. Detailed observation of children and its significance. In second epoch, seven to fourteen, fantasy and imagination as life blood of all education, e.g., in teaching of writing and reading, based on free creative activity of each teacher. The child as integral part of the environment until nine. Teaching about nature must be based on this. The "higher truths" in fairy tales and myths. How the teacher can guide the child through the critical moment of the ninth year. LECTURE 3: How to teach about plants and animals (seven to fourteen). Plants must always be considered, not as specimens, but growing in the soil. The plant belongs to the earth. This is the true picture and gives the child an inward joy. Animals must be spoken of always in connection with humans. All animal qualities and physical characteristics are to be found, in some form, in the human being. Humans as synthesis of the whole animal kingdom. Minerals should not be introduced until twelfth year. History should first be presented in living, imaginative pictures, through legends, myths, and stories. Only at eleven or twelve should any teaching be based on cause and effect, which is foreign to the young child's nature. Some thoughts on punishment, with examples. LECTURE 4: Development of imaginative qualities in the teacher. The story of the violet and the blue sky. Children's questions. Discipline dependent on the right mood of soul. The teacher's own preparation for this. Seating of children according to temperament. Retelling of stories. Importance of imaginative stories that can be recalled in later school life. Drawing of diagrams, from ninth year. Completion and metamorphosis of simple figures, to give children feeling of form and symmetry. Concentration exercises to awaken an active thinking as basis of wisdom for later life. Simple color exercises. A Waldorf school timetable. The "main lesson." LECTURE 5: All teaching matter must be intimately connected with life. In counting, each different number should be connected with the child or what the child sees in the environment. Counting and stepping in rhythm. The body counts. The head looks on. Counting with fingers and toes is good (also writing with the feet). The ONE is the whole. Other numbers proceed from it. Building with bricks is against the child's nature, whose impulse is to proceed from whole to parts, as in medieval thinking. Contrast atomic theory. In real life we have first a basket of apples, a purse of coins. In teaching addition, proceed from the whole. In subtraction, start with minuend and remainder; in multiplication, with product and one factor. Theorem of Pythagoras (eleven-twelve years). Details given of a clear, visual proof, based on practical thinking. This will arouse fresh wonder every time. LECTURE 6: In first seven years etheric body is an inward sculptor. After seven, child has impulse to model and to paint. Teacher must learn anatomy by modeling the organs. Teaching of physiology (nine to twelve years) should be based on modeling. Between seven and fourteen astral body gradually draws into physical body, carrying the breathing by way of nerves, as playing on a lyre. Importance of singing. Child's experience of well being like that of cows chewing the cud. Instrumental music from beginning of school life, wind or strings. Teaching of languages; up to nine through imitation, then beginnings of grammar, as little translation as possible. Vowels are expression of feeling, consonants are imitation of external processes. Each language expresses a different conception. Compare head, Kopf, testa. The parts of speech in relation to the life after death. If language is rightly taught, out of feeling, eurythmy will develop naturally, expressing inner and outer experiences in ordered movements--"visible speech." Finding relationship to space in gymnastics. LECTURE 7: Between seven and fourteen soul qualities are paramount. Beginnings of science teaching from twelfth year only, and connected with real phenomena of life. The problem of fatigue. Wrong conceptions of psychologists. The rhythmic system, predominant in second period, never tires. Rhythm and fantasy. Composition. Sums from real life, not abstractions. Einstein's theory. The kindergarten--imitation of life. Teachers' meetings, the heart of the school. Every child to be in the right class for its age. Importance of some knowledge of trades, e.g., shoemaking, handwork, and embroidery. Children's reports-- characterization, but no grading. Contact with the parents. QUESTIONS AND ANSWERS: The close relationship of Multiplication and Division. How to deal with both together. Transition from the concrete to the abstract in Arithmetic. Not before the ninth year. Healthiness of English weights and measures as related to real life. Decimal system as an intellectual abstraction. Drawing. Lines have no reality in drawing and painting, only boundaries. How to teach children to draw a tree in shading, speaking only of light and color. (Illustration). Line drawing belongs only to geometry. Gymnastics and Sport. Sport is of no educational value, but necessary as belonging to English life. Gymnastics should be taught by demonstration. Religious Instruction. Religion lessons in the Waldorf school given by Catholic priest and Protestant pastor. "Free" religion lessons provided for the other children. Plan of such teaching described, of which the fundamental aim is an understanding of Christianity. The Sunday services. Modern Language Lessons. Choice of languages must be guided by the demands of English life. These can be introduced at an early age. Direct method in language teaching. Closing words by Dr. Steiner on the seriousness of this first attempt to found a school in England. (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

Under many circumstances, children and adult rats reorient themselves through a process which operates only on information about the shape of the environment (e.g., Cheng, 1986; Hermer & Spelke, 1996). In contrast, human adults relocate themselves more flexibly, by conjoining geometric and nongeometric information to specify their position (Hermer & Spelke, 1994). The present experiments used a dual-task method to investigate the processes that underlie the flexible conjunction of information. In Experiment 1, subjects reoriented themselves flexibly when they performed no (...) secondary task, but they reoriented themselves like children and adult rats when they engaged in verbal shadowing of continuous speech. In Experiment 2, subjects who engaged in nonverbal shadowing of a continuous rhythm reoriented like nonshadowing subjects, suggesting that the interference effect in Experiment 1 did not stem from general limits on working memory or attention but from processes more specific to language. In further experiments, verbally shadowing subjects detected and remembered both nongeometric information (Experiment 3) and geometric information (Experiments 1, 2, and 4), but they failed to conjoin the two types of information to specify the positions of objects (Experiment 4). Together. (shrink)

The New England towns and villages that inspired the major figures of the Transcendentalism movement are presented by region in this travel guide that devotes a chapter to each town or village famous for its relationship to one or more of the Transcendentalists. Cambridge, where Ralph Waldo Emerson delivered his powerful speeches is highlighted, as is Walden, where Henry David Thoreau spent two years attuning himself to the rhythms of nature. Other chapters retrace the paths of major writers and poets (...) of the period as well as the utopian communities of the time. This invaluable traveling companion offers street maps, historical illustrations, and narratives that create a vivid sense of New England in the 19th century. (shrink)