Sound affects of poetry: Critical impressionism, reductionism and cognitive poetics

Pragmatics and Cognition

Volumn 5, Issue 2, 1997, Pages 283-304

  Tsur, Reuven ^a  

^a TEL AVIV UNIVERSITY   (Israel)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84989382998     PISSN: 09290907     EISSN: 15699943     Source Type: Journal    
DOI: 10.1075/pc.5.2.05tsu     Document Type: Article

References (21)

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3. Chatman, S. 1965. A Theory of Meter. The Hague: Mouton.
4. Cooper, C.W. and Meyer, L.B. 1960. The Rhythmic Structure of Music. Chicago: The University of Chicago Press.
5. Delattre, P., Liberman, A.M., Cooper, F.S., and Gerstman, L.J. 1952. “An experimental study of the acoustic determinants of vowel color”. Word 8: 195-210.
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8. Knowles, G.1992. “Pitch contours and tones in the Lancaster/IBM Spoken English Corpus”. In G. Leitner (ed), New Directions in English Language Corpora — Methodology, Results, Software Developments. Berlin: Mouton de Gruyter, 289-299.
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10. Richards, I.A. 1929. Practical Criticism. New York: Harvest Books.
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12. Tsur, R. 1977. A Perception-Oriented Theory of Metre. Tel Aviv: The Porter Institute for Poetics and Semiotics.
13. Tsur, R. 1992a. Toward a Theory of Cognitive Poetics. Amsterdam: Elsevier (North Holland) Science Publishers.
14. Tsur, R. 1992b. What Makes Sound Patterns Expressive: The Poetic Mode of Speech-Perception. Durham, NC: Duke University Press.
15. Tsur, R. 1997. “Poetic rhythm: Performance patterns and their acoustic correlates”. Versification 1 (An electronic journal, http://sizcoll.u-shizuoka-ken.ac.jp/versif/Versification.html).
16. Wellek, R. and Warren, A. 1956. Theory of Literature. New York: Harcourt, Brace & Co.
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19. Zhirmunsky, V. John Keats read by Douglas Hodge. 1995. Hodder Headline AudioBooks HH 186.
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21. Zhirmunsky, V Sonnets of William Shakespeare read by Sir John Gielgud. 1963. Caedmon SRS 241 C-D.