Rhythmic subvocalization: An eye-tracking study on silent poetry reading

The present study investigates effects of conventionally metered and rhymed poetry on eye-movements in silent reading. Readers saw MRRL poems (i.e., metrically regular, rhymed language) in two layouts. In poem layout, verse endings coincided with line breaks. In prose layout verse endings could be mid-line. We also added metrical and rhyme anomalies. We hypothesized that silently reading MRRL results in building up auditive expectations that are based on a rhythmic “audible gestalt” and propose that rhythmicity is generated through subvocalization. Our results revealed that readers were sensitive to rhythmic-gestalt-anomalies but showed differential effects in poem and prose layouts. Metrical anomalies in particular resulted in robust reading disruptions across a variety of eye-movement measures in the poem layout and caused re-reading of the local context. Rhyme anomalies elicited stronger effects in prose layout and resulted in systematic re-reading of pre-rhymes. The presence or absence of rhythmic-gestalt-anomalies, as well as the layout manipulation, also affected reading in general. Effects of syllable number indicated a high degree of subvocalization. The overall pattern of results suggests that eye-movements reflect, and are closely aligned with, the rhythmic subvocalization of MRRL. This study introduces a two-stage approach to the analysis of long MRRL stimuli and contributes to the discussion of how the processing of rhythm in music and speech may overlap.

Análisis una propuesta didáctica para trabajar la poesía en un aula de Primaria: leer a Leopoldo de Luis

There are many proposals that bring poetry reading into the classroom, although the results, even with good will, are not always very satisfactory, perhaps because they begin with the wrong idea of what a poetic text is and what this requires. In this study we intend to review these ideas, assessing the suitability of a poem by Leopoldo de Luis, about a football game. We have made a serious review of the results obtained in its implementation, both in an Elementary classroom and in some groups of university students. The results are both enlightening and disturbing in some ways, as they show too many deficiencies, both in reading habits and in the ways of working with poetry in the classroom.

Kemampuan Komunikasi Membaca Puisi Siswa Kelas IV SD Melalui Model Pembelajaran Kooperatif Tipe Think, Talk, Write (TTW)

<p><strong>Abstrak</strong></p><p>Keterampilan membaca puisi ditentukan dari kemampuan atas pemahaman terhadap penguasaan Bahasa Indonesia yang baik dan benar. Model pembelajaran kooperatif tipe TTW (<em>Think, Talk, Write</em>) merupakan salah satu model pembelajaran yang dianggap efektif. Tulisan ini akan membahas tentang pengaruh model pembelajaran Kooperatif tipe TTW (<em>Think, Talk, Write</em>) terhadap keterampilan komunikasi membaca Puisi siswa pada mata pelajaran Bahasa Indonesia pada siswa kelas IV SD Negeri 023905 Binjai Utara. Populasi dalam penelitian ini adalah seluruh siswa kelas, IV SD Negeri 023905 Binjai Utara Tahun Ajaran 2018/2019 yang berjumlah 30 orang siswa yang terbagi dari 2 kelas yaitu kelas IV-A dan Kelas IV-B. Sampel dalam penelitian ini adalah seluruh anggota populasi atau sampel total yang berjumlah 30 orang siswa. Jenis penelitian yang digunakan dalam penelitian inia dalah quasi eksperimen dengan menggunakan model pembelajaran Kooperatif tipe TTW (<em>Think, Talk, Write</em>) dengan alat pengumpulan data yaitu Tes berupa LKS yang telah disiapkan oleh peneliti. Dari hasil penelitian yang dilakukan pelaksanaan pembelajaran menggunakan model pembelajaran Konvensional memperoleh nilai rata-rata 59,50 dan pelaksanaan pembelajaran menggunakan model pembelajaran Kooperatif tipe TTW (<em>Think, Talk, Write</em>) memperoleh nilai rata-rata78,68. Berdasarkan analisis data hasil pengujian hipotesis menggunakan uji t diperoleh t_hitung= -0,61613 &lt; t_tabel= 1,7061 karena t_hitung&lt; t_tabelsehingga _Hoditerima dan _H1ditolak, maka dapat disimpulkan bahwa model pembelajaran Kooperatif tipe TTW (<em>Think, Talk, Write</em>) tidak terdapat pengaruh yang signifikan terhadap peningkatan keterampilan menulis siswa dikelas IV SD Negeri 023905 Binjai Utara.</p><p> </p><p><em><strong>Abstract</strong></em></p><p><em>Poetry reading skills are determined from the ability to understand the mastery of good and correct Indonesian. The TTW (Think, Talk, Write) type of cooperative learning model is one of the learning models that is considered effective. This paper will discuss the effect of the TTW type cooperative learning model (Think, Talk, Write) on students' poetry reading communication skills in Indonesian subjects in fourth grade students of SD Negeri 023905 Binjai Utara. The population in this study were all fourth grade students of Public Elementary School</em><em> </em>023905<em> </em><em>Binjai</em><em>, which amounted to </em><em>30</em><em> students divided into 2 classes namely class IV-A and Class IV-B. The sample in this study were all members of the population or a total sample of </em><em>30</em><em> students. The type of research used in this study is quasi-experimental using the TTW cooperative learning model (Think, Talk, Write) with a data collection tool that is a test in the form of LKS prepared by the researcher. From the results of the research carried out the implementation of learning using the conventional learning model obtained an average value of 59,50 and the implementation of learning using the TTW cooperative learning model (Think, Talk, Write) obtained an average value of 78,68. Based on the analysis of the results of hypothesis testing using t test obtained t_count= -0,61613&lt;t_table= 1,7061 because t_count&lt;t_tableso that Ho is accepted and H1 is rejected, it can be concluded that the TTW cooperative learning model (Think, Talk, Write) is not there is a significant effect on improving writing skills of students in class IV </em><em>0</em><em>23905 Binjai</em> <em> Public Elementary School </em><em>Binjai</em><em></em>.</p><p><em><br /></em></p>

Keep it “real”: the co-construction of authentic performance and audience connection in poetry slam competitions

With the poetry slam competition – a live, competitive spoken word poetry reading – as context for this project, the study explores the concepts of authenticity and audience connection as they relate to message production and meaning-making processes in the field of professional communication. This project uses a symbolic interactionist perspective and Goffman’s (1959) theory of dramaturgy to investigate the poet-audience relationship and discover how a display of authentic performance works to achieve the goal of audience connection. The researcher interviewed six slam poets from the Greater Toronto and Southwestern Ontario area about their experiences in the poetry slam world. Results from the interviews reveal that authenticity is co-constructed between poet and audience, involving a coalescence of private preparation strategies and onstage performance strategies that help craft a sense of credibility and honesty from the poet that, in turn, contribute to achieving successful audience connection by the slam poet as performer.

Keep it “real”: the co-construction of authentic performance and audience connection in poetry slam competitions

With the poetry slam competition – a live, competitive spoken word poetry reading – as context for this project, the study explores the concepts of authenticity and audience connection as they relate to message production and meaning-making processes in the field of professional communication. This project uses a symbolic interactionist perspective and Goffman’s (1959) theory of dramaturgy to investigate the poet-audience relationship and discover how a display of authentic performance works to achieve the goal of audience connection. The researcher interviewed six slam poets from the Greater Toronto and Southwestern Ontario area about their experiences in the poetry slam world. Results from the interviews reveal that authenticity is co-constructed between poet and audience, involving a coalescence of private preparation strategies and onstage performance strategies that help craft a sense of credibility and honesty from the poet that, in turn, contribute to achieving successful audience connection by the slam poet as performer.

The Performative Forum: Women, Body and Memory in the Foro de Escritores Chile

This article examines the contributions of three contemporary Chilean women poets, Cecilia Vicuña, Anamaría Briede and Luna Montenegro to the UK Writers Forum and its Chilean counterpart, El Foro de Escritores. In the early 2000s, these groups produced two ongoing workshops that focused on poetic experimentation and performance and valued the oral over the written word. Entering into dialogue with Charles Bernstein’s analysis of the poetry reading, Erika Fischer-Lichte’s performative turn in the arts, and Joseph Roach theorization of performance and memory, this article unravels Chilean women’s poetics within a transnational context. It proposes that the value these women poets placed on aurality facilitated new engagement with Pre-Columbian cultures and languages as well as reconsiderations of the intimacy of the body and its linguistic representation.

Reading aloud: The role of the reader and the conception of ‘self’

In this article I examine the prosody associated with different ways of reading aloud, in particular the speaker’s exploitation of pitch range, and I consider the way in which different styles project different speaking roles and with them different conceptions of self. I have chosen four different speaking styles: storytelling, newsreading, prayer and poetry-reading. They represent different degrees of markedness and are the styles that are referenced most frequently in a wide range of sources, allowing a comparison and synthesis of the different characterizations they contain. The sources from which I draw my evidence include impressionistic descriptions of ‘delivery’ in classical writings on rhetoric, and instructions in nineteenth- and twentieth-century manuals for recitation, public speaking and elocution training. All these accounts are aimed at improving the performance of individual speakers, but I also draw on more recent studies of intonation, which are motivated largely by potential applications in speech technology – speech recognition and speech synthesis. They combine qualitative and quantitative accounts based on acoustic analysis and include, for example, research on intonation and emotion and on the prosodic parameters of charismatic speech. Stylistic variation has traditionally been understood as variation according to situational context or setting, as is evident in the choice of styles for this article. An alternative view discussed here is Goffman’s notion of ‘participant roles’, important in socio-pragmatics, which relates ways of speaking to whether the speaker is acting for themselves or, for example, as a spokesperson, as in reading the news. Finally, in order to account for the overlap of prosodic features in ostensibly very different settings, such as poetry-reading and liturgy, I propose a unifying factor underlying the different styles, based on degrees of subjectivity and objectivity in the voice. I conclude that speakers respond not to a physical setting but to the kind of ‘self’ they wish to project.