Bauhaus-Universität Weimar

Titel:
The psycho-physiological effect of the elements of speech in relation to poetry
Person:
Givler, Robert Ch.
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/image/lit39729/109/
ELEMENTS OF SPEECH IN RELATION TO POETRY 107 
cented or the unaccented, can be the cause of heightened motor 
manifestation. To this effect, then, we ally the results of our 
previous investigation in regard to the length of the “long” 
vowels : in both cases it appears that the intentional prolonga¬ 
tion of a letter or syllable in consciousness is one thing, and 
the reverberant effect o'f such prolongation is another. In such 
cases one can at least catch a curious glimpse of the functional 
nature of some phases of the introspective and motor con¬ 
sciousness in their overlapping parts in point of the qualitative 
distinctions to be made between quantitative similars which only 
an analysis from the twofold standpoint of psycho-motor 
manifestations would break up out of a subtle fusion. 
Mention must be made again of the form-quality of the graphs 
for these first long experiments. Just as characteristic differences 
had occurred in the graphs for the single lines of each of the 
poets, so here the XIII experiment for any poet produced a 
graph which had individuality as contrasted with the XIII of 
any other poet. Likewise with the XIV experiments. Those 
passages, whether XIII or XIV which had gone easily and 
smoothly in the recitation also went smoothly in the motor con¬ 
sciousness and the dip of the graph line from first to fifth foot 
was more marked than in those poets which produced other than 
the above mentioned effects. In every case the motor display and 
the introspectional flow showed what at least by analogy might 
be called common parts. Not strange, of course, since by this 
time the motor pattern of consciousness on the voluntary move¬ 
ment side was now paralleled by the appereeiving tendencies of 
the reading and speaking consciousness. 
In many cases by actual counting of the accented and un¬ 
accented vowels and consonants, it was not easy to see why 
some off the introspective and motor effects were produced. 
Frequently the very look of the page, before an attempt to 
read it had been made, would suddenly “set” the motor ten¬ 
dencies in a very definite way, while the results of this “setting” 
would conflict with the auditory side of consciousness at the 
termination of the experiment. And so we had the conflict 
of such things as the fusion of subliminal stimuli for the read-
        

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