Prosody-Based Sound-Emotion Associations in Poetry.

Conveying emotions in spoken poetry may be based on a poem's semantic content and/or on emotional prosody, i.e., on acoustic features above single speech sounds. However, hypotheses of more direct sound-emotion relations in poetry, such as those based on the frequency of occurrence of certain phonemes, have not withstood empirical (re)testing. Therefore, we investigated sound-emotion associations based on prosodic features as a potential alternative route for the, at least partially, non-semantic expression and perception of emotions in poetry. We first conducted a pre-study designed to validate relevant parameters of joy- and sadness-supporting prosody in the recitation, i.e. acoustic production, of poetry. The parameters obtained thereof guided the experimental modification of recordings of German joyful and sad poems such that for each poem, three prosodic variants were constructed: one with a joy-supporting prosody, one with a sadness-supporting prosody, and a neutral variant. In the subsequent experiment, native German speakers and participants with no command of German rated the joyfulness and sadness of these three variants. This design allowed us to investigate the role of emotional prosody, operationalized in terms of sound-emotion parameters, both in combination with and dissociated from semantic access to the emotional content of the poems. The findings from our pre-study showed that the emotional content of poems (based on pre-classifications into joyful and sad) indeed predicted the prosodic features pitch and articulation rate. The subsequent perception experiment revealed that cues provided by joyful and sad prosody specifically affect non-German-speaking listeners' emotion ratings of the poems. Thus, the present investigation lends support to the hypothesis of prosody-based iconic relations between perceived emotion and sound qualia. At the same time, our findings also highlight that semantic access substantially decreases the role of cross-language sound-emotion associations and indicate that non-German-speaking participants may also use phonetic and prosodic cues other than the ones that were targeted and manipulated here.

Mimological Reveries? Disconfirming the Hypothesis of Phono-Emotional Iconicity in Poetry.

The present study retested previously reported empirical evidence suggesting an iconic relation between sound and emotional meaning in poetry. To this end, we analyzed the frequency of certain phoneme classes in 48 German poems and correlated them with ratings for emotional classification. Our analyses provide evidence for a link between the emotional classification of poems (joyful vs. sad) and the perception of tonal contrast as reflected in the attribution of phenomenological sound qualia (bright vs. dark). However, we could not confirm any of the previous hypotheses and findings regarding either a connection between the frequencies of occurrence of specific vowel classes and the perception of tonal contrast, or a relation between the frequencies of occurrence of consonant classes and emotional classification.

Affinity for Poetry and Aesthetic Appreciation of Joyful and Sad Poems.

Artworks with sad and affectively negative content have repeatedly been reported to elicit positive aesthetic appreciation. This topic has received much attention both in the history of poetics and aesthetics as well as in recent studies on sad films and sad music. However, poetry and aesthetic evaluations of joyful and sad poetry have received only little attention in empirical studies to date. We collected beauty and liking ratings for 24 sad and 24 joyful poems from 128 participants. Following previous studies, we computed an integrated measure for overall aesthetic appreciation based on the beauty and liking ratings to test for differences in appreciation between joyful and sad poems. Further, we tested whether readers' judgments are related to their affinity for poetry. Results show that sad poems are rated significantly higher for aesthetic appreciation than joyful poems, and that aesthetic appreciation is influenced by the participants' affinity for poetry.

On the Relation between the General Affective Meaning and the Basic Sublexical, Lexical, and Inter-lexical Features of Poetic Texts-A Case Study Using 57 Poems of H. M. Enzensberger.

The literary genre of poetry is inherently related to the expression and elicitation of emotion via both content and form. To explore the nature of this affective impact at an extremely basic textual level, we collected ratings on eight different general affective meaning scales-valence, arousal, friendliness, sadness, spitefulness, poeticity, onomatopoeia, and liking-for 57 German poems ("die verteidigung der wölfe") which the contemporary author H. M. Enzensberger had labeled as either "friendly," "sad," or "spiteful." Following Jakobson's (1960) view on the vivid interplay of hierarchical text levels, we used multiple regression analyses to explore the specific influences of affective features from three different text levels (sublexical, lexical, and inter-lexical) on the perceived general affective meaning of the poems using three types of predictors: (1) Lexical predictor variables capturing the mean valence and arousal potential of words; (2) Inter-lexical predictors quantifying peaks, ranges, and dynamic changes within the lexical affective content; (3) Sublexical measures of basic affective tone according to sound-meaning correspondences at the sublexical level (see Aryani et al., 2016). We find the lexical predictors to account for a major amount of up to 50% of the variance in affective ratings. Moreover, inter-lexical and sublexical predictors account for a large portion of additional variance in the perceived general affective meaning. Together, the affective properties of all used textual features account for 43-70% of the variance in the affective ratings and still for 23-48% of the variance in the more abstract aesthetic ratings. In sum, our approach represents a novel method that successfully relates a prominent part of variance in perceived general affective meaning in this corpus of German poems to quantitative estimates of affective properties of textual components at the sublexical, lexical, and inter-lexical level.