Übereinzelsprachliche Tendenzen bei synästhetischen Metaphern

Bei synästhetischen Metaphern werden Wörter aus einer Sinnesdomäne zur Beschreibung eines anderen Wahrnehmungsbereichs verwendet. Entsprechend „kann eine Stimme weich (Tastsinn), warm (Wärmeempfindung), scharf (Geschmack) oder dunkel (Sehen) sein“ (BUSSMANN 2002: 671). Neben der Klassifizierung von synästhetischen Metaphern besteht ein weiteres Ziel dieser Arbeit darin, deren übereinzelsprachliche Tendenzen herauszuarbeiten und zu systematisieren. Hierbei zeigen sich vor allem Parallelen hinsichtlich der Übergänge sprachlicher Synästhesien. Auf Basis der Analyse verschiedener Quellen (einzelsprachliche Arbeiten, Wörterbucheinträge etc.) werden typische Übergänge extrahiert und in einem synthetischen Modell zusammengefasst. Zudem werden mögliche Erklärungsansätze für die parallelen Erscheinungsformen diskutiert. Diese umfassen sowohl biologische als auch sprachwissenschaftliche Argumentationen

When high pitches sound low: Children's acquisition of space-pitch metaphors

Some languages describe musical pitch in terms of spatial height; others in terms of thickness. Differences in pitch metaphors also shape adults’ nonlinguistic space-pitch representations. At the same time, 4-month-old infants have both types of space-pitch mappings available. This tension between prelinguistic space-pitch associations and their subsequent linguistic mediation raises questions about the acquisition of space-pitch metaphors. To address this issue, 5-year-old Dutch children were tested on their linguistic knowledge of pitch metaphors, and nonlinguistic space-pitch associations. Our results suggest 5-year-olds understand height-pitch metaphors in a reversed fashion (high pitch = low). Children displayed good comprehension of a thickness-pitch metaphor, despite its absence in Dutch. In nonlinguistic tasks, however, children did not show consistent space-pitch associations. Overall, pitch representations do not seem to be influenced by linguistic metaphors in 5-year-olds, suggesting that effects of language on musical pitch arise rather late during development

The size-brightness correspondence:evidence for crosstalk among aligned conceptual feature dimensions

The same core set of cross-sensory correspondences connecting stimulus features across different sensory channels are observed regardless of the modality of the stimulus with which the correspondences are probed. This observation suggests that correspondences involve modality-independent representations of aligned conceptual feature dimensions, and predicts a size-brightness correspondence, in which smaller is aligned with brighter. This suggestion accommodates cross-sensory congruity effects where contrasting feature values are specified verbally rather than perceptually (e.g., where the words WHITE and BLACK interact with the classification of high and low pitch sounds). Experiment 1 brings these two issues together in assessing a conceptual basis for correspondences. The names of bright/white and dark/black substances were presented in a speeded brightness classification task in which the two alternative response keys differed in size. A size-brightness congruity effect was confirmed, with substance names classified more quickly when the relative size of the response key needing to be pressed was congruent with the brightness of the named substance (e.g., when yoghurt was classified as a bright substance by pressing the smaller of two keys). Experiment 2 assesses the proposed conceptual basis for this congruity effect by requiring the same named substances to be classified according to their edibility (with all of the bright/dark substances having been selected for their edibility/inedibility, respectively). The predicted absence of a size-brightness congruity effect, along with other aspects of the results, supports the proposed conceptual basis for correspondences and speaks against accounts in which modality-specific perceptuomotor representations are entirely responsible for correspondence-induced congruity effects

Low is large: spatial location and pitch interact in voice-based body size estimation

The binding of incongruent cues poses a challenge for multimodal perception. Indeed, although taller objects emit sounds from higher elevations, low-pitched sounds are perceptually mapped both to large size and to low elevation. In the present study, we examined how these incongruent vertical spatial cues (up is more) and pitch cues (low is large) to size interact, and whether similar biases influence size perception along the horizontal axis. In Experiment 1, we measured listeners’ voice-based judgments of human body size using pitch-manipulated voices projected from a high versus a low, and a right versus a left, spatial location. Listeners associated low spatial locations with largeness for lowered-pitch but not for raised-pitch voices, demonstrating that pitch overrode vertical-elevation cues. Listeners associated rightward spatial locations with largeness, regardless of voice pitch. In Experiment 2, listeners performed the task while sitting or standing, allowing us to examine self-referential cues to elevation in size estimation. Listeners associated vertically low and rightward spatial cues with largeness more for lowered- than for raised-pitch voices. These correspondences were robust to sex (of both the voice and the listener) and head elevation (standing or sitting); however, horizontal correspondences were amplified when participants stood. Moreover, when participants were standing, their judgments of how much larger men’s voices sounded than women’s increased when the voices were projected from the low speaker. Our results provide novel evidence for a multidimensional spatial mapping of pitch that is generalizable to human voices and that affects performance in an indirect, ecologically relevant spatial task (body size estimation). These findings suggest that crossmodal pitch correspondences evoke both low-level and higher-level cognitive processes

Grammatical gender and linguistic relativity: A systematic review

Many languages assign nouns to a grammatical gender class, such that ‘bed’ might be assigned masculine gender in one language (e.g. Italian) but feminine gender in another (e.g. Spanish). In the context of research assessing the potential for language to influence thought (the linguistic relativity hypothesis), a number of scholars have investigated whether grammatical gender assignment ‘rubs off’ on concepts themselves, such that Italian speakers might conceptualise beds as more masculine than Spanish speakers. We systematically reviewed 43 pieces of empirical research examining grammatical gender and thought, which together tested 5,895 participants. We classified the findings in terms of their support for this hypothesis, and assessed the results against parameters previously identified as potentially influencing outcomes. Overall, we found that support was strongly task- and context-dependent, and rested heavily on outcomes that have clear and equally-viable alternative explanations. We also argue that it remains unclear whether grammatical gender is in fact a useful tool for investigating relativity

When high pitches sound low: Children's acquisition of space-pitch metaphors

Contains fulltext : 150231.pdf (publisher's version ) (Open Access)Some languages describe musical pitch in terms of spatial height; others in terms of thickness. Differences in pitch metaphors also shape adults’ nonlinguistic space-pitch representations. At the same time, 4-month-old infants have both types of space-pitch mappings available. This tension between prelinguistic space-pitch associations and their subsequent linguistic mediation raises questions about the acquisition of space-pitch metaphors. To address this issue, 5-year-old Dutch children were tested on their linguistic knowledge of pitch metaphors, and nonlinguistic space-pitch associations. Our results suggest 5-year-olds understand height-pitch metaphors in a reversed fashion (high pitch = low). Children displayed good comprehension of a thickness-pitch metaphor, despite its absence in Dutch. In nonlinguistic tasks, however, children did not show consistent space-pitch associations. Overall, pitch representations do not seem to be influenced by linguistic metaphors in 5-year-olds, suggesting that effects of language on musical pitch arise rather late during development

The thickness of musical pitch: Psychophysical evidence for the Whorfian hypothesis

Contains fulltext : M_356314.pdf (publisher's version ) (Open Access)The 33rd Annual Conference of the Cognitive Science Society, 20 juli 201