Permalink

0

Open-Access-Bücher zur Sprachwissenschaft

In der let­zten Zeit sind u.a. diese frei ver­füg­baren Titel erschienen:

Digitale Schriftlichkeit: Programmieren, Prozessieren und Codieren von Schrift

Mar­tin Bartel­mus & Alexan­der Nebrig (Hrsg.)
https://doi.org/10.14361/9783839468135

Dig­i­tale Schriftlichkeit verän­dert und durch­dringt unseren All­t­ag: Jedem nor­mal­sprach­lichen Text auf Bild­schir­men unter­liegt ein schreib- wie les­bar­er Code. Die Fra­gen »Wer schreibt?« und »Wer liest?« wan­deln sich in diesem Kon­text zu »Wer pro­gram­miert?« und »Wer prozessiert?«. Die Beiträger*innen wid­men sich diesem Phänomen und ver­ste­hen das Codieren als Prax­is der Schriftlichkeit. Es zeigt sich: Die Dig­i­tal­isierung formt Schreiben und Schrift in ein­er Art und Weise um, die weit über die unter­schiedlichen semi­o­tis­chen und sym­bol­is­chen Ebe­nen von Code und Schrift hin­aus­ge­ht.

A model of sonority based on pitch intelligibility

Avi­ad Albert
https://langsci-press.org/catalog/book/381
https://doi.org/10.5281/zenodo.7837176

Sonor­i­ty is a cen­tral notion in pho­net­ics and phonol­o­gy and it is essen­tial for gen­er­al­iza­tions relat­ed to syl­lab­ic orga­ni­za­tion. How­ev­er, to date there is no clear con­sen­sus on the pho­net­ic basis of sonor­i­ty, nei­ther in per­cep­tion nor in pro­duc­tion. The wide­ly used Sonor­i­ty Sequenc­ing Prin­ci­ple (SSP) rep­re­sents the speech sig­nal as a sequence of dis­crete units, where phono­log­i­cal process­es are mod­eled as sym­bol manip­u­lat­ing rules that lack a tem­po­ral dimen­sion and are devoid of inher­ent links to per­cep­tu­al, motoric or cog­ni­tive process­es. The cur­rent work aims to change this by out­lin­ing a nov­el approach for the extrac­tion of con­tin­u­ous enti­ties from acoustic space in order to mod­el dynam­ic aspects of phono­log­i­cal per­cep­tion. It is used here to advance a func­tion­al under­stand­ing of sonor­i­ty as a uni­ver­sal aspect of prosody that requires pitch-bear­ing syl­la­bles as the build­ing blocks of speech.

This book argues that sonor­i­ty is best under­stood as a mea­sure­ment of pitch intel­li­gi­bil­i­ty in per­cep­tion, which is close­ly linked to peri­od­ic ener­gy in acoustics. It presents a nov­el prin­ci­ple for sonor­i­ty-based deter­mi­na­tions of well-formed­ness – the Nucle­us Attrac­tion Prin­ci­ple (NAP). Two com­ple­men­tary NAP mod­els inde­pen­dent­ly account for sym­bol­ic and con­tin­u­ous rep­re­sen­ta­tions and they most­ly out­per­form SSP-based mod­els, demon­strat­ed here with exper­i­men­tal per­cep­tion stud­ies and with a cor­pus study of Mod­ern Hebrew nouns.

This work also includes a descrip­tion of ProP­er (Prosod­ic Analy­sis with Peri­od­ic Ener­gy). The ProP­er tool­box fur­ther exploits the pro­pos­al that peri­od­ic ener­gy reflects sonor­i­ty in order to cov­er major top­ics in prosod­ic research, such as promi­nence, into­na­tion and speech rate. The book is final­ly con­clud­ed with brief dis­cus­sions on select­ed top­ics: (i) the phono­tac­tic divi­sion of labor with respect to /s/-stop clus­ters; (ii) the debate about the uni­ver­sal­i­ty of sonor­i­ty; and (iii) the fate of the clas­sic phonetics–phonology dichoto­my as it relates to con­ti­nu­ity and dynam­ics in phonol­o­gy.

Who benefits from the sanitized language of violence?

Matthew Fyjis-Walk­er
https://doi.org/10.1163/9789004696426

Lan­guage is not neu­tral; it deter­mines, and is deter­mined, by per­spec­tive. This vol­ume explores the role of an influ­en­tial vocab­u­lary of war, sani­tised lan­guage, the lan­guage that seeks to clean up the appear­ance of events through euphemism, abstract words and opaque phras­es. Crit­i­cal dis­course analy­sis of the lan­guage of recent mil­i­tary cam­paigns shows that the pub­lic author­i­ties do not explain events as clear­ly as they might. Despite social, polit­i­cal and strate­gic incen­tives to use sani­tised lan­guage, its use appears to under­mine the demo­c­ra­t­ic process and reduce pub­lic author­i­ties’ free­doms, pos­si­bly embold­en­ing adver­saries and turn­ing away poten­tial part­ners.

Schreibe einen Kommentar

Pflichtfelder sind mit * markiert.