2002
DOI: 10.1162/jcws.2002.4.1.118
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Alan L. Nothnagle, Building the East German Myth: Historical Mythology and Youth Propaganda in the German Democratic Republic, 1945–1989. Ann Arbor: University of Michigan Press, 1999. $46.50.

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Cited by 14 publications
(15 citation statements)
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“…Thus, the levels rather than movements are the primitives. As Pike (1945) notes, these levels are considered to be meaningless by themselves – only intonation contours (i.e., combinations of levels) bear meaning. The utterance-length intonation contour is divided into two components: the precontour and the primary contour .…”
Section: Introductionmentioning
confidence: 99%
“…Thus, the levels rather than movements are the primitives. As Pike (1945) notes, these levels are considered to be meaningless by themselves – only intonation contours (i.e., combinations of levels) bear meaning. The utterance-length intonation contour is divided into two components: the precontour and the primary contour .…”
Section: Introductionmentioning
confidence: 99%
“…Attempts to define the acoustic bases of perceived differences in adult speech rhythm have a long and well-documented history (see White & Mattys, 2007, for an overview). An early thesis proposed that perceived differences in rhythm (i.e., between the perceived ‘Morse Code’ rhythm of for example Germanic languages and the perceived ‘machine gun’ rhythm of for example Romance languages) were dependent on these languages adopting (categorically) different timing strategies, with isochronous units coinciding with either syllables (hence the term ‘syllable-timed’) or stress-delimited feet (hence the term ‘stress-timed’) (Pike, 1945; Abercrombie, 1967). Many instrumental studies subsequently sought and failed to find any evidence of isochrony (cf.…”
Section: Introductionmentioning
confidence: 99%
“…Listening to speakers of different languages – whether in a cafe, on the television, or over internet radio – quickly reveals rhythmic characteristics which can distinguish many of the world’s languages. These perceptually salient differences include the three-way distinction between the staccato, rapid rhythm of languages such as Japanese, the regular “machine gun” rhythm of languages such as Italian, and the “Morse code” alternations of strong and weak syllables in languages such as Dutch or German (Pike, 1945 ; Abercrombie, 1967 ). However, regular timing is far more apparent in the ear of the listener than in the acoustic characteristics of speech: the differences among classes of language prove strikingly elusive when we measure the duration of critical elements of the speech signal (Lehiste, 1977 ; Dauer, 1983 ).…”
mentioning
confidence: 99%