Il ritmo del linguaggio e delle emozioni

Maria Grazia Turri

doi:10.4396/SFL2019ELE04

Maria Grazia Turri

DOI: https://doi.org/10.4396/SFL2019ELE04

Parole chiave: Rhythm, Imitation, Bipedalism, Language, Emotions, Motor System

Abstract

The rhythm has been a crucial role in acquisition of vocal language structure and in its application. Vocal language structure could be emerged thanks to the fact that the motor system of human body, on the one hand, operates in a structurally rhythmic way, on the other hand, the human body shows a special sensitivity to rhythm, and especially to rhythm defined by imitative and connective recurrence of movements, acts and actions. Among movements the emotions have played, and play, a key role for vocal language. Furthermore, linguistic structure is itself made up of motor movements, acts and actions, and its development may not have involved generally simultaneously the set of functional elements to vocalization and of hearing, which has made it clear that motor system is particularly sensitive to rhythm of sounds.

Riferimenti bibliografici

Balconi M. (2008), Neuropragmatica. Processi, fenomeni e contesti, Aracne, Roma.

Bayer Z.C., Hernandez R.J., Morris A.M., Salomonczyk D., Pirogovsky E., Gilbert P.E. (2011), «Age-related source memory deficits persist despite superior item memory», in Experimental Aging Research, pp. 473-80.

Benveniste É. (1966), Problèmes de linguistique générale (trad. it. Problemi di linguistica generale, il Saggiatore, Milano 1994).

Bråten S. & Gallese V. (2004), On mirror neurons systems implications for social cognition and intersubjectivity, interview by the editors of “Impuls”, 58(3), pp. 97-107.

Caruana F. & Gallese V. (2011), «Sentire, esprimere, comprendere le emozioni: una nuova prospettiva neuroscientifica», in Sistemi Intelligenti, 2, pp. 223-34.

Corballis M.C. (2010), «The gestural origins of language», in Wiley Interdisciplinary Reviews: Cognitive Science, 1(1), pp. 2-7.

Damasio A.R. (2003), Looking for Spinoza. Joy, sorrow, and the feeling brain (trad. it. Alla ricerca di Spinoza. Emozioni, sentimenti e cervello, Adelphi, Milano 2003).

Donald M. (1991), Origins of the Modern Mind. Three stages in the evolution of culture and cognition, Harvard University Press, Cambridge, MA.

Ekman P., Friesen W.V. & Hager J.C. (2002), New version of the facial action coding system. Manual and Investigator’s Guide, Research Nexus, Salt Lake City, UT.

Fadiga L., Craighero L., Buccino G., Rizzolatti G. (2002), «Speech listening specifically modulates the excitability of tongue muscles: a TMS study», in European Journal of Neuroscience, 15(2), pp. 399-402.

Fogassi L. & Ferrari P.F. (2004), «Mirror neurons, gesture and evolution of language», in Interaction studies, 5, pp. 343-61.

Gallese V. & Lakoff G. (2005), «The brain’s concepts. The role of the sensory-motor system in reason and language», in Cognitive Neuropsychology, 22, pp. 455-79.

Gentilucci M. & Corballis M.C. (2006), «From manual gesture to speech: a gradual transition», in Neuroscience and Biobehavioural Review, 30(7), pp. 949-60.

Glenberg A.M. & Gallese V. (2011), «Action-based language: a theory of language acquisition, comprehension, and production», in Cortex, 48(7), pp. 905-22.

Jablonka E., Ginsburg S. & Dor D. (2012), «The co-evolution of language and emotions», in Philosophical transactions of the Royal Society of London, Series B, Biological sciences, 367(1599), pp. 2152-59.

Jarvis E. & Mello C.V. (2000), «Molecular mapping of brain areas involved in parrot vocal communication», in The Journal of Comparative Neurology, 419(1), pp. 1-31.

Jousse M. (1974), L’Anthropologie du Geste (trad. it. L’antropologia del gesto, Edizione Paoline, Roma, 1979).

Juslin P.N. & Laukka P. (2003), «Communication of emotions in vocal expression and music performance: different channels, same code? », in Psychological Bulletin, 129(5), pp. 770-814.

Koelsch S. & Siebel W.A. (2005), «Towards a neural basis of music perception», in Trends in Cognitive Sciences, 9(12), pp. 578-84.

Koelsch S. (2012), Brain and music, John Wiley & Sons, Hoboken, New Jersey.

Levitin D.J. & Menon V. (2003), «Musical structure is processed in “language” areas of the brain: a possible role for Brodmann Area 47 in temporal coherence», in Neuroimage, 20(4), pp. 2142-52.

Lurija A.R. (1974), Ob istoričeskom razvitii poznavatel’nych processov (trad. it. La storia sociale dei processi cognitivi, Giunti, Firenze, 1977).

MacNeilage P.F. (1998), «The frame/content theory of evolution of speech production», in Behavioral and Brain Sciences, 21(4), pp. 499-511.

Merleau-Ponty M. (1945), Phénoménologie de la perception (trad. it. Fenomenologia della percezione, Bompiani, Milano, 2003).

Merleau-Ponty M. (1969), La prose du monde (trad. it. La prosa del mondo, Editori Riuniti, Roma, 1984).

Meltzoff A.N. (2002), Elements of a developmental theory of imitation, in W. Prinz & A. Meltzoff, The Imitative Mind. Development, Evolution and brain bases, Cambridge University Press, Cambridge-New York, pp. 19-41.

Newman A.J., Supalla T., Fernandez N., Newport E.L., Bavelier D. (2015), «Neural systems supporting linguistic structure, linguistic experience, and symbolic communication in sign language and gesture», in Proceedings of the National Academy of Sciences of the United States of America, 112(37), pp. 11684-9.

Patel A.D. (2008), Music, language, and the brain (trad. it. La musica, il linguaggio e il cervello, Giovanni Fioriti, Roma, 2014).

Piaget J. (1942), «Les trois structures fondamentales de la vie psychique: rythme, régulation et groupement», in Revue Suisse de Psychologie et de Psychologie appliquée, 1/2, pp. 9-21.

Rizzolatti G. & Arbib M.A. (1998), «Language within our grasp», in Trends in Neurosciences, 21, pp. 188-94.

Rizzolatti G. & Sinigaglia C. (2006), So quel che fai, Raffaello Cortina, Milano.

Sacks O. (2007), Musicophilia. Tales of music and the brain (trad. it. Musicofilia. Racconti sulla musica e il cervello, Adelphi, Milano, 2008).

Thaut M.H. (2005), «Rhythm, Music, and the Brain, in Scientific Foundations and Clinical Applications», in Studies on New Music Research, 7, New York, Taylor & Francis.