Intuition voice Psychology today

Many written languages ​​indicate spoken languages, but it may be difficult to describe sounds. The unique traits of sounds challenge verbal description, can be recognized but difficult to describe. In a writing workshop, the novelist Janet Fitch asked students to find words for the voices they knew well, which led to a strict creative exercise (Fitch 2020). Creating some features of sound makes it a useful metaphor for intuition that is difficult to transfer.

The stadium and the density of sound often raise words, thanks to the familiar metaphors. The sound may be “high” or “low” (describes hearing in terms of vision), or loud or “soft” (describes hearing in terms of touch). The features of unique sounds that define sounds depend on their most essential bodies, which are formed by the consensual “peaks” in the energy spectrum (Kraus 19-21). How to transfer the difference between chilo and flute playing in the middle of C? How do you describe the difference between Bob Dylan and Johnny Cash singing “Don’t think twice, everything is fine”?

Modern psychological studies indicate that the sensitivity of sound features begins early. In a cooperative study for Chinese and American, Waili Ma, William Ford Thompson, and their colleagues, he found that children of no more than 3 years have responded emotionally for changes in environmental sounds (and others 1144). Adult reactions to voices indicate that people use the same audio signals when emotionally responding to sounds, music or noise in their vicinity (MA et Al. 1144). Evidence also indicates that the feeling of “chills” when hearing music or other sounds is not peculiarities. “Frisson” perceptions (feeling of ticking or tingling) are associated with audio sound features. Takuya Koumura and her colleagues have noticed that “dark and integrated Timbre sounds” are likely to stimulate Koumura et al. 1140. In terms of metaphorical, these stimulating characteristics describe the material characteristics of the spectra of sound in terms of vision and touch.

Like scientists, creative writers seek to convey difficult concepts through language. Through their craft, novelists and poets may be able to direct researchers trying to describe the spectra. Book skills in picking up words also reveal the capabilities of “sounds” to express the ineffective memories, limit and ideas.

The novel by the innovative Mexican writer Juan Rolvo, Pedro Paramo (1955), the sound is used to create a sudden imaginary world. In the story of Rufo, Juan Preciado is looking for his father in a remote town (Comala), where the voices indicate his readers and Rufo that the strange forces are at work. Originally, Rulfo wanted to contact his novel Weedsand Weeds (Estrada 83; Ken Grima 125). Literary scientists note that the sound plays a major role in the novel, not only in its position but its structure (Estrada; Ken-Grima; Plancas Plancas; Carter). The composer Julio Estrada believes in this Pedro Paramo It works like music composition (Estrada 15). In this novel, which inspired Gabriel Garcia Marquise, an audio tape reveals with words without a world without border Between life and death.

In Western cultures, the vision has become related to the perception of trust, reason and reliable knowledge – there is no person in it Pedro Paramo. Many scenes happen in the dark, so that the characters should use sound to distinguish their place and what is happening. JUAN Preciado faces a city “free of all sound” but echo with sounds, one of which is “shaking by the shoulders” (Rufo 5, 21). Described by his personalities and other views, some of these sounds have unique Timbres. A woman crying “with a defeated broken voice, barely holding her fragrant thread” (RULFO 66). A man speaks with “cruel. Dryly like dirt” (RULFO 100). Both descriptions encourage readers to see and hold voices creatively, as Rufo characters do.

In the town of “Fulls of Echoes”, Juan Preciado realizes the grumbling that seemed to be a crowd of people on market day “(Rufo 39, 58). The descriptions of rain that works on the ground enhances this impression of insistence activity. A horse sits around the countryside, looking for its missing passenger. Each convincing real character meets Juan claims that another person has died long ago.

Juan realizes that sense Instead of hearing sounds, because in this world of story, he hears metaphorical works. The ears of Juan discover the calls of rain, wind and birds, but also the voices of life that have ended. Juan feels that “the words that I heard until that moment … had no sound, were silent. You can feel it, but they did not make a sound, like the words you hear in a dream” (Rufo 45-46). When Rufo describes “the whisper of rain like cockroaches”, it suggests almost concrete sounds (Rufo 13). At the same time, he hears as a way to describe what one remembers, or the mysterious senses, like the feelings of the people who passed.

As a meaning that challenges his perceptions a language, hearing works well in literature to suggest a doubtful but continuous presence. Julio Estrada believes that RULFO uses “EL Oí Como Presensia Del Ser”, “Hearing as existence” (Estrada 50-51). You may teach the study of creative descriptions of the sound of scientists and the book because these descriptions indicate alternative ways to achieve knowledge. Literary researcher Sam Carter finds that “listening … is always associated with transformation” (Carter 6). Hearing an idea instead of “seeing”, you don’t need to make this idea suspicious. By transferring Passion and intuition At work in the origins of knowledge, hearing may inspire new hypotheses.