A gay/straight comparison of gay voices
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Notice bibliographique
Résumé
Queer linguistics has often been criticized as a field that has no application and is \nconcerned only with theoretical matters (Motschenbacher, 2010, p. 16). This applies theory to \nexamining the stereotypes that Americans may attribute to homosexual men. \nThough it has been shown that there is no such dialect as a gay one, there are features that \nare stereotypically associated with the speech of gay men. For the purpose of this study, three of \nthose features (the lisp, a raised pitch, and formal [–iŋ] endings) were examined in US and \nCanadian stand-up performances of heterosexual and homosexual Caucasian comedians in order \nto discover how salient the features might be in the US and Canada. Perception studies have \nexamined these features in the past (Smyth, Jacobs, & Rogers, 2003; Campbell-Kibler, 2007; \nVan Borsel, et. al., 2009). Though no definitive results were uncovered in these studies, there is \nsome evidence that people attribute these features to assumed gay speakers. \nEight Caucasian US and Canadian comedians' performances of "gay" speech were \nexamined and compared to their natural voices. Four comedians were homosexual, and four were \nheterosexual. All of the comedians were in their 20s and 30s. Data was collected on the \npronunciation of [s] vs. [s̪], mean frequency or pitch, and occurrences of formal [–iŋ] vs. \ninformal [–In] endings. \nFormal [–iŋ] vs. informal [–In] endings did not show any patterns, but this is likely due to \nthe relatively small number of occurrences. Comedians in the heterosexual group and the \nhomosexual group raised their pitch when performing a gay voice. The heterosexual group, \noverall, raised their pitch more often than the homosexual group. The lisp was only employed by \none homosexual comedian, and it was employed by half of the heterosexual comedians.Formal [–iŋ] vs. informal [–In] endings did not show any patterns, but this is likely due to \nthe relatively small number of occurrences. Comedians in the heterosexual group and the \nhomosexual group raised their pitch when performing a gay voice. The heterosexual group, \noverall, raised their pitch more often than the homosexual group. The lisp was only employed by \none homosexual comedian, and it was employed by half of the heterosexual comedians.
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle