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Sentences with doubly center-embedded relative clauses in which a verb phrase (VP) is missing are sometimes perceived as grammatical, thus giving rise to an illusion of grammaticality. In this paper, we provide a new account of why missing-VP sentences, which are both complex and ungrammatical, lead to an illusion of grammaticality, the so-called missing-VP effect. We propose that the missing-VP effect in particular, and processing difficulties with multiply center-embedded clauses more generally, are best understood as resulting from interference during cue-based retrieval. When processing a sentence with double center-embedding, a retrieval error due to interference can cause the verb of an embedded clause to be erroneously attached into a higher clause. This can lead to an illusion of grammaticality in the case of missing-VP sentences and to processing complexity in the case of complete sentences with double center-embedding. Evidence for an interference account of the missing-VP effect comes from experiments that have investigated the missing-VP effect in German using a speeded grammaticality judgments procedure. We review this evidence and then present two new experiments that show that the missing-VP effect can be found in German also with less restricting procedures. One experiment was a questionnaire study which required grammaticality judgments from participants without imposing any time constraints. The second experiment used a self-paced reading procedure and did not require any judgments. Both experiments confirm the prior findings of missing-VP effects in German and also show that the missing-VP effect is subject to a primacy effect as known from the memory literature. Based on this evidence, we argue that an account of missing-VP effects in terms of interference during cue-based retrieval is superior to accounts in terms of limited memory resources or in terms of experience with embedded structures.
Le genre des questions-et-réponses dans la littérature grecque chrétienne se laisse mieux comprendre si l'on le définit comme une série de questions-et-réponses, présentées comme telles (et non comme des lettres ou des dialogues, par exemple) abordant des sujets variés et qui ne se réduisent pas à une seule catégorie de contenu (exégèse biblique ou explications scientifiques, par exemple). Ainsi restreint, le genre des questions-et-réponses dans la littérature grecque chrétienne connaît sa période la plus faste aux Ve-VIIIe s. dans des milieux monastiques ouverts sur les problèmes et les interrogations du monde. Ce genre, d'une grande souplesse et d'une grande vitalité, permet de traiter des questions d'une façon plus accessible et plus libre qu'il ne serait possible de le faire dans une homélie ou un traité théologique.
Terézia Mora zählt zu den renommiertesten Übersetzerinnen aus dem Ungarischen und erhielt für ihr schriftstellerisches Werk bereits zahlreiche Auszeichnungen. Ihr literarisches Debüt, der Erzählband Seltsame Materie (1999) wurde sowohl mit dem Ingeborg-Bachmann-Preis (1999) als auch mit dem Adelbert-von-Chamisso-Förderpreis im Jahr 2000 bedacht. Ihr Romandebüt Alle Tage (2004) wurde unter anderem mit dem Mara-Cassens-Preis ausgezeichnet. 2009 erschien der erste Teilband der angekündigten Trilogie um den Protagonisten Darius Kopp Der einzige Mann auf dem Kontinent. Es folgte 2013 der zweite Teil Das Ungeheuer, für welchen Terézia Mora den Deutschen Buchpreis im selben Jahr erhielt.
In ihrer Laudatio im März 2010, anlässlich der Verleihung des Adelbert-von-Chamisso Preises, bezeichnet Sigrid Löffler Terézia Mora nicht nur als herausragende Übersetzerin, sondern auch als Schriftstellerin, die ihre „Herkunftsregion literaturfähig“ gemacht habe...
Written during the fin de siècle, a period known as one of “sexual anarchy,” Ménie Muriel Dowie’s feminist Gallia (1895) joins the literary works of famous writers like Mona Caird or Sarah Grand. Wells. But although her novel covers the most explosive topics of the nineteenth century, namely degeneration and the female pursuit of emancipation, Dowie does not achieve great distinction as the limited se-lection of secondary literature on Gallia confirms. From my point of view, this has mostly to do with Dowie’s radical ideas on maintaining Britain’s health and su-premacy, as well as with the novel’s unconventional structure according that makes it hard to say what Dowie actually drives at. Superficially, Gallia might look like a conventional, but failed love-story with a strong and feminist heroine. But on sec-ond glance, one realises that some more important structure underlies this stereo-type-looking plot. Dowie’s creed is not that man is the measure – although the pub-licly powerful positions in this novel are all held by male characters – but that women set the new benchmarks for Britain’s society by secretly pulling the strings in order to disengage from male dominance.