Self‐Priming in Production: Evidence for a Hybrid Model of Syntactic Priming

Syntactic priming in language production is the increased likelihood of using a recently encountered syntactic structure. In this paper, we examine two theories of why speakers can be primed: error‐driven learning accounts (Bock, Dell, Chang, & Onishi, 2007; Chang, Dell, & Bock, 2006) and activation‐based accounts (Pickering & Branigan, 1999; Reitter, Keller, & Moore, 2011). Both theories predict that speakers should be primed by the syntactic choices of others, but only activation‐based accounts predict that speakers should be able to prime themselves. Here we test whether speakers can be primed by their own productions in three behavioral experiments and find evidence of structural persistence following both comprehension and speakers’ own productions. We also find that comprehension‐based priming effects are larger for rarer syntactic structures than for more common ones, which is most consistent with error‐driven accounts. Because neither error‐driven accounts nor activation‐based accounts fully explain the data, we propose a hybrid model.     

II—Richard Cross

ABSTRACT Scotus's belief that any created substance can depend on the divine essence and/or divine persons as a subject requires him to abandon the plausible Aristotelian principle that there is no merely relational change. I argue that Scotus's various counterexamples to the principle can be rebutted. For reasons related to those that arise in Scotus's failed attempt to refute the principle, the principle also entails that properties cannot be universals.     

Tempo discrimination of musical patterns: Effects due to pitch and rhythmic structure

The purpose of this research was to investigate a set of factors that may influence the perceived rate of an auditory event. In a paired-comparison task, subjects were presented with a set of music-like patterns that differed in their relative number of contour changes and in the magnitude of pitch skips (Experiment 1) as well as in the compatibility of rhythmic accent structure with the arrangement of pitch relations (Experiment 2). Results indicated that, relative to their standard referents, comparison melodies were judged to unfold more slowly when they displayed more changes in pitch direction, greater pitch distances, and an incompatible rhythmic accent structure. These findings are suggested to stern from animputed velocity hypo thesis, in which people overgeneralize certain invariant relations that typically occur between melodic and temporal accent structure within Western music.     

The Boundaries of the Analytic Encounter: Clinical and Ethical Dimensions: A Roundtable Discussion: January 15, 1998

The American Journal of Psychoanalysis -     

Profiles of stutterers' and nonstutterers' affective, cognitive, and behavioral communication attitudes

The purposes of this investigation were 1) to profile the affective, cognitive, and behavioral attitudinal dimensions of stutterers' and nonstutterers' communication attitudes and 2) to describe membership characteristics of each profile. To this end, 76 stutterers and 81 nonstutterers completed the Inventory of Communication Attitudes. This self-report inventory obtained ratings of different types of speaking situations, using five response scales reflecting behavioral, affective, and cognitive aspects of attitudes. Exploratory cluster analysis identified six attitudinal clusters or profiles. Some profiles were more typical either of stuttering respondents or of nonstuttering respondents, whereas one profile reflected attitudes of proportionately equal numbers of stutterers and nonstutterers. Examination of profile membership characteristics revealed two significant discriminators, classification as a stutterer or nonstutterer and an overall speech rating. Nondiscriminatory characteristics included sex, age, education, therapy experiences, stuttering severity self-rating, onset of stuttering, total therapy time, current therapeutic status, and familial history.