Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66566
Nugraheni Bhakti Prajaningtyas, I. Adi
This graduating paper aims to examine whether or not John Boyne’s novel entitled The Boy in the Striped Pyjamas should be categorized as children’s literature. The story tells about a nine-year-old German boy named Bruno with his Jewish friend, Shmuel, who lives inside the concentration camp during the Holocaust. This graduating paper applies the genre approach since it is the most suitable approach to analyze the elements of children’s literature genre, which are character and characterization, didactic elements, the happy ending, and element of pictures in children’s literature. In order to support the analysis, library research was conducted alongside the novel itself as well as supporting articles from reliable websites. The result of the analysis shows that John Boyne’s The Boy in the Striped Pyjamas cannot be categorized as children’s literature as the characteristics of children’s literature suggested by Nodelman are not found in the novel. However, The Boy in the Striped Pyjamas can be categorized as high literature since the characteristics of high literature are primarily found in the novel.
{"title":"Rethinking John Boyne’s The Boy in the Striped Pyjamas as Children’s Literature","authors":"Nugraheni Bhakti Prajaningtyas, I. Adi","doi":"10.22146/LEXICON.V7I2.66566","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66566","url":null,"abstract":"This graduating paper aims to examine whether or not John Boyne’s novel entitled The Boy in the Striped Pyjamas should be categorized as children’s literature. The story tells about a nine-year-old German boy named Bruno with his Jewish friend, Shmuel, who lives inside the concentration camp during the Holocaust. This graduating paper applies the genre approach since it is the most suitable approach to analyze the elements of children’s literature genre, which are character and characterization, didactic elements, the happy ending, and element of pictures in children’s literature. In order to support the analysis, library research was conducted alongside the novel itself as well as supporting articles from reliable websites. The result of the analysis shows that John Boyne’s The Boy in the Striped Pyjamas cannot be categorized as children’s literature as the characteristics of children’s literature suggested by Nodelman are not found in the novel. However, The Boy in the Striped Pyjamas can be categorized as high literature since the characteristics of high literature are primarily found in the novel.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86478474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66564
Falminda Rahmadiyanti Tambulana, Adi Sutrisno
This research aimed to investigate the types of request strategies used by the characters in the movie Silver Linings Playbook (2012). It also identified the types of request goals made by the characters. The data were taken from dialogues in the movie, which contained request utterances. The data were then classified into nine strategy types of request according to Blum-Kulka and Olshtain (1984), followed by the classification of the data into four types of request goals according to the theory proposed by Blum-Kulka et al. (1985, as cited in Forgas, 1985, p. 118). The result showed that 202 request strategies were made by the characters. The most frequently used request strategy found in the movie was a direct request, which was mood derivable with 111 occurrences (54.9%). Meanwhile, for request goals, requests for action was the most frequently implored type by the characters, and it was dominated by mood derivable strategy with 103 occurrences (64.8%).
本研究旨在调查电影《乌云背后的幸福线》(2012)中角色使用的请求策略类型。它还确定了角色发出的请求目标的类型。这些数据取自电影中的对话，其中包含请求的话语。然后根据Blum-Kulka和Olshtain(1984)将数据分类为九种策略类型的请求，然后根据Blum-Kulka等人(1985，引用Forgas, 1985, p. 118)提出的理论将数据分类为四种类型的请求目标。结果表明，汉字共提出202个请求策略。电影中使用最频繁的请求策略是直接请求，有111次(54.9%)是情绪衍生的。同时，在请求目标中，行动请求是角色请求次数最多的类型，以情绪衍生策略为主，出现103次(64.8%)。
{"title":"Request Strategies as Seen in the Movie Silver Linings Playbook","authors":"Falminda Rahmadiyanti Tambulana, Adi Sutrisno","doi":"10.22146/LEXICON.V7I2.66564","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66564","url":null,"abstract":"This research aimed to investigate the types of request strategies used by the characters in the movie Silver Linings Playbook (2012). It also identified the types of request goals made by the characters. The data were taken from dialogues in the movie, which contained request utterances. The data were then classified into nine strategy types of request according to Blum-Kulka and Olshtain (1984), followed by the classification of the data into four types of request goals according to the theory proposed by Blum-Kulka et al. (1985, as cited in Forgas, 1985, p. 118). The result showed that 202 request strategies were made by the characters. The most frequently used request strategy found in the movie was a direct request, which was mood derivable with 111 occurrences (54.9%). Meanwhile, for request goals, requests for action was the most frequently implored type by the characters, and it was dominated by mood derivable strategy with 103 occurrences (64.8%).","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76391707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66568
Muhammad Furqon Abrori, A. Munandar
This research aims to describe how native speakers of Javanese from Yogyakarta realize final stops in English words, understand how often they pronounce final stops in English words with audible release burst, and examine whether release burst in final stops is a feature of Yogyakartan Javanese accent of English, based on their occurrence frequency. 20 native Javanese speakers from Yogyakarta were asked to pronounce 24 English words ending in stops: /p/, /t/, /k/, /b/, /d/, and /g/. The recordings were then analyzed and compared against recordings of the words produced by native English speakers using Praat to identify the release bursts. The finding shows that release burst can be found in 7 out of 80 (8.75%) recordings of words ending in final /p/, 8 out of 80 (10%) recordings of words ending in final /t/, 15 out of 80 (18.75%) recordings of words ending in final /k/, 10 out of 80 (12.5%) recordings of words ending in final /b/, 9 out of 80 (11.25%) recordings of words ending in final /d/, and 16 out of 80 (20%) recordings of words ending in final /g/. In total, 165 out of 480 (13.54%) recordings contain release bursts in the final stop.
本研究旨在描述以日惹爪哇语为母语的人如何实现英语单词的末停，了解他们在英语单词的末停中发出可听释放爆发的频率，并根据其出现频率来研究末停中的释放爆发是否是日惹爪哇英语口音的特征。来自日惹的20名母语为爪哇语的人被要求发音24个以停顿结尾的英语单词:/p/， /t/， /k/， /b/， /d/和/g/。然后对这些录音进行分析，并将其与母语为英语的人的录音进行比较，使用Praat来识别释放爆发。这一发现表明,释放破裂可以找到80年7(8.75%)在最后结尾的单词的录音/ p / 8的80个(10%)在最后结尾的单词的录音/ t / 80(18.75%)的录音在最后结尾的单词/ k / 10 80(12.5%)在最后结尾的单词的录音/ b / 9 80(11.25%)在最后结尾的单词的录音/ d /,和16个80(20%)在最后结尾的单词的录音/ g /。总共480个录音中有165个(13.54%)在最后一站包含释放爆发。
{"title":"Unreleased Bursts of Final Stops in English Words as Pronounced by Native Speakers of Javanese from Yogyakarta","authors":"Muhammad Furqon Abrori, A. Munandar","doi":"10.22146/LEXICON.V7I2.66568","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66568","url":null,"abstract":"This research aims to describe how native speakers of Javanese from Yogyakarta realize final stops in English words, understand how often they pronounce final stops in English words with audible release burst, and examine whether release burst in final stops is a feature of Yogyakartan Javanese accent of English, based on their occurrence frequency. 20 native Javanese speakers from Yogyakarta were asked to pronounce 24 English words ending in stops: /p/, /t/, /k/, /b/, /d/, and /g/. The recordings were then analyzed and compared against recordings of the words produced by native English speakers using Praat to identify the release bursts. The finding shows that release burst can be found in 7 out of 80 (8.75%) recordings of words ending in final /p/, 8 out of 80 (10%) recordings of words ending in final /t/, 15 out of 80 (18.75%) recordings of words ending in final /k/, 10 out of 80 (12.5%) recordings of words ending in final /b/, 9 out of 80 (11.25%) recordings of words ending in final /d/, and 16 out of 80 (20%) recordings of words ending in final /g/. In total, 165 out of 480 (13.54%) recordings contain release bursts in the final stop.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85918135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66571
A. Hafisa, Sharifah Hanidar
This research focuses on identifying the impoliteness strategies and explaining the purposes of the most frequently used strategy in Afraid of the Dark stand-up comedy show performed by Trevor Noah. The data of this research are Trevor Noah’s utterances which contains impoliteness strategies. The analysis was based on the impoliteness strategies theory proposed by Jonathan Culpeper (1996). The result of this research shows that Trevor Noah uses 105 instances of impoliteness strategies which cover all five types of strategies proposed by Culpeper; bald on record impoliteness, positive impoliteness, negative impoliteness, sarcasm or mock politeness, and withhold politeness. Based on the findings, negative impoliteness is found to be the most frequently used strategy. It occurs 42 times or with a percentage of 40% of the whole data. This high frequency of negative impoliteness strategy is used to entertain the audience. Trevor Noah mostly used ‘condescend, scorn, or ridicule’ sub-strategies of negative impoliteness intended to amuse and entertain the audience and also to induce laughter when hearing one being ridiculed or disparaged.
{"title":"Impoliteness Strategies in Trevor Noah’s Afraid of The Dark Stand-up Comedy Show","authors":"A. Hafisa, Sharifah Hanidar","doi":"10.22146/LEXICON.V7I2.66571","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66571","url":null,"abstract":"This research focuses on identifying the impoliteness strategies and explaining the purposes of the most frequently used strategy in Afraid of the Dark stand-up comedy show performed by Trevor Noah. The data of this research are Trevor Noah’s utterances which contains impoliteness strategies. The analysis was based on the impoliteness strategies theory proposed by Jonathan Culpeper (1996). The result of this research shows that Trevor Noah uses 105 instances of impoliteness strategies which cover all five types of strategies proposed by Culpeper; bald on record impoliteness, positive impoliteness, negative impoliteness, sarcasm or mock politeness, and withhold politeness. Based on the findings, negative impoliteness is found to be the most frequently used strategy. It occurs 42 times or with a percentage of 40% of the whole data. This high frequency of negative impoliteness strategy is used to entertain the audience. Trevor Noah mostly used ‘condescend, scorn, or ridicule’ sub-strategies of negative impoliteness intended to amuse and entertain the audience and also to induce laughter when hearing one being ridiculed or disparaged.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73925616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66569
Nurmalia Ayu Kharismawanti, Amin Basuki
This research discusses the flouting of Gricean maxims done by all the characters in the TV series Mom in the first 10 episodes in season 1. This research aims to identify and to classify the flouting of Gricean maxims according to Cutting’s classification and the most used method of flouting. The quantitative and qualitative methods are used as data analysis instruments. It is discovered that there are 99 flouting, with 59.6% (59 cases) among which is flouting of maxim of quality, 18.2% (18 cases) is flouting of maxim of quantity, 13.1% (13 cases) is flouting of maxim of relation, and 9.1% (9 cases) is flouting of maxim of manner. The characters in Mom tend to flout the maxims by using metaphors, being irrelevant, using irony or sarcasm, using hyperbole, or being ambiguous or obscure. The analysis shows that the characters flouted the maxims for several reasons, with the most frequent one is to offend or to hurt the hearer and to convince the hearer.
{"title":"The Flouting of Gricean Maxims Found in the TV Series Mom","authors":"Nurmalia Ayu Kharismawanti, Amin Basuki","doi":"10.22146/LEXICON.V7I2.66569","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66569","url":null,"abstract":"This research discusses the flouting of Gricean maxims done by all the characters in the TV series Mom in the first 10 episodes in season 1. This research aims to identify and to classify the flouting of Gricean maxims according to Cutting’s classification and the most used method of flouting. The quantitative and qualitative methods are used as data analysis instruments. It is discovered that there are 99 flouting, with 59.6% (59 cases) among which is flouting of maxim of quality, 18.2% (18 cases) is flouting of maxim of quantity, 13.1% (13 cases) is flouting of maxim of relation, and 9.1% (9 cases) is flouting of maxim of manner. The characters in Mom tend to flout the maxims by using metaphors, being irrelevant, using irony or sarcasm, using hyperbole, or being ambiguous or obscure. The analysis shows that the characters flouted the maxims for several reasons, with the most frequent one is to offend or to hurt the hearer and to convince the hearer.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75986119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66570
Rheavanya Winandhini, R. Jatmiko
This paper discusses the influence of feminism in the classic Victorian novel Dracula by Bram Stoker. The New Woman is a feminist ideal that appeared in the 19th century, more specifically amidst the rise of the first wave of feminism. The method of research used in this study covers close reading of the source material and analyzing the characters of the novel through the perspective of the New Woman ideals. The female characters in Bram Stoker’s Dracula portrayed the New Woman characteristic to some degree. Women’s independence, intellect, hyperfemininity, and hypersexuality, are some of the aspects of the movement that go against the norm and values of women in Victorian Britain, such as Mina’s “man’s brain” and Lucy’s hyperfemininity, while the Brides of Dracula provide contrast as the oppressed women with their submissive and compliant attitude towards him. Without erasing their representation of these New Woman ideals, Mina and Lucy also portrayed the complexity and dimensionality of being a woman in the Victorian era; their beauty and appeal were praised while their more “unwomanly” aspects present some threats towards men.
{"title":"New Woman as Seen in Bram Stoker’s Dracula","authors":"Rheavanya Winandhini, R. Jatmiko","doi":"10.22146/LEXICON.V7I2.66570","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66570","url":null,"abstract":"This paper discusses the influence of feminism in the classic Victorian novel Dracula by Bram Stoker. The New Woman is a feminist ideal that appeared in the 19th century, more specifically amidst the rise of the first wave of feminism. The method of research used in this study covers close reading of the source material and analyzing the characters of the novel through the perspective of the New Woman ideals. The female characters in Bram Stoker’s Dracula portrayed the New Woman characteristic to some degree. Women’s independence, intellect, hyperfemininity, and hypersexuality, are some of the aspects of the movement that go against the norm and values of women in Victorian Britain, such as Mina’s “man’s brain” and Lucy’s hyperfemininity, while the Brides of Dracula provide contrast as the oppressed women with their submissive and compliant attitude towards him. Without erasing their representation of these New Woman ideals, Mina and Lucy also portrayed the complexity and dimensionality of being a woman in the Victorian era; their beauty and appeal were praised while their more “unwomanly” aspects present some threats towards men.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75145949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66567
Amanda Amalia Noor Arifah, Rio Rini Diah Moehkardi
This research investigates the formation process of the blends, the classification, and identify the semantic changes in the names of the BBC UK children’s programs. The methods used in this research are descriptive qualitative, and quantitative. To analyze the formation and classification of the blends, the writer used the theory proposed by Elisa Mattiello. The result shows that morphotactically, the blends are categorized into total and partial blends. Morphonologically, the blends are classified into overlapping and non-overlapping blends. Morphosemantically, the attributive blends are more frequently used than the coordinative blends. Furthermore, there are some semantic changes found in the attributive blends.
{"title":"\"Octonauts\": Blending in the Names of BBC UK Children’s Programs","authors":"Amanda Amalia Noor Arifah, Rio Rini Diah Moehkardi","doi":"10.22146/LEXICON.V7I2.66567","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66567","url":null,"abstract":"This research investigates the formation process of the blends, the classification, and identify the semantic changes in the names of the BBC UK children’s programs. The methods used in this research are descriptive qualitative, and quantitative. To analyze the formation and classification of the blends, the writer used the theory proposed by Elisa Mattiello. The result shows that morphotactically, the blends are categorized into total and partial blends. Morphonologically, the blends are classified into overlapping and non-overlapping blends. Morphosemantically, the attributive blends are more frequently used than the coordinative blends. Furthermore, there are some semantic changes found in the attributive blends. ","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89622141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.22146/LEXICON.V7I2.66562
Tiffani Rizki Putri Baihaqi, Tofan Dwi Hardjanto
Questions are always present in people’s lives as they are used in daily conversation, not only as a tool to initiate a conversation but also to keep that conversation alive and at the same time to gain information from the interlocutor. This research aims to investigate the syntactic forms of questions and their pragmatic functions found in a TV series entitled The Office Season 1 as the data source. The data used in the research were interrogative utterances, their answers, and the context of the conversation. The results show that 409 questions were found, consisting of 214 (52%) yes/no questions and 195 (48%) WH questions. What outnumbers the other question words with a total of 117 (60%) questions. These questions were used to serve 27 pragmatics functions, seeking the most frequent function, amounting to 140 questions or 34% of the whole data. The dominant use of the questions word what and the function seeking information might be due to the setting of the place where the conversation is held, that is, The Office.
{"title":"Pragmatic Functions of Questions Found in the TV Series The Office","authors":"Tiffani Rizki Putri Baihaqi, Tofan Dwi Hardjanto","doi":"10.22146/LEXICON.V7I2.66562","DOIUrl":"https://doi.org/10.22146/LEXICON.V7I2.66562","url":null,"abstract":"Questions are always present in people’s lives as they are used in daily conversation, not only as a tool to initiate a conversation but also to keep that conversation alive and at the same time to gain information from the interlocutor. This research aims to investigate the syntactic forms of questions and their pragmatic functions found in a TV series entitled The Office Season 1 as the data source. The data used in the research were interrogative utterances, their answers, and the context of the conversation. The results show that 409 questions were found, consisting of 214 (52%) yes/no questions and 195 (48%) WH questions. What outnumbers the other question words with a total of 117 (60%) questions. These questions were used to serve 27 pragmatics functions, seeking the most frequent function, amounting to 140 questions or 34% of the whole data. The dominant use of the questions word what and the function seeking information might be due to the setting of the place where the conversation is held, that is, The Office.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91050200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thul et al. (2020) called attention to problems that arise when chronometric experiments implementing specific factorial designs are analysed with the generalized additive mixed model (GAMM), using factor smooths to capture trial-to-trial dependencies. From a series of simulations incorporating such dependencies, they conclude that GAMMs are inappropriate for between-subject designs. They argue that in addition GAMMs come with too many modeling possibilities, and advise using the linear mixed model (LMM) instead. As clarified by the title of their paper, their conclusion is: “Using GAMMs to model trial-by-trial fluctuations in experimental data: More risks but hardly any benefit”. We address the questions raised by Thul et al. (2020), who clearly demonstrated that problems can indeed arise when using factor smooths in combination with factorial designs. We show that the problem does not arise when using by-smooths. Furthermore, we have traced a bug in the implementation of factor smooths in the mgcv package, which will have been removed from version 1.8–36 onwards. To illustrate that GAMMs now produce correct estimates, we report simulation studies implementing different by-subject longitudinal effects. The maximal LMM emerges as slightly conservative compared to GAMMs, and GAMMs provide estimated coefficients that can be less variable across simulation runs. We also discuss two datasets where time-varying effects interact with numerical predictors in a theoretically informative way.
{"title":"A note on the modeling of the effects of experimental time in psycholinguistic experiments","authors":"R. Baayen, M. Fasiolo, S. Wood, Yu-Ying Chuang","doi":"10.1075/ml.21012.baa","DOIUrl":"https://doi.org/10.1075/ml.21012.baa","url":null,"abstract":"\u0000 \u0000 Thul et al. (2020) called attention to problems that arise when\u0000 chronometric experiments implementing specific factorial designs are analysed with the generalized additive mixed model (GAMM),\u0000 using factor smooths to capture trial-to-trial dependencies. From a series of simulations incorporating such dependencies, they\u0000 conclude that GAMMs are inappropriate for between-subject designs. They argue that in addition GAMMs come with too many modeling\u0000 possibilities, and advise using the linear mixed model (LMM) instead. As\u0000 clarified by the title of their paper, their conclusion is: “Using GAMMs to model trial-by-trial fluctuations in experimental\u0000 data: More risks but hardly any benefit”.\u0000 We address the questions raised by Thul et al. (2020), who clearly\u0000 demonstrated that problems can indeed arise when using factor smooths in combination with factorial designs. We show that the\u0000 problem does not arise when using by-smooths. Furthermore, we have traced a bug in the implementation of factor smooths in the\u0000 mgcv package, which will have been removed from version 1.8–36 onwards.\u0000 To illustrate that GAMMs now produce correct estimates, we report simulation studies implementing different\u0000 by-subject longitudinal effects. The maximal LMM emerges as slightly conservative compared to GAMMs, and GAMMs provide estimated\u0000 coefficients that can be less variable across simulation runs. We also discuss two datasets where time-varying effects interact\u0000 with numerical predictors in a theoretically informative way.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42552035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A multitude of studies show the relevance of both inflectional paradigms (word form frequency distributions, i.e., inflectional entropy) and inflectional classes (whole class frequency distributions) for visual lexical processing. Their interplay has also been proven significant, measured as the difference between paradigm and class frequency distributions (relative entropy). Relative entropy effects have now been recorded in nouns, verbs, adjectives, and prepositional phrases. However, all of these studies used visual stimuli — either written words or picture-naming tasks. The goal of our study is to test whether the effects of relative entropy can be captured in the auditory modality as well. Forty young native speakers of Romanian (60% female) living in Serbia as part of the Romanian ethnic minority participated in an auditory lexical decision task. Stimuli were 168 Romanian verbs from two inflectional classes. Verbs were presented in four forms: present and imperfect 1st person singular, present 3rd person plural, and imperfect 2nd person plural. The results show that relative entropy influences both response accuracy and response latency. We discuss alternative operationalizations of relative entropy and how they can help us test hypotheses about the structure of the mental lexicon.
{"title":"Relative Entropy Effects on the Processing of Spoken Romanian Verbs","authors":"Filip Nenadić, Benjamin V. Tucker, P. Milin","doi":"10.31234/OSF.IO/FB6P9","DOIUrl":"https://doi.org/10.31234/OSF.IO/FB6P9","url":null,"abstract":"A multitude of studies show the relevance of both inflectional paradigms (word form frequency distributions, i.e., inflectional entropy) and inflectional classes (whole class frequency distributions) for visual lexical processing. Their interplay has also been proven significant, measured as the difference between paradigm and class frequency distributions (relative entropy). Relative entropy effects have now been recorded in nouns, verbs, adjectives, and prepositional phrases. However, all of these studies used visual stimuli — either written words or picture-naming tasks. The goal of our study is to test whether the effects of relative entropy can be captured in the auditory modality as well. Forty young native speakers of Romanian (60% female) living in Serbia as part of the Romanian ethnic minority participated in an auditory lexical decision task. Stimuli were 168 Romanian verbs from two inflectional classes. Verbs were presented in four forms: present and imperfect 1st person singular, present 3rd person plural, and imperfect 2nd person plural. The results show that relative entropy influences both response accuracy and response latency. We discuss alternative operationalizations of relative entropy and how they can help us test hypotheses about the structure of the mental lexicon.","PeriodicalId":45215,"journal":{"name":"Mental Lexicon","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47233726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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