Using eye-tracking to study anaphoric relations processing in European Portuguese

In this study we evaluate processing costs of different types of anaphoric expressions during reading. We consider three types of anaphoric expressions in Subject sentential position: a null pronoun (pro), and two gaps produced by syntactic movement: a WHvariable and a NP copy. Given that coreferential pro exhibits more referential weight than wh- and NP-gaps, and grounded on theories of referential processing based on relations of hierarchy and accessibility of the antecedent, we raise the hypothesis that the more dependent on its antecedent the anaphoric null constituent is, and the more minimal is the distance in terms of hierarchical structure between the anaphoric null element and its antecedent, the lower are the cognitive costs in processing. To test our hypothesis, we registered the eye movements with R6-HS ASL system of 20 Portuguese adult native speakers. Text regions including the selected anaphoric expressions were delimited and tagged. We analyzed the reading time of each region taking into account the number and duration of eye fixations per region; we used the reading time by character in milliseconds in order to compare values between regions of different length. We found a significant advantage in the reading time of the gaps arising from movement over the reading time of pro.

A matter of fundamentals : sound and silence in the radio drama of Samuel Beckett

Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.