Acquisition of inflected and uninflected infinitives in child L1 European Portuguese

This study investigates the child (L1) acquisition of inflected and uninflected infinitives in European Portuguese (EP). We test and contrast properties involving two interfaces, focusing on morpho-syntactic and syntax-semantics properties of inflected infinitives, in contrast with uninflected infinitives. We present experimental results from three monolingual EP child groups, between ages 6 and 12 (n=72), compared to EP adults (n=32). Results show that children as young as 6-7 have knowledge of the morpho-syntactic properties of inflected infinitives, although at first glance they show insufficient knowledge of their syntax-semantics interface properties (i.e. non-obligatory control properties), differently from older children, who show evidence of knowledge of both types of properties. We argue that, in general, morpho-syntactic and syntax-semantics interface distinctions are also accessible to 6-7 children, but children may not show the entire range of interpretations possible for adults.

Queering Philip Roth: homosocial discourse in 'An actor’s life for me', 'Letting go', 'Sabbath’s theater' and the 'American trilogy'

Much has been written on Roth’s representation of masculinity, but this critical discourse has tended to be situated within a heteronormative frame of reference, perhaps because of Roth’s popular reputation as an aggressively heterosexual, libidinous, masculinist, in some versions sexist or even misogynist author. In this essay I argue that Roth’s representation of male sexuality is more complex, ambiguous, and ambivalent than has been generally recognized. Tracing a strong thread of what I call homosocial discourse running through Roth’s oeuvre, I suggest that the series of intimate relationships with other men that many of Roth’s protagonists form are conspicuously couched in this discourse and that a recognition of this ought to reconfigure our sense of the sexual politics of Roth’s career, demonstrating in particular that masculinity in his work is too fluid and dynamic to be accommodated by the conventional binaries of heterosexual and homosexual, feminized Jew and hyper-masculine Gentile, the “ordinary sexual man” and the transgressively desiring male subject.