Constancy in the perception of speech when the level of room-reflections varies

A speech message played several metres from the listener in a room is usually heard to have much the same phonetic content as it does when played nearby, even though the different amounts of reflected sound make the temporal envelopes of these signals very different. To study this ‘constancy’ effect, listeners heard speech messages and speech-like sounds comprising 8 auditory-filter shaped noise-bands that had temporal envelopes corresponding to those in these filters when the speech message is played. The ‘contexts’ were “next you’ll get _to click on”, into which a “sir” or “stir” test word was inserted. These test words were from an 11-step continuum, formed by amplitude modulation. Listeners identified the test words appropriately, even in the 8-band conditions where the speech had a ‘robotic’ quality. Constancy was assessed by comparing the influence of room reflections on the test word across conditions where the context had either the same level of room reflections (i.e. from the same, far distance), or where it had a much lower level (i.e. from nearby). Constancy effects were obtained with both the natural- and the 8-band speech. Results are considered in terms of the degree of ‘matching’ between the context’s and test-word’s bands.

Fetishizing the Holocaust: comedy and transatlantic connections in Howard Jacobson's 'Kalooki Nights'

The British Jewish novelist Howard Jacobson has, from the start of his career, found himself saddled with the unenviable label of 'the English Philip Roth'. For many years, Jacobson bristled at the Roth comparisons, offering the alternative label 'the Jewish Jane Austen' and insisting that he had not read Roth at all, though more recently he has put on record his admiration for Roth's comic masterpiece, Sabbath's Theater.If Jacobson's early work was certainly imbued with a Rothian Jewish humour, its cultural reference points were almost invariably English. In contrast, Kalooki Nights is saturated with allusions to American culture, in particular Jewish American culture. This article traces some of the ways in which Kalooki Nights explores and exploits these transatlantic connections in a comic novel that both participates in and satirizes what will be called here the fetishization of the Holocaust. It is concluded that Kalooki Nights is Jacobson's audacious attempt to produce a piece of Holocaust literature that exploits the tension between the desire of some Jews of his generation to know all the 'gory details', and the necessity of recognizing that their own historical situation prevents them from ever doing so. The result is to make people laugh not at the events of the Holocaust itself but at the attempt to fetishize them.

Imagining multicultural London: containment and excess in snatch

Snatch (Guy Ritchie, 2000) is a comic-book gangster film that can be seen to represent the backlash against perceived notions of political correctness in what is effectively a public-schoolboy fantasy of working-class life in East London. However, the film also delineates the limits of this backlash in its depiction of minorities as either contained or excess. This is highlighted through the comic-book genre itself as well as the characterization. Thus this article explores the tension between the genre, representation and Jewish identity.