English and American Studies Institute

The purpose of this article is to investigate a variety of languages with laryngeal contrasts that have usually been characterized in the literature of generative phonology as having a two-way [voice] contrast and to show that by adopting a narrower interpretation of [voice] to cover only those languages which exhibit prevoicing in word-initial stops, a better understanding of the laryngeal contrasts and assimilation of laryngeal features in these languages is possible. We consider Hungarian, Russian, German, Swedish, and Turkish, which have all been analyzed as having a two-way [voice] contrast for stops. We suggest that the feature [voice] is indeed appropriate for Hungarian and Russian, that the feature of contrast in German is [spread] and that, in Swedish and Turkish, both [voice] and [spread] occur in underlying forms. Analyses are provided for these stop systems in the framework of Optimality Theory.

The paper discusses the possible analyses of the behaviour of [h] and [x] in Hungarian. It argues that in a derivational, rule-based framework two types of analyses are possible: one that assumes two separate underlying segments, /x/ and /h/, and thus misses the generalisation that the two segments are in complementary distribution, a typical characteristic of allophones. The second kind of approach argues that [h] and [x] come from the same underlying segment; this type of analysis can be further divided into two subtypes. According to one of these, the underlying segment is /h/. To be able to derive the attested output forms, three separate strengthening rules must be posited, an obvious disadvantage. The other possible approach, on the other hand, argues that the underlying segment is always /x/ weakened into a [h] in onsets and deleted in a group of lexically marked words by a minor rule. Besides, we also consider the behaviour of H-type segments in voice assimilation: they trig...

The main scope of this paper is the contact linguistic examination of the language of 3 English-Hungarian bilinguals. This study of interlingual as well as intralingual lexical contact phenomena reveals differences between Standard Hungarian (SH) and the substandard language variety of the subjects as a result of the influence of the English language on the above mentioned bilinguals’ language; for example it identifies lexical items that are present in their variety but not a constituent of SH.
Informal conversations with the subjects were tape-recorded and transcribed to make the source of the research. As for the method applied during the research, the linguistic manifestations were collected manually and they were analysed on the basis of Winford’s (2003) classification, Kontra’s (1990) work and Forintos’s (2008) work. The aim of the study is to provide both the qualitative and the quantitative analysis of the data. On the other hand, data might give relevant information to current research or future research in the field of contact linguistics.
My hypothesis is that examples for all the classes are found in the source of the research. The study consists of three chapters. In chapter one, a brief outline of the study field of contact linguistics and bilingualism is given to serve as an introduction for this study. Chapter two is based on the analysis of the subjects’ spoken words following the aforementioned Winford’s (2003) classification of lexical contact phenomena, Kontra’s (1990) work and Forintos’s (2008) work. Chapter three provides the quantitative analysis of the data and in chapter four, the conclusion of the analysis of chapter two and the verification of the hypothesis are given.
My future research will be the alignment of more examples with the increase of the number of subjects in order to support my hypothesis more effectively.

Audiovisual translation (AVT), albeit originated back in the early 20th century, only started gaining in popularity in the past decades, and poses unique challenges compared to traditional translation. Not only does the translator have to face the limitation placed by the time and length constraints and the lip movement of the characters, but beside verbal elements, also non-verbal ones (sounds, music, images, etc.) define the target-language text. This characteristic of movies makes the task of translating realia, or culture-specific notions, rather hard. The translator can - and has to - choose from a wide range of translation methods that can be placed somewhere on a spectrum between two main trends: domestication or foreignisation, opting for either bringing the target language (TL) text closer to the target culture (TC), or preserve it to some extent in the source culture (SC). The goals of the present paper are twofold. On the one hand, it intends to support the validity of a ...

The paper discusses the possible analyses of the behaviour of [h] and [x] in Hungarian. It argues that in a derivational, rule-based framework two types of analyses are possible: one that assumes two separate underlying segments, /x/ and /h/, and thus misses the generalisation that the two segments are in complementary distribution, a typical characteristic of allophones. The second kind of approach argues that [h] and [x] come from the same underlying segment; this type of analysis can be further divided into two subtypes. According to one of these, the underlying segment is /h/. To be able to derive the attested output forms, three separate strengthening rules must be posited, an obvious disadvantage. The other possible approach, on the other hand, argues that the underlying segment is always /x/ weakened into a [h] in onsets and deleted in a group of lexically marked words by a minor rule. Besides, we also consider the behaviour of H-type segments in voice assimilation: they trig...

My paper addresses the intersections of Gothic, Cultural, and Literary Studies and what they may offer to the understanding of Alice Munro’s fiction. I will argue that Munro’s fiction fits only partially within the Canadian Gothic paradigm it is mostly studied in, whereas it problematizes several issues that cannot be compartmentalized into spatial gothic studies. I will discuss in what ways the premises of a subfield (Canadian Gothic Studies) within a larger paradigm (Gothic Studies) narrow down the interpretation of texts by pointing to two short stories by Munro in her 1994 volume Open Secrets. These are: “A Wilderness Station” and “Vandals.” What makes their discussion in tandem possible is not only their joint appearance within the volume, but also their setting (both are set in the Canadian wilderness) and their characters (both feature colonizing couples, reiterating the pattern set by Susanna Moodie’s Roughing It in the Bush), although the time frame in which the events expire are set apart by a century. Before discussing their theme—which I will argue does not easily fit into the Canadian Gothic paradigm—I explain what I understand by the Gothic and the spatial turn within Gothic Studies. Then, I will turn to the texts, to conclude with a suggestion in what other ways the texts may be addressed.

Although Alice Munro is proverbially known to mythologize her home region of Southwestern Ontario, there are a handful of short stories that are set elsewherewhere this elsewhere is not Vancouver, Canada. Two of these, though published twelve years apart, significantly take place in Brisbane, Australia, where Munro spent some time in the early 1980s. By carefully reading the two stories' plots, characters, and figuration, I argue two points: (1) The two stories are in fact each other's mirror images and that (2) although both shun the convention of the happy ending, the later text represents a more thoughtfully considered, mature critique of the female gothic romance rather than an excursion into comedy or a challenge to female fantasy as critical accounts suggested earlier. Reading the two narratives together and juxtaposing them with the Brontëesque tradition of the romance will eventually contribute to shifting the critical consensus about the unchanging concerns of Munro's fiction.

The question I ask “What happens to CanLit when transed?, or rather, what
happens to Canadian writer’s writer’s Margaret Atwood’s Canadian Gothic
when adapted to the screen?” may seem naive on at least two accounts
depending on what one identies as the issue of the question. Seen from an Adaptation Studies framework, one may explain that this is not an issue at all since scholars have long given up on the concept of authenticity, faithfulness to an original. Seen from a literary scholarship framework, the issue centers around either literary technicalities (characters, settings, guration, themes, and narrative techniques – how many of these and in what way they are changed) or traditions – individual, historical, regional or national, for instance – asking to what extent a particular work’s embeddedness in a tradition is referenced or not. As above, one would claim that an adaptation is not expected to be identical with the original; besides, the source text is traditionally assumed by scholars of literature to allow for greater depth, sophistication, play, etc., as a matter of faith anyway. My question, however, is phrased in a specically CanLit framework, where CanLit means both literary works accepted as part
of the Canadian literary canon and its scholarship. And this is a context in
which my question starts to develop an edge.

Long gone are the days when the concise critical evaluation of Cormac McCarthy as "our best unknown major writer by any measure" 1 still rang true. Today, with only the bibliography of scholarly works related to McCarthy's work running to a fifty-one-page list 2 and with six major feature films based on his novels as ...

The paper discusses social practices that are routinely used by teenage and young adult males to create and maintain a collective masculine identity, such as the girl hunt, girl watching, and joking. Teachers and teacher trainees working with these age groups should be aware of these as they may foster a hostile environment that heavily impacts on students' achievements. The discussion starts from the most salient behavioral example that lays the foundation for subsequent ones and it gradually continues to move to the explication of two commercials that exemplify how mass media and social media content normalize the structuring forces and concepts introduced throughout the paper that underly possibly disruptive practices. The discussion is situated in the study of Englishspeaking cultures, American Cultural Studies in particular. The practices, processes, and concepts mobilized in the discussion however are applicable for understanding the dramaturgy of enacting masculinity in Western culture in general, which helps to acquire the critical-reflective attitudes, needed in teacher training.

Although Alice Munro is proverbially known to mythologize her home region of Southwestern Ontario, there are a handful of short stories that are set elsewherewhere this elsewhere is not Vancouver, Canada. Two of these, though published twelve years apart, significantly take place in Brisbane, Australia, where Munro spent some time in the early 1980s. By carefully reading the two stories' plots, characters, and figuration, I argue two points: (1) The two stories are in fact each other's mirror images and that (2) although both shun the convention of the happy ending, the later text represents a more thoughtfully considered, mature critique of the female gothic romance rather than an excursion into comedy or a challenge to female fantasy as critical accounts suggested earlier. Reading the two narratives together and juxtaposing them with the Brontëesque tradition of the romance will eventually contribute to shifting the critical consensus about the unchanging concerns of Munro's fiction.

The 1930s have long lived in the literary and political imagination as an all-male affair. After all the decade was about work, labor, economic depression and, of course, politics; it was about mainstream conservative inertia and political dissent; it was about the future, and the roads leading into that future. What could women have contributed to that affair? American literary scholarship in this part of the world has long neglected the study of this period for its highly politicized image-and the neglect becomes, historically and psychologically, all the more understandable when we turn our attention to the kind of literature that has become a kind of trademark for the period: Leftist literature.John Steinbeck readily comes to mind, and studies on his works abounded in this country at a time , but we seem to have forgotten about the fact that in the 1930s a large number of women writers from the middle-class joined the Left, and, most importantly, the Communist Party of the United States of America. After all the CPUSA welcomed all who worried about "the people"that the "people" were first and foremost male seemed to be a surmountable problem since the CP did seem to care about women in its all-inclusive rhetoric. Middle-class women joined the CPUSA as a conscious choice. After women were at long last granted the right to vote, the feminist movement, and women's movement in general, lost momentum-partly because of the early feminist strategies of argumentation, which emphasized women's innate ability to act as moral reformers in all spheres of life, and, largely, because the goal around which the movement organized had been reached. The vote, in this sense, proved to be a

In my paper, I discuss three short stories by Alice Munro from her late career: "Vandals" (1994), "Runaway" (2004), and "Dimensions" (2010). Although these instant classics were published in different volumes, they show a remarkable unity in their thematic focus, the characters they line up, their setting and narrative structure, thus they can be seen as a group of stories, or even a story type in Munro's later period. At the same time, these stories also show a remarkable shift in their conclusions, suggesting a similar shift in Munro's vision. By examining them as stories depicting an idyllic garden akin to Eden and created by increasingly domineering Adam-like figures who grow more violent with each narrative, I will demonstrate how Munro's female characters are tempted by the fruit of knowledge, why they opt for intentional blindness, and why the protagonist of the most recent short story breaks away from the Eden constructed by her Adam. The stories illustrate the delicate balance of