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The migraine attack may start in the brain and affect the vascular system secondarily. Feedback from vessels to the brain completes a vicious circle. In the internal carotid circulation, the phase of constriction is associated with neurological symptoms. There may be a diffuse ischaemia of the brain or a progressive, slow march of oligaemia that correlates with spreading depression.

It is well established that the lowered third formant constituting the primary acoustic percept of American English /r/ can be achieved with different tongue shapes in production, which may be broadly grouped into ‘bunched’ and ‘retroflex’ production strategies. There is also evidence showing that some speakers select one or the other of these production strategies depending on the coproduction context, thus suggesting that the two are motorically equivalent. This chapter investigates whether such motor equivalence in /r/ production is a generally accessible property of fluency in American English. While the vocal tract morphology of a given speaker may lead her to prefer one tongue shape uniformly, introduction of a perturbation interfering with normal articulation habits may potentially induce that speaker to explore the use of an alternative shape. Subjects in the study were fitted with a custom palatal prosthesis incorporating a protrusion along the alveolar ridge, and observed during /r/ production with and without the prosthesis using electromagnetometry. A majority of subjects responded to the artificial palate by alternating between tongue shapes. Regardless of tongue shape, no subjects showed significant differences across condition in formant patterns for /r/. All subjects showed a pattern of motor equivalence between tongue constriction location and corresponding lip protrusion, as displaced by the palate or as an aftereffect of wearing it. These results are consistent with the primacy of acoustic goals in the production of /r/.

This chapter investigates the cross-language validity of the Movement Expansion Model (MEM) and its developmental relevance. The first part reports on a test of the classical rounding anticipatory coarticulation models with adults from two different language backgrounds (American English and Canadian French). Anticipatory movement patterns were described by means of collecting protrusion and constriction data. A bite-block condition was added to control the possible neighbouring consonantal influence (via the jaw, particularly for coronals) on the time course of rounding anticipation. All speakers displayed a lawful MEM anticipatory behaviour including English subjects who have been reported to display a different rounding behaviour from French or Swedish. The failure of the preceding studies was attributed to a too small protrusion magnitude. The second part of this study reports on a test of the MEM model to account for the evolution of vocalic rounding anticipation in seven French-speaking children (aged from three-and-a-half to eight years). Results showed that the rounding movement timing pattern for the production of the French vowel [y] can be mastered as early as three-and-a-half years of age, and at least by five-and-a-half years.

It is commonly thought that Derrida's reason in creating his most architectural and most explicit sexual work Glas points the way to some exit or escape from the prison of Western values so entrenched as to have become transparent. Glas is a book that goes beyond the farthest reaches of book culture, yet it established a textual modality of reverberation, supplementarity, chiasmatic reversal, and constriction. This is all by way of saying that there is an implicit architecture of history in Glas that its ideology's appeal sounds its silent echo. On the other hand, the Hegel column in Glas has been questioned to be extrapolated in comprehensive fashion during an epoch of Western culture but then soon terminated. Moreover, the split of Modernity resounds at a major juncture in Derrida's recounting of Hegelian Christianity.

As carers become fatigued, all sorts of things can so easily go wrong, including the carer becoming ill themselves. We argue that the professional should watch over the lay carer’s well-being as well as over the patient’s needs. The grind can affect the whole household. From this can grow a sense of guilt over recognised negative feelings, about a lack of confidence and about the constrictions of the home and life-style. The capacity to forgive can be strained in the struggle to keep going. Among other issues considered are the sense of loss of freedom, friends, personal time and the joys of the past. A major loss may be the mental change in the patient which brings new and unexpected stresses to the relationship. There are also positive consequences—more time together, rediscovered common interests, and a warming and deepening affection. The combination of family devotion and the skills of the professional can lead to a renewing and enriching situation.

Francis Meres famously opined that Shakespeare was ‘honey-tongued’, while in the Sonnets the poet tells us that he is ‘tongue-tied’. In the context of these divergent accounts of Shakespeare’s verse expression, this chapter argues that ‘voice’, both the voice of the poet, especially Shakespeare’s distinctively Ovidian poetic persona and that of the other speakers and characters who populate his verse, is central to all of Shakespeare’s poetry. Because the phenomenon of reading poetry in print was relatively new in early modern England, the distinction between the voice, in the literal sense, and the poet’s voice as readers sounded poems out in their own heads, became increasingly significant. Reading was just as much about close listening to the sound communicated by the poem, with its stress on the faculty of internal hearing, as it was about visual apprehension. Attuned to the poet’s voice, the reader, like Bottom in A Midsummer Night’s Dream might aver: ‘I see a voice’ (5.1.190). This chapter, then, considers what early modern readers might have ‘heard’ when they read Shakespeare’s poetry.