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The chapter starts with an overview of places and manners of articulation. Among the special problems discussed is the relation between palatals and velars. Alternation between velars and palatals is common in paradigms, raising the question of the phonological function of the distinction. The chapter also discusses the relation between fortis (aspirated) and lenis (unaspirated) stops in foot initial and foot internal position, and the distinction between ‘hard’ and ‘soft’ dialects defined on the basis of the function of aspiration in foot internal position. The relation between voiced and voiceless fricatives and sonorants is another interesting area; there being a tendency for voiced fricatives to be weakened and become approximants. The ubiquity of voiceless sonorants is another special characteristic of the phonological structure. The chapter ends with an enumeration of the classes of consonants and a proposed elemental analysis.

This chapter describes the Faroese consonant system, giving an overview, and discussing parallel problems to those in Icelandic, such things as the relation between the fortis and lenis consonant series, both initially and word internally. There are similarities in that both Icelandic and Faroese have ‘hard’ and ‘soft’ dialects, and the number of oppositions allowed differs between positions, initially or internally in feet and words. Palatalization has reached its ‘logical’ conclusion in Faroese, creating palato‐alveolar affricates. Fricatives and glides also raise issues regarding positional restrictions on opposition, historical fricatives having been deleted, but new glides inserted in hiatus. The sonorant system shows similarities and differences vis à vis the Icelandic one. The chapter ends with a proposed elemental analysis of the Faroese consonant system.

This chapter revisits a sound law for the early history of Greek that was posited by the author in previous work (Historische Sprachforschung, 1998). In the context of arguing for the existence of a series of voiceless aspirated stops in Proto-Indo-European (PIE), Elbourne proposed that the inherited dental voiceless aspirated stop was deaspirated in Greek when it came after */s m n r l/. The chapter gives new suggestions for the formulation of the sound law and provides a fresh parallel, showing that the law was replicated in almost every detail in Egyptian koine. It concludes by arguing that some version of the law should be posited even by those who do not reconstruct voiceless aspirates for PIE.

This chapter presents the Latin-based alphabet of Turkish, which differs from that of English in the extra letters ç, ğ, ı, ö, ş, and ü, whereas it lacks q, w, and x. A detailed account is given of vowels, of consonants not present in the English alphabet, and of consonants shared by both languages. The notions front and back for vowels are introduced, as well as the notions voiced versus voiceless for consonants. Next, attention is given to aspiration of voiceless plosives. The most conspicuous letters for which the phonological environment determines their sound value are r and ğ; the former being pronounced with a kind of rustling at the end of a word, and the latter functioning either as a lengthening marker or as a symbol representing the y-sound. This chapter ends with the Turkish telephone alphabet.

This chapter presents two commentaries on the role of features in phonological inventories. It stresses the primacy of distinctive features in phonological theory and the importance of the details of distinctive feature theory. It also agrees with the notion that speech sounds are composite entities made up of features of the kind presented in The Sound Pattern of English. Moreover, the chapter discusses voiceless obstruents and high-pitch vowels (sonorants) produced with stiff vocal cords, in contrast to voiced obstruents and low-pitch vowels that are produced with slack vocal cords.

This chapter examines efforts by constitutionally voiceless cities and mayors to expand cities’ quasi-constitutional powers through urban citizenship schemes or, more frequently, through international networking and collaboration based on notions such as “the right to the city,” “sustainable cities,” “solidarity cities,” and “human rights cities.” For the most part, such initiatives have a socially progressive undercurrent to them. They address policy areas such as air quality and energy efficient construction, “smart cities,” affordable housing, enhanced community representation, or accommodating policies toward refugees and asylum seekers. Such experimentation with city self-emancipation is increasing in popularity and possesses significant potential in policy areas not directly addressed or hermetically foreclosed by statist constitutional law.

This study investigates the relationship between the production and perception of word-initial gemination in stops and fricatives in Tashlhiyt Berber. Gemination in this language is primarily implemented through longer duration, even for utterance-initial voiceless stops. This timing information is sufficient for native listeners to identify geminate fricatives and voiced stops and distinguish them from their singleton counterparts. For voiceless stops, however, native listeners’ discrimination performance is only slightly above chance level. Native speakers can thus encode a phonemic contrast at the articulatory level and yet be unable to fully decode it at the perceptual level. Implications of these results for the general issue of phonological representation of gemination are briefly discussed.

This study investigated the nature and acquisition of long consonants in Norwegian. By age 2;6 children already differentiate between [V:C] vs [VC:] structures in their own productions and, as with adults, do so most reliably through proportion of vowel duration in the rhyme (V/VC), the only systematic marker of the contrast. For both adults and children, the contrastiveness of vowel and consonant durations in themselves varies according to consonant manner: in sonorants both V and C duration are also contrastive, while in voiceless stops, consonant duration in itself is not contrastive. Evidence is also found for preaspiration as a possible secondary cue to long stops, and is present from the earliest stages of child speech investigated. By age 6, increasing speed and fluency in global intergestural coordination may undermine local temporal relationships already acquired at a slower speech rate, bringing about a transitional stage of apparent regression in development.

This chapter examines vowel contrasts in UPSID and P-base. We first divide vowels into two groups, basic and non-basic, and then search for the maximal number of contrasts in each phonetic dimension. Basic vowels involve lip rounding and tongue positions only. Non-basic vowels involve one or more additional features: nasality, creakiness, breathiness, and retroflex. It is found that, if we exclude long vowels and diphthongs and factor out tongue-root movement (ATR), there are no more than three degrees of tongue height and no more than two degrees of tongue backness. For example, we found no compelling evidence for over-short vowels, over-long vowels, voiceless vowels, or fricative vowels.

This chapter examines how, rather than insert themselves unproblematically into a male oratorical tradition that risked “masculinizing” them, some middle- and upper-class U.S. suffragists deployed silent stunts that strategically drew on familiar, and therefore nonthreatening, bodily rhetorical traditions of nineteenth-century women’s culture. These modern silent spectacles found their origins in a nineteenth-century domestic ideology that defined Woman as a silent moral influence and, more specifically, in the nineteenth-century sentimental theatrical tradition that used immobile and silent women to model and inspire virtuous behavior. This chapter reads three of the most popular and persuasive genres of silent suffrage spectacles—tableaux, “voiceless speeches,” and textual banners carried by suffrage activists who called themselves “silent sentinels”—not only as manifestations of modernist suffrage spectacle but also as a kind of protomodernist suffrage print culture.