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In the framework of Functional Phonology (1998), the speaker takes into account the needs of the listener. This is implemented by a reversal of the traditional order of representations:
Underlying form -> { Articulatory form -> Auditory form -> Phonological surface form }
The third arrow is the speaker's view of how the listener will perceive the speaker's utterance.
Listener-oriented faithfulness constraints evaluate the extent to which (the speaker thinks that) the listener will be able to reconstruct the intended underlying form without lexical access:
1998/09/14 book | Functional phonology: Formalizing the interactions between articulatory and perceptual drives. Ph.D. dissertation, University of Amsterdam, 504 pages. A hardcopy edition is available from the author for free! For more detail on separate chapters, and scripts, see Functional Phonology (1998). |
Listener-oriented faithfulness evaluates recoverability:
1999/10/04 | On the need for a separate perception grammar. Rutgers Optimality Archive 358, 30 pages. [Abstract] 2000/12/29
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The OCP in the perception grammar. | Rutgers Optimality Archive 435. 52 pages. |
Listener-oriented production makes sure that every case of neutralization on the surface is captured by a faithfulness constraint:
Listener-oriented faithfulness constraints can be probabilistic. They then evaluate the probability that the listener will not be able to reconstruct the intended underlying form. Although these constraints appear in Functional Phonology (1998), they were explicitly defined in the following papers, where they have the effect of phonetic enhancement of phonological features.
Probabilistic faithfulness constraints have to be ranked by the probability of confusion. The drawbacks of this are: (1) no known learning algorithm; (2) a duplication of the ranking of auditory cue constraints in the perception grammar. These two problems are solved by the framework of Parallel Bidirectional Phonology and Phonetics (BiPhon), which does not use a control loop but instead evaluates the Surface form, the Auditory form and the Articulatory form in parallel and still exhibits effects of listener orientation.
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