History
The locus classicus of the OCP is Leben (1973), in which it was formulated as a morpheme-structure constraint precluding sequences of identical tones from underlying representations. In autosegmental phonology (Goldsmith 1976), with articulated conceptions about associations between featural melodies and skeletal units (i.e. CV phonology, see McCarthy 1979, McCarthy 1981, Steriade 1982, Clements & Keyser 1983), moraic phonology (Hyman 1985, Hayes 1989), the OCP was considered to be relevant to adjacent singly linked melodies but not to doubly linked melodies. The OCP in this 'rules and constraints' era was no longer simply a constraint on underlying forms, but also began to play a role in the course of a phonological derivation. McCarthy (1986) proposed that the OCP can actively block the application of or repair the output of phonological rules, while Yip (1988) attempted to extend the role of the OCP to trigger the application of rules as well. However, there was also a strong opposition to the OCP as a formal constraint in phonological theory, headed by David Odden. Odden (1986) showed that, contrary to the contemporaneous assumption that constraints were inviolable, an examination of African tonal systems reveals many apparent surface violations of the OCP. A lively debate continued between John McCarthy and David Odden for several years, with each adding an extra 'anti-' to the title of the previous article of the other - e.g. "Anti anti-gemination and the OCP" (Odden 1988), a reply to (McCarthy 1986).
Read more about this topic: Obligatory Contour Principle
Famous quotes containing the word history:
“You that would judge me do not judge alone
This book or that, come to this hallowed place
Where my friends’ portraits hang and look thereon;
Ireland’s history in their lineaments trace;
Think where man’s glory most begins and ends
And say my glory was I had such friends.”
—William Butler Yeats (1865–1939)
“The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism.... Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.”
—Camille Paglia (b. 1947)
“Classes struggle, some classes triumph, others are eliminated. Such is history; such is the history of civilization for thousands of years.”
—Mao Zedong (1893–1976)