The four groups of words were matched for length in letters, lemma frequency, familiarity and concreteness. In a factorial design, the number of senses was matched across each level of redundancy, and redundancy was matched across each level of number of senses. In the second experiment, groups of polysemous nouns were selected to have either few, or many senses (listed by subjects), and either balanced (low redundancy) or unbalanced (high redundancy) distributions of sense probabilities. In the first experiment, number of senses (listed by subjects in a previously conducted study), and entropy/redundancy of sense probability distribution (based on the sense frequencies collected in a norming study) were continuous predictors in multiple regression analyses. The collected data were used for further investigation of polysemy processing.We conducted two visual lexical decision experiments. Finally, participants rated word familiarity and word concreteness. In addition, we collected familiarity and concreteness ratings of each dictionary meaning, and each meaning provided by participants. Based on provided meanings, we calculated number of meanings, proportion of each meaning, entropy and redundancy of meaning probability distribution.
In a meaning collection task, participants listed all meanings of a given word they could think of. Ambiguity measures are derived separately for the dictionary meanings, and the meanings provided by native speakers. With this in mind, we made an attempt to demonstrate that two components of entropy have distinct effects on processing time.įirstly, we collected several measures of ambiguity for 150 Serbian polysemous nouns.
the redundancy of a probability distribution) and by the number of senses. Value of entropy is affected by two sources of uncertainty: the balance of sense probabilities (i.e. the balance of sense probabilities also affects processing of polysemous words.
On the other hand, such attitudes provoked a feminist reaction which led to the first openly feminist utterances in the public space (Zofka Kveder, Andrija Milčinović), while the exhibition itself not only brought visibility to female artists on the Croatian visual art scene, but can be considered as the first step in feminist aspiration towards mastering the visual arts domain of public activities within the dominant patriarchal social model.The aim of the present study is to demonstrate that in addition to number of senses, entropy of sense probability distribution, i.e. The main part of the paper focuses on the recording and systematisation of antifeminist utterances which accompanied the 1916 Intimate Exhibition - primarily those by Kosta Strajnić and Vladimir Lunaček- and locates the origins of these utterances in the “feminine stereotype” and the notion of creativity as an ideological component of masculinity (Griselda Pollock). The paper presents a history of the idea of assembling female visual artists related to the exhibition of Nasta Rojc, Mila Wod and the Croatian folk art that took place in Vienna in 1914, and gives a contextual analysis of the impact of the First World War on gender roles and women’s position in society. This was the Intimate Exhibition of the Spring Salon held in 1916, which represented a harbinger of women’s artistic association in this region and brought a wholly new dimension of exhibition practice as one of the results of the first wave of the feminist movement. World War I produced a completely new phenomenon on the Croatian territory-a joint exhibition of female artists.
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