“Sound symbolism” in English

Feist, Jim

doi:10.1016/j.pragma.2012.10.008

Cited by 36 publications

(18 citation statements)

References 19 publications

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“…This outcome allows the present research project to align itself to the under-researched, emerging and highly specialized field of studies on the status of Italian ideophonic forms in comic books (D'Achille 2010, 100;Dovetto 2012, 203;Mioni 1990Mioni & 1992. What these studies have suggested is that, when compared to Italian, English seems to possess a ready-made 'real and extensive' ideophonic base (Feist 2013). This is because the language has a malleable morphology that naturally welcomes neologisms; a large number of monosyllabic words; and a tendency to easily convert words from one class to another (Bueno Perez 1994, 25;Mioni 1992, 92;Newmark 1996, 54).…”

Section: Summative Remarksmentioning

confidence: 99%

A Diachronic Analysis of the Translation of English Sound Symbolism in Italian Comics

Pischedda

2020

Open Linguistics

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AbstractPhonosymbolic elements such as ideophones and interjections test the translator’s ability in various ways. These forms would, in theory, require a complete change of form and substance of the source text but this has not always been possible because of graphical, cultural and linguistic reasons, and this led, in certain cases, to a foreignized target-text environment. Recent research has started to consider the relationship between verbal and visual modes as beneficial and not just as a mere constraint for the translator. This research aims to align itself with this approach in order to analyze how verbal and visual modes in Disney comic books have come together to welcome sound symbolic forms and how translators have dealt with them in Italian Disney comics, in particular. In order to clarify the behavior, function, translation and use of expressive sound symbolic devices in Italian Disney comics, this article will offer a diachronic analysis of these strategies as found in a diachronic bidirectional corpus compiled through extensive archival research.

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Section: Summative Remarksmentioning

confidence: 99%

A Diachronic Analysis of the Translation of English Sound Symbolism in Italian Comics

Pischedda

2020

Open Linguistics

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“…An alternative way to understand ESR, which I argue for here, is that it represents a 'spoken gesture', a term introduced by Okrent (2002). 6 An example would be the iconic use of speech rate to express temporal or spatial extension (Okrent 2002;Feist 2013;Perlman, Clark & Johansson Falck 2015), as shown in (27). 27It was a looooong time/tail.…”

Section: Esr As a Spoken Gesturementioning

confidence: 99%

Expressive Sibilant Retraction in North Norwegian: morpheme or ‘spoken gesture’?

Bye

2020

Glossa: A Journal of General Linguistics

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North Norwegian has a contrast between /s/ and /ʂ/ that is neutralized in word-initial position before a consonant, and an optional process of Expressive Sibilant Retraction (ESR), which changes /s/ to [ʂ] in precisely the environment where the contrast is neutralized (Broch 1927). ESR appears ambiguous between a word formation process and a spoken gesture (Okrent 2002; Perlman et al. 2015). On the one hand, ESR exploits givens of phonological structure. On the other, treating it as a morphological process entails claiming that the spell-out of certain (" expressive") morphemes may take place after phonological processes have applied, or that the realization of these morphemes takes precedence to phonological constraints. I argue that ESR is a communicative (i.e. non-linguistic, or post-linguistic) spoken gesture that nonetheless exploits the suspension of phonological generalizations in a way that directs attention to its iconic function. I describe the varied interpretations that ESR has depending on whether it indexes an action/event, object, or state/property, and propose that these share a common semantic core. This gesture-based account of ESR is offered as a possible model for "expressive phonology" (e.g. Diffloth 1979) in other languages.

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“…Perhaps an emotional or non-emotional stimulus that causes the animate entity to make the sound (e.g., surprise, fear) (see Hasada, 2001;Feist, 2013) On the other hand, a noise frame is highly complex, containing a causing subevent (or "subframe") (cf. Levin & Rappaport Hovav, 1995;Levin, Song, & Atkins, 1997).…”

Section: Event-structural Constraintmentioning

confidence: 99%

Constraints on the semantic extension of onomatopoeia

Akita

2013

PJOS

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This article proposes three constraints on the complex polysemy patterns of onomatopoeia. Onomatopoeic forms for thirty types of sounds were collected from Japanese, Korean, Mandarin Chinese, and English, and examined in terms of their semantic extensibility and extension types. It was found that 1) Chinese onomatopoeia is generally resistant to semantic extension, 2) onomatopoeic forms for voice in Japanese and Korean are less likely to be polysemous than those for noise, many of which show metonymical extension, and 3) many onomatopoeic verbs in English have metaphorical meanings. These three patterns can be accounted for by generalizations that associate high semantic extensibility with referential specificity, event-structural complexity, and syntactic coreness, respectively. Each of these generalizations finds some independent support, and is compatible with or complementary to a frame-semantic approach to polysemous onomatopoeic forms, which has been taken to discuss existing, rather than non-existing, cases in each language. This study is, thus, an attempt to locate sound symbolism research in the center of cognitive studies of language.

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“Sound symbolism” in English

Cited by 36 publications

References 19 publications

A Diachronic Analysis of the Translation of English Sound Symbolism in Italian Comics

A Diachronic Analysis of the Translation of English Sound Symbolism in Italian Comics

Expressive Sibilant Retraction in North Norwegian: morpheme or ‘spoken gesture’?

Constraints on the semantic extension of onomatopoeia

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