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  • Akita, K., & Dingemanse, M. (2019). Ideophones (Mimetics, Expressives). In Oxford Research Encyclopedia for Linguistics. Oxford: Oxford University Press. doi:10.1093/acrefore/9780199384655.013.477.

    Abstract

    Ideophones, also termed “mimetics” or “expressives,” are marked words that depict sensory imagery. They are found in many of the world’s languages, and sizable lexical classes of ideophones are particularly well-documented in languages of Asia, Africa, and the Americas. Ideophones are not limited to onomatopoeia like meow and smack, but cover a wide range of sensory domains, such as manner of motion (e.g., plisti plasta ‘splish-splash’ in Basque), texture (e.g., tsaklii ‘rough’ in Ewe), and psychological states (e.g., wakuwaku ‘excited’ in Japanese). Across languages, ideophones stand out as marked words due to special phonotactics, expressive morphology including certain types of reduplication, and relative syntactic independence, in addition to production features like prosodic foregrounding and common co-occurrence with iconic gestures. Three intertwined issues have been repeatedly debated in the century-long literature on ideophones. (a) Definition: Isolated descriptive traditions and cross-linguistic variation have sometimes obscured a typologically unified view of ideophones, but recent advances show the promise of a prototype definition of ideophones as conventionalised depictions in speech, with room for language-specific nuances. (b) Integration: The variable integration of ideophones across linguistic levels reveals an interaction between expressiveness and grammatical integration, and has important implications for how to conceive of dependencies between linguistic systems. (c) Iconicity: Ideophones form a natural laboratory for the study of iconic form-meaning associations in natural languages, and converging evidence from corpus and experimental studies suggests important developmental, evolutionary, and communicative advantages of ideophones.
  • Dingemanse, M. (2019). 'Ideophone' as a comparative concept. In K. Akita, & P. Pardeshi (Eds.), Ideophones, Mimetics, and Expressives (pp. 13-33). Amsterdam: John Benjamins. doi:10.1075/ill.16.02din.

    Abstract

    This chapter makes the case for ‘ideophone’ as a comparative concept: a notion that captures a recurrent typological pattern and provides a template for understanding language-specific phenomena that prove similar. It revises an earlier definition to account for the observation that ideophones typically form an open lexical class, and uses insights from canonical typology to explore the larger typological space. According to the resulting definition, a canonical ideophone is a member of an open lexical class of marked words that depict sensory imagery. The five elements of this definition can be seen as dimensions that together generate a possibility space to characterise cross-linguistic diversity in depictive means of expression. This approach allows for the systematic comparative treatment of ideophones and ideophone-like phenomena. Some phenomena in the larger typological space are discussed to demonstrate the utility of the approach: phonaesthemes in European languages, specialised semantic classes in West-Chadic, diachronic diversions in Aslian, and depicting constructions in signed languages.
  • Ozyurek, A., & Woll, B. (2019). Language in the visual modality: Cospeech gesture and sign language. In P. Hagoort (Ed.), Human language: From genes and brain to behavior (pp. 67-83). Cambridge, MA: MIT Press.
  • Emmorey, K., & Ozyurek, A. (2014). Language in our hands: Neural underpinnings of sign language and co-speech gesture. In M. S. Gazzaniga, & G. R. Mangun (Eds.), The cognitive neurosciences (5th ed., pp. 657-666). Cambridge, Mass: MIT Press.

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