Publications

Abstract

As lexicalized depictions, ideophones (also known as expressives or mimetics) differ fundamentally from other words both in the kinds of meanings they represent and the ways in which they represent them. This can make them difficult to capture using traditional methods for language description and documentation. We review some of the new and experimental techniques that have been used to elicit, describe, and analyse ideophones, and discuss how these can be used to address some of the unique challenges ideophones pose. They include stimulus-based elicitation; multimodal folk definitions; hybrid modes of analysis (combining images and text); and new ways of compiling and presenting multimodal ideophone corpora. We also review psycholinguistic methods for exploring the sensory properties of words and the organisation of the lexicon, such as sensory ratings and similarity judgment tasks, and discuss how these can contribute to our understanding of ideophone lexicons. Crucial to our approach is the combination of insights from multiple sources, the exploitation of polysemiotic resources (combining multiple modes of meaning making), and the integration of etic and emic perspectives. The discussion is structured around three key challenges: collecting ideophones, unravelling their slippery semantics, and representing them in ways that do justice to their special semiotic properties. The days when ideophones were just footnotes in grammars are long past. With more and more researchers working to document ideophones in languages around the world, and increasing interest in iconicity from across the language sciences, now is an excellent time to rethink the toolkit of documentary linguistics to make sure it can optimally deal with language in all its semiotic diversity.

Abstract

Linguistic fieldwork is increasingly moving forward from the traditional model of lone fieldworker with a notebook to collaborative projects with key roles for native speakers and other experts and involving the use of different kinds of stimulus-based elicitation methods as well as extensive video documentation. Several cohorts of colleagues and students have been influenced by this inclusive and interdisciplinary view of linguistic fieldwork. We describe the challenges and benefits of doing multi-methods collaborative fieldwork. As linguistics inevitably moves into the direction of multiple methods, interdisciplinarity and team science, now is the time to reflect critically on how best to contribute to a cumulative science of language.

Abstract

Many of the world’s languages feature an open lexical class of ideophones, words whose marked forms and sensory meanings invite iconic associations. Ideophones (also known as mimetics or expressives) are well-known from languages in Asia, Africa and the Americas, where they often form a class on the same order of magnitude as other major word classes and take up a considerable functional load as modifying expressions or predicates. Across languages, commonalities in the morphosyntactic behaviour of ideophones can be related to their nature and origin as vocal depictions. At the same time there is ample room for linguistic diversity, raising the need for fine-grained grammatical description of ideophone systems. As vocal depictions, ideophones often form a distinct lexical stratum seemingly conjured out of thin air; but as conventionalized words, they inevitably grow roots in local linguistic systems, showing relations to adverbs, adjectives, verbs and other linguistic resources devoted to modification and predication

Abstract

No class of words has better claims to universality than interjections. At the same time, no category has more variable content than this one, traditionally the catch-all basket for linguistic items that bear a complicated relation to sentential syntax. Interjections are a mirror reflecting methodological and theoretical assumptions more than a coherent linguistic category that affords unitary treatment. This chapter focuses on linguistic items that typically function as free-standing utterances, and on some of the conceptual, methodological, and theoretical questions generated by such items. A key move is to study these items in the setting of conversational sequences, rather than from the “flatland” of sequential syntax. This makes visible how some of the most frequent interjections streamline everyday language use and scaffold complex language. Approaching interjections in terms of their sequential positions and interactional functions has the potential to reveal and explain patterns of universality and diversity in interjections.

Abstract

Ook al hebben we het niet altijd door, onze zintuigen werken altijd samen. Als je iemand ziet praten, bijvoorbeeld, verwerken je hersenen automatisch tegelijkertijd het geluid van de woorden en de bewegingen van de lippen. Omdat onze zintuigen altijd samenwerken zijn onze hersenen erg gevoelig voor dingen die ‘samenhoren’ en goed bij elkaar passen. In dit hoofdstuk beschrijven we een project onderzoekend leren met als thema ‘Samenwerkende zintuigen’.

Abstract

Doing things for and with others is one of the foundations of human social life. This chapter studies a systematic collection of 207 requests for assistance and collaboration from a video corpus of everyday conversations in Siwu, a Kwa language of Ghana. A range of social action formats and semiotic resources reveals how language is adapted to the interactional challenges posed by recruiting assistance. While many of the formats bear a language-specific signature, their sequential and interactional properties show important commonalities across languages. Two tentative findings are put forward for further cross-linguistic examination: a “rule of three” that may play a role in the organisation of successive response pursuits, and a striking commonality in animal-oriented recruitments across languages that may be explained by convergent cultural evolution. The Siwu recruitment system emerges as one instance of a sophisticated machinery for organising collaborative action that transcends language and culture.

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.

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.

Abstract

In conversation, people regularly deal with problems of speaking, hearing, and understanding. We report on a cross-linguistic investigation of the conversational structure of other-initiated repair (also known as collaborative repair, feedback, requests for clarification, or grounding sequences). We take stock of formats for initiating repair across languages (comparable to English huh?, who?, y’mean X?, etc.) and find that different languages make available a wide but remarkably similar range of linguistic resources for this function. We exploit the patterned variation as evidence for several underlying concerns addressed by repair initiation: characterising trouble, managing responsibility, and handling knowledge. The concerns do not always point in the same direction and thus provide participants in interaction with alternative principles for selecting one format over possible others. By comparing conversational structures across languages, this paper contributes to pragmatic typology: the typology of systems of language use and the principles that shape them.

Abstract

Brain-to-brain interfaces, in which brains are physically connected without the intervention of language, promise new ways of collaboration and communication between humans. I examine the narrow view of language implicit in current conceptions of brain-to-brain interfaces and put forward a constructive alternative, stressing the role of language in organising joint agency. Two features of language stand out as crucial: its selectivity, which provides people with much-needed filters between public words and private worlds; and its negotiability, which provides people with systematic opportunities for calibrating understanding and expressing consent and dissent. Without these checks and balances, brain-to-brain interfaces run the risk of reducing people to the level of amoeba in a slime mold; with them, they may mature to become useful extensions of human agency

Abstract

Linguistic discovery is viewpoint-dependent, just like our ideas about what is marginal and what is central in language. In this essay I consider two supposed marginalia —ideophones and interjections— which provide some useful pointers for widening our field of view. Ideophones challenge us to take a fresh look at language and consider how it is that our communication system combines multiple modes of representation. Interjections challenge us to extend linguistic inquiry beyond sentence level, and remind us that language is social-interactive at core. Marginalia, then, are not the obscure, exotic phenomena that can be safely ignored: they represent opportunities for innovation and invite us to keep pushing the edges of linguistic inquiry.

Abstract

Informal paraphrases by native speaker consultants are crucial tools in linguistic fieldwork. When recorded, archived, and analysed, they offer rich data that can be mined for many purposes, from lexicography to semantic typology and from ethnography to the investigation of gesture and speech. This paper describes a procedure for the collection and analysis of folk definitions that are native (in the language under study rather than the language of analysis), informal (spoken rather than written), and multi-modal (preserving the integrity of gesture-speech composite utterances). The value of folk definitions is demonstrated using the case of ideophones, words that are notoriously hard to study using traditional elicitation methods. Three explanatory strategies used in a set of folk definitions of ideophones are examined: the offering of everyday contexts of use, the use of depictive gestures, and the use of sense relations as semantic anchoring points. Folk definitions help elucidate word meanings that are hard to capture, bring to light cultural background knowledge that often remains implicit, and take seriously the crucial involvement of native speaker consultants in linguistic fieldwork. They provide useful data for language documentation and are an essential element of any toolkit for linguistic and ethnographic field research.

Abstract

Introduction

A comparison of conversation in twenty-one languages from around the world reveals commonalities and differences in the way that people do open-class other-initiation of repair (Schegloff, Jefferson, and Sacks, 1977; Drew, 1997). We find that speakers of all of the spoken languages in the sample make use of a primary interjection strategy (in English it is Huh?), where the phonetic form of the interjection is strikingly similar across the languages: a monosyllable featuring an open non-back vowel [a, æ, ə, ʌ], often nasalized, usually with rising intonation and sometimes an [h-] onset. We also find that most of the languages have another strategy for open-class other-initiation of repair, namely the use of a question word (usually “what”). Here we find significantly more variation across the languages. The phonetic form of the question word involved is completely different from language to language: e.g., English [wɑt] versus Cha'palaa [ti] versus Duna [aki]. Furthermore, the grammatical structure in which the repair-initiating question word can or must be expressed varies within and across languages. In this chapter we present data on these two strategies – primary interjections like Huh? and question words like What? – with discussion of possible reasons for the similarities and differences across the languages. We explore some implications for the notion of repair as a system, in the context of research on the typology of language use.

The general outline of this chapter is as follows. We first discuss repair as a system across languages and then introduce the focus of the chapter: open-class other-initiation of repair. A discussion of the main findings follows, where we identify two alternative strategies in the data: an interjection strategy (Huh?) and a question word strategy (What?). Formal features and possible motivations are discussed for the interjection strategy and the question word strategy in order. A final section discusses bodily behavior including posture, eyebrow movements and eye gaze, both in spoken languages and in a sign language.

Abstract

Mensen groeien op in verschillende omgevingen, met verschillende ervaringen en verschillende talen. Betekent dat ook dat ze verschillend denken? En als er invloed is van taal op denken, hoe ver reikt die dan? Wordt ons denken begrensd door woorden, of is de invloed meer gematigd en kunnen we er soms zelfs aan ontkomen?

Abstract

The Mawu people of eastern Ghana make common use of ideophones: marked words that depict sensory imagery. Ideophones have been described as “poetry in ordinary language,” yet the shadow of Lévy-Bruhl, who assigned such words to the realm of primitivity, has loomed large over linguistics and literary theory alike. The poet Ezra Pound is a case in point: while his fascination with Chinese characters spawned the ideogrammic method, the mimicry and gestures of the “primitive languages in Africa” were never more than a mere curiosity to him. This paper imagines Pound transposed into the linguaculture of the Mawu. What would have struck him about their ways of ‘charging language’ with imagery? I juxtapose Pound’s views of the poetic image with an analysis of how different layers of iconicity in ideophones combine to depict sensory imagery. This exercise illuminates aspects of what one might call ‘the ideophonic