One is that some objects have names whose sounds bring them to mind, a sort of "sound symbolism".
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Then a separate sound symbolism analysis is conducted to study sound quality and the feelings evoked by the letters in the alphabet.
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It involved an area of linguistics called "sound symbolism" -- or how the mind processes certain words -- and an analysis of letter structures and patterns.
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Often, especially for sound symbolism, the particle to "as if" is used. See the article on Japanese sound symbolism.
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Eckert, Penelope. (in press). Affect, sound symbolism, and variation. In: Selected papers from NWAV 37.
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The first syllable of the name comes from the sound symbolism () in Korean, which means "chewy", while is a hanja word meaning "noodles". Thus, the name literally means "chewy noodles".
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On the other hand, Yahgan exhibits a good deal of remnant sound symbolism in the verb, similar to what one sees in English. A good number of verbs seem to form small 'word families' which have slight semantic differences which may have been encoded using sound symbolism (as one often sees, for instance, in some languages of the Austroasiatic stock). For instance haina 'go, walk lightly' versus u:unna 'walk heavily, plod'. In such cases the original symmetry of form seems often to have been distorted by historical changes.
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He was president of the Aristotelian Society from 1956 to 1957. Austin died, shortly after being diagnosed with lung cancer, at the age of 48. At the time, he was developing a semantic theory based on sound symbolism, using the English gl-words as data.
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Sound symbolism is present in Yaqui. For example, a word with the phoneme /l/ in it may be pronounced normally, to denote approval from the speaker, or with /r/ replacing the /l/, to denote disapproval or disfavor on the part of the speaker. Either form is correct.
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Ideophones are often an open class, though less familiar to English speakers,The Art of Grammar: A Practical Guide, Alexandra Y. Aikhenvald, p. 99G. Tucker Childs, "African ideophones", in Sound Symbolism, p. 179 and are often open to nonce words. Typical closed classes are prepositions (or postpositions), determiners, conjunctions, and pronouns.
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Millegan, Kris. "Sex in Manga", Comics Journal, 1999. The word is a portmanteau of and chira, the Japanese sound symbolism representing a glance or glimpse. It differs from the more general term "upskirt" in that panchira specifies the presence of underpants (the absence of which would more accurately be described as ノーパン; nōpan).
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Vasily Mate, Portrait of Alexander Pushkin (1899) Poetry (the term derives from a variant of the Greek term, poiesis, "making") is a form of literature that uses aesthetic and rhythmic qualities of language—such as sound symbolism, phonaesthetics and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.
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An example of Japanese sound symbolism, "jaan!" Ideophones are words that evoke an idea in sound, often a vivid impression of certain sensations or sensory perceptions, e.g. sound (onomatopoeia), movement, color, shape, or action. Ideophones are found in many of the world's languages, though they are claimed to be relatively uncommon in Western languages.
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Example: 弱い yowai 'weak' (adj) → 弱く yowaku 'weakly' (adv) ; Nominal adverbs: are grammatical nouns that function as adverbs. Example: 一番 ichiban 'most highly'. ; Sound symbolism: are words that mimic sounds or concepts. Examples: きらきら kirakira 'sparklingly', ぽっくり pokkuri 'suddenly', するする surusuru 'smoothly (sliding)', etc.
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Possession is marked on the possessed noun, the head of the NP. Otherwise, nouns are uninflected, number being an optional category and grammatical gender being absent from the languages. Numerals quantifying nouns bear classificatory prefixes, something that is unusual cross-linguistically as affixal classifiers tend heavily to be suffixes . Totonacan languages are also known for their use of sound symbolism.
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However, from an early time these mantras were interpreted in the context of mystical sound symbolism. The most extreme example of this is the om syllable, which as early as in the Aitareya Brahmana was claimed as equivalent to the entire Vedas (collection of ritual hymns).Aitareya Brahmana 5.32, Arthur Berriedale Keith, The Aitareya and Kauṣītaki Brāhmaṇas of the Rigveda. Harvard University Press, 1920, p. 256.
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They are characterized by special morphophonemic patterns, and make extensive use of sound symbolism. Unlike nouns and verbs, expressives are lexically non-discrete, in that they are subject to a virtually unlimited number of semantic nuancings that are conveyed by small changes in their pronunciation. For example, in Semai, various noises and movements of flapping wings, thrashing fish etc. are depicted by an open set of morphophonemically related expressives like parparpar, krkpur, knapurpur, purpurpur etc.
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Though Guosa draws its lexicon from at least 118 indigenous West African languages, it derives the bulk of its vocabulary from Hausa, Yoruba, and Igbo, either taken directly or made from a combination of words from these languages. English also provides many of the more technical terms, either directly or through one of the aforementioned African languages. Additionally, several words were produced a priori via sound symbolism, e.g. meeh "sheep", yanmu-yanmu "mosquito", and wuam "eat".
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An example of Japanese sound symbolism Japanese has a large inventory of sound symbolic or mimetic words, known in linguistics as ideophones. Sound symbolic words are found in written as well as spoken Japanese. Known popularly as onomatopoeia, these words are not just imitative of sounds but cover a much wider range of meanings; indeed, many sound-symbolic words in Japanese are for things that don't make any noise originally, most clearly demonstrated by , meaning "silently".
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Etymological theory recognizes that words originate through a limited number of basic mechanisms, the most important of which are language change, borrowing (i.e., the adoption of "loanwords" from other languages); word formation such as derivation and compounding; and onomatopoeia and sound symbolism (i.e., the creation of imitative words such as "click" or "grunt"). While the origin of newly emerged words is often more or less transparent, it tends to become obscured through time due to sound change or semantic change.
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Huambisa is phonetically related to Aguaruna. The Huambisa language has been studied as a subject of sound symbolism, which connects words through their phonological form to their semantic meanings. It is found in the Huambisa language correspondence among connotations of sounds relative to the words they describe within phonemes, meaning the sounds of the language are not only significant literally, but also symbolically. Much of what is known of Huambisan phonetics is specific to the Wachiycu dialect spoken along the Wachiyacu River and the dialect of the Santiago River region.
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Since the human brain proficiently extracts information about objects and events from the sounds they produce, TUS, and mimicry of TUS, might have achieved an iconic function. The prevalence of sound symbolism in many extant languages supports this idea. Self-produced TUS activates multimodal brain processing (motor neurons, hearing, proprioception, touch, vision), and TUS stimulates primate audiovisual mirror neurons, which is likely to stimulate the development of association chains. Tool use and auditory gestures involve motor-processing of the forelimbs, which is associated with the evolution of vertebrate vocal communication.
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In his doctoral dissertation (Sussex University, 1971) Tsur developed an approach which he later called "Cognitive Poetics". This is an interdisciplinary approach that combines literary theory, linguistics, psychology, and philosophy. It explores the relationship between the structure of the text and the human qualities perceived in it, and the mediating processes that take place in the reader's mind. He applied Cognitive Poetics to rhyme, sound symbolism, poetic rhythm, metaphor, poetry and altered states of consciousness, period style, genre, archetypal patterns, translation theory, the implied critic's decision style, critical competence and literary history.
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There are several other evidential suffixes, differentiating sensory mode (hearing, sight, etc.) as well as time. mvra also finds modal use in the clitic space that often follows the first substantive in the sentence: kvnjin MUSH yamana:mu:ta, kvndaian-da:gia kv-teki-sin-de: kvnjima hauanchi moala 'He MUST be alive, because they (the ones who told me about it) saw him today'. There are other modal verbs also found in this space. There is little or no reduplication evident on the Yahgan verb, and sound symbolism of the augmentative/diminutive type appears to be largely lexicalized.
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The vowel harmony found in the Manchu language was traditionally described in terms of the philosophy of the I Ching. Syllables with front vowels were described as being as "yin" syllables whereas syllables with back vowels were called "yang" syllables. The reasoning behind this was that the language had a kind of sound symbolism where front vowels represented feminine objects or ideas and the back vowels represented masculine objects or ideas. As a result, there were a number of word pairs in the language in which changing the vowels also changed the gender of the word.
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The Parnassus (1511) by Raphael: famous poets recite alongside the nine Muses atop Mount Parnassus. Poetry (derived from the Greek poiesis, "making") is a form of literature that uses aesthetic and often rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. Poetry has a long history – dating back to prehistoric times with hunting poetry in Africa, and to panegyric and elegiac court poetry of the empires of the Nile, Niger, and Volta River valleys.Ruth Finnegan, Oral Literature in Africa, Open Book Publishers, 2012.
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The presence of these "synesthesia- like mappings" suggest that this effect might be the neurological basis for sound symbolism, in which sounds are non-arbitrarily mapped to objects and events in the world. In 2019, researchers published the first study using fMRI to explore the bouba/kiki effect. They found that prefrontal activation is stronger to mismatching (bouba with spiky shape) than to matching (bouba with round shape) stimuli. Interestingly, they also found that sound-shape matching also influences activations in the auditory and visual cortices, suggesting an effect of matching at an early stage in sensory processing.
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In 1755 Lomonosov wrote a grammar that reformed the Russian literary language by combining Old Church Slavonic with the vernacular tongue. To further his literary theories, he wrote more than 20 solemn ceremonial odes, notably the Evening Meditation on God's Grandeur. He applied an idiosyncratic theory to his later poems – tender subjects needed words containing the front vowel sounds E, I, Y and U, whereas things that may cause fear (like "anger", "envy", "pain" and "sorrow") needed words with back vowel sounds O, U and Y. That was a version of what is now called sound symbolism. In 1760 Lomonosov published a History of Russia.
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This process of first inventing a language and then creating a background setting for its fictional speakers has been described as unique. Dimitra Fimi, a Tolkien scholar, argues that Tolkien's invention of Qenya started as a quest for the ideal language, to match the moral and aesthetic objectives that were part of his project of creating "a mythology for England". Fimi argues that Tolkien deliberately used sound symbolism to unify sound and meaning and make the language appear as an ideal language, fit to be spoken in the utopian realm of the Elves and fairies of Valinor. Tolkien considered Quenya to be "the one language which has been designed to give play to my own most normal phonetic taste".
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Zaum was a music project band that included Tool drummer Danny Carey, along with Tool associates Chris Pitman, Vince DeFranco, and Marko Fox. The official Tool newsletter of April 2000 had the following to say the about the project: :Zaum had some demos available a few years ago through Tool's management, Larrikin. Lately the members Marco Fox, Danny Carey, and Mother Goose have been too busy to put something out, but are hoping to go through over twenty hours of material to put something together. "Zaum" (Russian: заумь or заумный язык) is a word used to describe the linguistic experiments in sound symbolism and language creation of Russian Futurist poets such as Velimir Khlebnikov and Aleksei Kruchenykh.
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During this period he also made important contributions on Chinese, producing a monograph on the phonemes of Ancient Chinese in 1953, and an important article on Mandarin phonology in 1957. During the 1960s Martin extended his linguistic talents to studies of the Dagur language (1961), and the Shodon dialect of Ryukyuan (1970). His most famous work from this period was a 1966 article, "Lexical evidence relating Korean to Japanese", that was based on a systematic application of the comparative method, and which advanced the hypothesis that Korean and Japanese are genetically related. He also published articles on subjects that had been very little studied until that time, such as sound symbolism in Korean (1962) and speech styles in Japan and Korea (1964).
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In addition to words from this original language, present-day Japanese includes a number of words that were either borrowed from Chinese or constructed from Chinese roots following Chinese patterns. These words, known as kango (), entered the language from the 5th century onwards via contact with Chinese culture. According to the Japanese dictionary, kango comprise 49.1% of the total vocabulary, wago make up 33.8%, other foreign words or gairaigo () account for 8.8%, and the remaining 8.3% constitute hybridized words or konshugo () that draw elements from more than one language. There are also a great number of words of mimetic origin in Japanese, with Japanese having a rich collection of sound symbolism, both onomatopoeia for physical sounds, and more abstract words.
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There appears to be a great deal of remnant sound symbolism in the Yahgan lexicon. For example, many roots ending in -m encode as part of their senses the notion of a texturally softened positive curve (similar to -mp in such words as lump or hump in English), while an -l in similar position often shows up when the reference is to bloody core parts, often out from once safe confinement inside the body. Many roots with initial ch- refer to repeated, spiny extrusions, final -x to dry, hard-edged, or brittle parts, and so on. The historical sources of these patterns cannot be known for sure, but it may be possible that there was at one time a shape and texture classifier system of some sort behind them.
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In their Dictionary of Basic Japanese Grammar, Seiichi Makino and Michio Tsutsui point out several other types of sound symbolism in Japanese, that relate phonemes and psychological states. For example, the nasal sound gives a more personal and speaker-oriented impression than the velars and ; this contrast can be easily noticed in pairs of synonyms such as and which both mean because, but with the first being perceived as more subjective. This relationship can be correlated with phenomimes containing nasal and velar sounds: While phenomimes containing nasals give the feeling of tactuality and warmth, those containing velars tend to represent hardness, sharpness, and suddenness. Similarly, i-type adjectives that contain the fricative in the group shi tend to represent human emotive states, such as in the words , , , and .
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