Semblance and Signification (Iconicity in Language and Literature)

Semblance and Signification......Page 2
Editorial page......Page 3
Title page......Page 4
LCC data......Page 5
Table of contents......Page 6
Preface and acknowledgements......Page 10
Introduction......Page 12
References......Page 13
Part I. Word forms, word formation, and meaning\n......Page 14
1. Introduction......Page 16
2. Japanese phonosemantics......Page 18
3. Morphophonological condition of iconic words......Page 20
4.1 Method and prediction......Page 22
4.2 Results and discussion......Page 24
5.1 Method and prediction......Page 26
5.2 Results and discussion......Page 28
6. Conclusion......Page 29
References......Page 30
1. Introduction......Page 32
2. Sign language morphology and word-formation processes......Page 35
3.1 Form......Page 37
3.2 Meaning......Page 38
3.3 Form-meaning units......Page 39
3.4 Syntactic relations......Page 41
4. The transfer of meaning and syntactic relations......Page 43
5. Conclusion......Page 47
Note......Page 49
References......Page 50
1. Introduction......Page 52
2. Ideophones......Page 54
2.2 Ideophones in Siwu......Page 55
3.1 A cautionary tale......Page 57
3.2 Imagic iconicity......Page 59
3.3.1 Gestalt iconicity......Page 60
3.3.2 Relative iconicity......Page 62
4. Beyond lexical iconicity......Page 63
5. Concluding remarks......Page 65
References......Page 66
1. Introduction......Page 68
5.1 Evidence for cognitive connections between transparent and opaque reduplication from sign language......Page 81
5.2 Evidence for cognitive connections between transparent and opaque reduplication from the use of the ge-prefix in Germanic languages......Page 83
5.3 Why transparency may be lost: grammaticalization and lexicalization......Page 84
6. Concluding remarks......Page 91
References......Page 92
1. Introduction......Page 96
2.1 The Pre-Qin period......Page 97
2.2 The Han period......Page 98
2.3 The Song period......Page 100
2.4 The Qing period......Page 101
2.5 From 1949 to the present......Page 102
3.1.1 Onomatopoeic iconicity......Page 103
3.1.2 Phonaesthetic iconicity......Page 104
3.2 Pictographic iconicity......Page 107
3.3 Picto-phonetic-graphic iconicity......Page 108
4. Concluding remarks......Page 109
References......Page 110
1.1 Echo-mirror neurons and arbitrariness......Page 114
1.2 An ancient question......Page 116
1.3 Two notions of arbitrariness......Page 117
1.4 Two notions of iconicity......Page 119
1.6 Methodological remarks......Page 120
2.1 Vowel monophonemes......Page 123
2.1.1.3 Accent. The [accent] distinguishes the {verbs}:......Page 124
2.1.2.1 Aperture. The [degree of aperture] tends to distinguish the {grammatical categories} in accordance to the level of topological-relational complexity. The more [open (F1 acute)] degree characterizes the {more-relational} grammatical categories, suc......Page 125
2.1.2.2 Place. The [place of articulation] tends to distinguish the {morphological variation} in accordance with a ‘positive’ or ‘negative’ spatial polarity. The place [front (F2 acute)] connotes the spatially {positive} side of each pair (plurality of i,......Page 126
2.1.2.4 Centrality. The [central open] position of the phoneme /a/ corresponds to the central position of the notion of a {structured spatiality} as the power to contain or be contained (ha: a ‘has : at’), which is the base of any set-element or structure......Page 127
2.2 System of persons......Page 128
2.2.1 Subsystems differentiation......Page 129
2.2.2.1 Verbal persons asymmetry. In the phonology of verbs like avere, the first ­person {P1} /-ɔ/ is distinguished primarily from the third person {P3} /-a/, which is then distinguished, secondarily, from the second person {P2} /-ai/ by adding a ­phonem......Page 130
2.2.2.2 Pronominal persons asymmetry. In the phonology of pronouns, only the first person distinguishes, by the initial phoneme, the singular subject (/ˈio/), the plural ­subject (/ˈnoi/), the singular object (/mi, me, ˈme/) and the plural object (/vi, ve......Page 131
2.2.3 Persons differentiation......Page 132
2.3 System of adverbs......Page 133
2.3.1 Types differentiation......Page 134
2.3.3 Semantic values differentiation......Page 135
2.3.3.1 General place (qui, qua, lì, là, via). The velar plosive consonant ­/k-/, ­having a more [closed] and [back] articulation inside the locutor’s mouth, ­distinguishes the place qui, qua {near to the locutor}; the alveolar lateral ­approximant /l-/,......Page 136
2.3.3.5 Quantity (più, men, un po\'). The phono-articulatory opposition ­between /p-/ [front acute] and /m-/ [back grave], can be interpreted as an ­imagic ­diagram of the logical-semantic opposition between {more} and {less}, in ­accordance with ­previou......Page 137
3. Conclusion......Page 138
References......Page 141
Part II. General theoretical approaches......Page 146
1. Symbols, signs, and iconicity......Page 148
2.1 Iconicity divided between linguistic and iconic signs......Page 149
2.2 Iconicity construed as cognitive type by Groupe µ......Page 150
2.3 Iconicity redefined as nuclear content and pragmatic law by Eco......Page 151
3.1 Transferring the notion of langue into visual images......Page 153
3.2 The actual functioning of arbitrariness......Page 155
3.3 The network of differences, games, and increase of relations......Page 156
4. The search for ‘symbolic logic’......Page 158
References......Page 160
How to put art and brain together......Page 162
References......Page 167
1. Introduction......Page 170
2. Classification of hypoicons......Page 173
3. The Basis of Resemblance or Similarity......Page 178
4. A Topical Reinterpretation of Metaphorical Significance......Page 180
References......Page 183
Part III. Narrative grammatical structures\n......Page 186
1. Introduction......Page 188
2.1 Salience......Page 190
2.2 Animacy......Page 191
2.3 Abstractness......Page 192
3.1 Distribution in poetic language......Page 193
3.2 Salience: Recall and interpretation tasks......Page 194
4. Salience, abstractness and animacy......Page 195
4.1 Experiments 1–3: The effect of salience and abstractness on word order: Recall, interpretation and preference......Page 196
4.1.1 Experiment 1: Recall......Page 197
4.1.3 Experiment 3: Preference......Page 198
4.2 Experiments 4–6: The effects of salience and animacy on word order in three tasks: Recall, interpretation and preference......Page 199
5. Conclusion......Page 200
References......Page 202
1. The problem......Page 204
2. Corpus and method......Page 205
3.1 Main findings......Page 207
3.2 Discussion......Page 209
4.1 Method......Page 211
4.3 Discussion......Page 212
5.1 Results......Page 213
5.2 Discussion.......Page 217
6. Summary and outlook......Page 219
Narrative texts quoted......Page 220
References......Page 221
1. Introduction......Page 224
2.1 Twin-poles, no escape......Page 226
2.2 The burning-log metaphor and other major characters......Page 229
3.1 Universal war......Page 231
3.1.1 Being instead of fighting......Page 232
3.1.2 Iconicity in landscape description......Page 233
3.2 War between ‘Us’ and ‘Them’?......Page 235
4. Conclusion......Page 241
References......Page 242
Part IV. Cognitive poetics......Page 244
1. Introduction: Emotional qualities and onomatopoeia......Page 246
2. Convergent and divergent styles......Page 250
3. Perceptual forces (large scale)......Page 252
4. Perceptual forces (minute scale)......Page 255
5. Materials and structures......Page 259
Observations on Larsen’s criticism of the click experiment......Page 260
References......Page 262
Audio processors......Page 263
1. Introduction......Page 264
2. Classical Chinese poetry and its American mediators......Page 266
3. Equivalence: A structural feature or a cognitive category?......Page 270
4. Sample analyses of space in Ancient Style poetry......Page 272
References......Page 279
1. Introduction: The aims of this study......Page 282
2.1 Time, place, and politics: The Thames, Kelmscott, Iceland, Nowhere......Page 283
2.2 News from Nowhere: structure and themes......Page 285
3.1 Story – projection – parable......Page 286
3.3 Compression in the blended space......Page 288
4.1 The hyper-blend of Nowhere......Page 289
4.1.1 Emergent structure in the hyper-blend......Page 290
4.2 Textual analysis: Conceptual and material anchors for aspects of Nowhere......Page 291
4.2.1 The River Thames......Page 292
4.2.2 Nineteenth-century coins: Decompressing the culturally established \nmoney blend......Page 294
4.2.3 Trafalgar Square......Page 295
4.2.4 An old house amongst new folk: Kelmscott Manor and Ellen......Page 298
References......Page 300
Part V. Acoustic and visual iconicity......Page 302
Thematized iconicity and iconic devices in the modern novel......Page 304
1. Introduction: A lacuna in recent studies of iconicity in fiction......Page 305
2. Dysfunctional acoustic semiosis: David Lodge’s Deaf Sentence......Page 307
3. Text thematizing image and image illuminating text: Two-way traffic \nin Umberto Eco’s The Mysterious Flame of Queen Loana......Page 315
4. Yambo’s treasure trove......Page 318
References......Page 323
1. Introduction......Page 326
2. Types of iconicity: Charles Simic’s verbal responses to Joseph Cornell’s boxes......Page 327
3. Readings......Page 329
4. Conclusion: Functions of ekphrasis and iconicity......Page 336
References......Page 337
1. Introduction......Page 340
2. The iconic force of language in juxtaposition......Page 342
3. To Hell with Cronjé......Page 345
4. Survival strategies......Page 346
5. The Book of Happenstance......Page 351
6. Conclusion......Page 353
References......Page 354
1. Introduction......Page 356
2. Establishing a pattern: Satirizing former publishers......Page 357
3. Amis in theory......Page 358
4. Explaining Amis’s art through diagrammatic iconicity......Page 359
5. Retracing the pattern to L.S. Caton......Page 360
6. Looking for Victor Gollancz......Page 362
References......Page 364
Part VI. Intermedial iconicity......Page 366
1. Introduction: The semiotic status of photography......Page 368
2. Brief history of iconic indexicality......Page 370
3. Photography versus painting......Page 374
4. Photography and the human face......Page 376
References......Page 380
1. Introduction......Page 382
2. Adapting the pre-text......Page 384
3. Adaptation and translation......Page 386
4. Self-reflexivity and performativity......Page 393
5. Conclusion......Page 398
References......Page 400
1. Prelude......Page 402
2. About signifying iconic and indexical strategies in music, opera and Lied......Page 404
3. Gricean maxims, drama and communication......Page 406
4. Another principle: Keep it simple......Page 407
5.1 The flowing water pattern: Horizontality and eternity......Page 408
5.2 Norm and transgression: Vertical disruption and death......Page 411
6. When music challenges words......Page 415
7. Conclusions......Page 416
References......Page 417
1. Introduction......Page 418
2. Short Synopsis of A Widow for One Year......Page 419
3. Theoretical Preliminaries......Page 420
4.1 Iconicity as a means to establish a multilayered web of intra-medial references......Page 422
4.2 Iconicity as a means to establish a multilayered web of intermedial references and as a means to affect their function......Page 425
5.1 Medial transfer as ‘iconic process’......Page 429
5.2 Adapting the novel for the screen......Page 430
References......Page 434
Author index......Page 436
Subject index......Page 438