Sound symbolism or phonosemantics is a branch of
linguisticsand refers to the idea that vocal sounds have meaning. In particular, sound symbolism is the idea that phonemes (the written representations of sounds, transcribed between slashes like this: /b/) carry meaning in and of themselves.
In the 18th century,
Mikhail Lomonosovpropagated an idiosyncratic theory that words containing the front vowel sounds E, I, YU should be used when depicting tender subjects, and those with back vowel sounds O, U, Y - to when describing things that may cause fear ("like anger, envy, pain, and sorrow").
However, it is
Ferdinand de Saussure(1857–1913) who is considered to be the founder of modern 'scientific' linguistics. Central to what de Saussure says about words are two related statements: firstly, he says that "the signis arbitrary". This means that he considers the words that we use to indicate things and concepts could be any words - they are essentially just a consensus agreed upon by the speakers of a language and have no discernible pattern or relationship to the thing. Thus, the sounds themselves have no linguistic meaning. Secondly, he says that, because words are arbitrary, they have meaning only in relation to other words. A dog is a dog because it is not a cat or a mouse or a horse, etc. These ideas have permeated the study of words since the 19th century.
However, Saussure himself is said to have collected examples where sounds and
referentswere related. Ancient traditions link sounds and meaning, and some modern linguistic research does also.
Types of sound symbolism
Margaret Magnusis the author of a comprehensive book designed to explain phonosemantics to the lay reader - "Gods of the Word". This work describes three types of sound symbol using a model first proposed by Wilhelm von Humboldt(see below): Onomatopoeia
This is the least significant type of symbolism. It is simply imitative of sounds, or suggests something that makes a sound. Some examples are: crash, bang, whoosh.
Words that share a sound sometimes have something in common. If we take for example all of the words that have no prefix or suffix and group them according to meaning, some of them will fall into a number of categories. So we find that there is a group of words beginning with /b/ are about barriers, bulges, bursting, and some other group about being banged, beaten, battered, bruised, blistered and bashed. This proportion is according to Magnus above the average for other letters.
Another hypothesis states that if a word begins with a particular phoneme, then there is likely to be a number of other words starting with that phoneme that refer to the same thing. An example given by Magnus is: if the basic word for 'house' in a given language starts with a /h/, then by clustering, disproportionately many words containing /h/ can be expected to concern housing: hut, home, hovel...
Clustering is language dependent, although closely related languages will have similar clustering relationships.
Iconism according to Magnus becomes apparent when comparing words which have the same sort of referent. One way is to look at a group of words that all refer to the same thing, and that differ only in their sound, like 'stamp', stomp', 'tamp', 'tromp', 'tramp', 'step'. An /m/ before the /p/ in some words makes the action more forceful - compare 'stamp' with 'step' or 'tamp'. According to Magnus, the /r/ sets the word in motion, especially after a /t/ so a 'tamp' is in one place, but a 'tramp' goes for a walk. The /p/ in all those words would be what emphasizes the individual steps.It is suggested by Magnus that this kind of iconism is universal across languages.
Phenomimes and psychomimes
Some languages possess a category of words midway between onomatopoeia and usual words. Whereas
onomatopoeiarefers to the use of words to imitate actual sounds, there are languages (for example Japanese) known for having a special class of words that "imitate" soundless states or events, called "phenomimes" (when they describe external phenomena) and "psychomimes" (when they describe psychological states). On a scale that orders all words according to the correlation between their meaning and their sound, with the sound-imitating words like "meow" and "whack" at one end, and with the conventional words like "water" and "blue" at the other end, the phenomimes and the psychomimes would be somewhere in the middle (see Japanese sound symbolism). In the case of Japanese, for example, such words are learned in early childhood and are considerably more effective than usual words in conveying feelings and states of mind, or in describing states, motions, and transformations in the outside world. [ [http://web.aall.ufl.edu/SJS/Baba.pdf Junko Baba, "Pragmatic Function of Japanese Mimesis in Emotive Discourse"] The author shows that psychomimes "create more vivid and intensified expressions to fuel the liveliness of the personal conversation" and "are effectively used to dramatize the emotive state of the protagonist".] They are not found, however, only in children's vocabulary, but widely used in daily conversation among adults and even in more formal writing.
In the sentence 星がきらきら光っている "hoshi ga kirakira hikatteiru", meaning "The stars are shining sparklingly", "kirakira" is a good example of a phenomime, which conveys the flickering starlight into a sequence of sounds that can be traced back to the original optical phenomenon.
The sentence 電車が込んでいていらいらしていた "densha ga konde ite iraira shite ita" ("The train was so crowded it was getting on my nerves.") gives an example of a psychomime: the word "iraira" describes the irritated state of mind due to the train's being crowded.
History of Phonosemantics
Several ancient traditions exist which talk about an archetypal relationship between sounds and ideas. Some of these are discussed below, but there are others as well. If we include a link between "letters" and ideas then the list includes the
Viking" Runes", the Hebrew" Kabbalah", the Arab" Abjad", etc.. References of this kind are very common in The Upanishads, The Nag Hammadi Library, the Celtic " Book of Taliesin", as well as early Christianworks, the Shinto Kototama, and Shingon Buddhism.
Plato and the Cratylus Dialogue
Platohas Socratescommenting on the origins and correctness of various names and words. When Hermogenesasks if he can provide another hypothesis on how signs come into being (his own is simply 'convention'), Socrates initially suggests that they fit their referents in virtue of the sounds they are made of:
:"Now the letter
rho, as I was saying, appeared to the imposer of names an excellent instrument for the expression of motion; and he frequently uses the letter for this purpose: for example, in the actual words rein and roe he represents motion by rho; also in the words tromos (trembling), trachus (rugged); and again, in words such as krouein (strike), thrauein (crush), ereikein (bruise), thruptein (break), kermatixein (crumble), rumbein (whirl): of all these sorts of movements he generally finds an expression in the letter R, because, as I imagine, he had observed that the tongue was most agitated and least at rest in the pronunciation of this letter, which he therefore used in order to express motion" - Cratylus.:(note this is an open source translation available at Internet Classics Archive)
However, faced by an overwhelming number of counterexamples given by Hermogenes, Socrates has to admit that "my first notions of original names are truly wild and ridiculous".
Upanishadscontain a lot of material about sound symbolism, for instance:
:"The mute consonants represent the earth, the sibilants the sky, the vowels heaven. The mute consonants represent fire, the sibilants air, the vowels the sun… The mute consonants represent the eye, the sibilants the ear, the vowels the mind" - Aitrareya-Aranya-Upanishad
Early Western phonosemantics
The idea of phonosemantics was sporadically discussed during the
Middle Agesand the Renaissance. In 1690, Locke wrote against the idea in an essay called " An Essay on Human Understanding". His argument was that if there were any connection between sounds and ideas, then we would all be speaking the same language, but this is an over-generalisation. Leibniz's book " New Essays on Human Understanding" published in 1765 contains a point by point critique of Locke's essay. Leibniz picks up on the generalization used by Locke and adopts a less rigid approach: clearly there is no perfect correspondence between words and things, but neither is the relationship completely arbitrary, although he seems vague about what that relationship might be. [adapted from a literature review by Magnus - see website below]
Wilhelm von Humboldtpublished "Über die Verschiedenheit des menschlichen Sprachbaues und ihren Einfluß auf die geistige Entwicklung des Menschengeschlechts." It is here that he establishes the three kinds of relationship between sounds and ideas as discussed above under Types of Sound Symbolism. Below is a sample of researchers in the field of phonosemantics. Otto Jespersensuggests that: "Sound symbolism, we may say, makes some words more fit to survive." Dwight Bolingerof Harvard Universitywas the primary proponent of phonosemantics through the late 1940s and the 1950s. In 1949, he published "The Sign is Not Arbitrary". He concluded that morphemes cannot be defined as the minimal meaning-bearing units, in part because linguistic meaning is so ill-defined, and in part because there are obvious situations in which smaller units are meaning-bearing. Ivan Fónagy(1963) correlates phonemes with metaphors. For example, nasal and velarized vowels are quite generally considered ‘dark’, front vowels as ‘fine’ and ‘high’. Unvoiced stops have been considered ‘thin’ by European linguists, whereas the fricatives were labelled ‘raw’ and ‘hairy’ by the Greeks. Hans Marchandprovided the first extensive list of English phonesthemes. He wrote, for example, that "/l/ at the end of a word symbolizes prolongation, continuation" or "nasals at the end of a word express continuous vibrating sounds." Gérard Genettepublished the only full length history of phonosemantics, "Mimologics" (1976). In 450 pages, Genette details the evolution of the linguistic iconism among linguists and poets, in syntax, morphology and phonology. [The above review of modern phonosemantics is partially adapted from a literature review by Magnus - see website below.]
Keith McCunedemonstrated in his doctoral thesis that virtually every word in the Indonesian languagehas an iconic (phonosemantic) component. His two-volume doctoral thesis "The Internal Structure of Indonesian Roots" was completed at the University of Michiganin 1983 and published in Jakartain 1985.
Relationship with neuroscience
In the 2003
BBC Reith Lectures, Vilayanur S. Ramachandranoutlined his research into the links between brain structureand function. In the fourth lecture of the series he describes the phenomena of synesthesiain which people experience, for example sounds in terms of colours, or sounds in terms of tastes. One type of synesthesia has people seeing numbers, letters of the alphabet, or even musical notes, as having a distinct colour. Based on his research Ramachandran proposes a model for how language might have evolved. The theory is interesting because it may explain how we make metaphors and how sounds can be metaphors for images – why for example sounds can be described as bright or dull. In explaining how language might have evolved from cross activation of adjacent areas in the brain, Ramachandran notes four crucial factors, not all related to language, but which combined might well have resulted in the emergence of it. Two of these processes are of particular interest here.
Synesthetic cross modal abstraction": i.e. we recognise properties that sounds and images have in common and abstract them to store them independently. The sounds and shapes of the objects have characteristics in common that can be abstracted, say a sharp, cutting quality of a word, and the shape it describes - what Ramachandran called the ' Bouba/kiki effect' based on the results of an experiment with two abstract shapes, one blobby and the other spiky, and asking people to relate the nonsense words "bouba" and "kiki" to them. The effect is real and observable, and repeatable.
"Built in preexisting cross activation". Ramachandran points out that areas of the brain which appear to be involved in the mix-ups in synesthesia are adjacent to each other physically, and that cross-wiring, or cross activation, could explain synesthesia and our ability to make metaphors. He notes that the areas that control the muscles around the mouth are also adjacent to the visual centres, and suggests that certain words appear to make our mouth imitate the thing we are describing. Examples of this might be words like "teeny weeny", "diminutive" to describe small things; "large" or "enormous" to describe big things.
Relationship with poetry
The sound of words is important in the field of
poetry, and rhetoricmore generally. Tools such as euphony, alliteration, and rhymeall depend on the speaker or writer confidently choosing the best-sounding word.
John Mitchell's book "Euphonics: A Poet's Dictionary of Enchantments" collects lists of words of similar meaning and similar sounds. For example, the entry for V begins::Vital and vigorous but vain and vicious.:Vitality is in words which relate to the Latin "vita" (life), "vis" (force) and "vigor". In English are vim and vigour, vitality and velocity. The effect of V can be described as very vivacious. Like several other sounds V has a second, opposite meaning. In accordance with its relationship to the sounds W and F it is sometimes weak and flustured (German "verwirrt"), as in the words vain, vacuous, vapid, vague, vacillate, vagrant, vaporous, vertigo, veer, and vary.
Likewise, "gl-" words for shiny things: glisten, gleam, glint, glare, glam, glimmer, glaze, glass, glitz, gloss, glory, glow, and glitter. In German, nouns starting with "kno-" and "knö-" are mostly small and round: "Knoblauch" "garlic", "Knöchel" "ankle", "Knödel" "dumpling", "Knolle" "tuber", "Knopf" "button", "Knorren" "knot (in a tree)", "Knospe" "bud (of a plant)", "Knoten" "knot (in string or rope)".
Japanese sound symbolism
Imitation of natural sounds in various cultures
* [http://www.trismegistos.com/MagicalLetterPage Margaret Magnus's Phonosemantics Website]
* [http://www.percepp.demon.co.uk/soundsmb.htm Sound Symbolism] Robin Allott.
* [http://www.geocities.com/SoHo/Studios/9783/phonpap1.html The Influence of Phonesthesia on the English Language] - an alternative approach to phonosemantics.
* [http://classics.mit.edu/Plato/cratylus.html Cratylus Dialogue]
* [http://ccbs.ntu.edu.tw/FULLTEXT/JR-PHIL/kasulis3.htm Reference and symbol in Plato's Cratylus and kuukai's Shojijissogi] "Philosophy East and West" Vol. 32:4 (October 1982)
* [http://www.bbc.co.uk/radio4/reith2003/ BBC Reith Lectures 2003]
** especially [http://www.bbc.co.uk/radio4/reith2003/reith2003_lecture4.shtml "Lecture 4: Purple Numbers and Sharp Cheese"]
* [http://www.stanford.edu/class/linguist34/Unit_08/blackberry.htm An example of phonosemantics in advertising]
* [http://cogprints.org/2294/1/index.html Oral Metaphor Construct] Asa M. Stepak
* [http://www.seeingwithsound.com/asynesth.htm Induced generic sound symbolism for the blind - "seeing with sound"]
* [http://www.nigelward.com/egrunts/ Conversational Grunts]
* [http://specgram.com/CLI.4/07.spp.wind.html Eating the Wind] a satirical but illustrative example of sound symbolism and iconicity using
* [http://linguistlist.org/issues/9/9-1106.html "Phonological Clusters of Semantically Similar Words"]
* [http://www.acoustics.org.tw/asoroc/locationA/A06.pdf comparison of dirty words in Chinese and English]
* [http://www.trismegistos.com/MagicalLetterPage/ an argument that all phonemes have connotative meaning]
*Magnus, M. "Gods of the Word : Archetypes in the Consonants". (Truman State University Press, July 1999)
*"The Sound Shape of Language" by
Roman Jakobsonand Linda Waugh
*"Euphonics: A Poet's Dictionary of Enchantments" by John Mitchell (ISBN 904263 437)
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