Category Archives: Ideophones

Ideophones are marked words that vividly evoke sensory events. They are found abundantly in Asian and African languages, as well as in some native American languages. As a class of words, they are relatively rare in Indo-European languages.

One year of ideophones

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Time flies vuuu. About one month ago, The Ideophone has silently celebrated its first birthday kananana. English interspersed with ideophones looks childishly weird susuusu and chaotic basabasa, and that is precisely tutuutu one of the issues I’ve been trying to address here: what is the nature of ideophony, and how is it connected to language ecologies and ideologies?

An overview of the best posts of 2008 on The Ideophone follows below, but first let me highlight a nice new initiative by Neuroanthropology.net. They’ve hosted the Best of Anthro Blogging 2008, a compendium of the most popular and the best posts from various blogs all across the anthropological blogosphere. The Ideophone won prizes in the categories ‘Best Fieldtrip’ and ‘Best Illustration’. There’s the roundup and the prizes, but what I liked most were the elaborate reflections on the submissions in two substantial posts by Daniel Lende on The Relevance of Anthropology. Continue reading →

Zap! Pow! Kraaakkkk! Ideophones for involvement at FeedBurner

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FeedBurner, a service for managing RSS feeds, provided us with a nice example of ideophonic language on its corporate blog last year:

Starting right now, you just log into your Blogger account, select Settings | Site Feed, enter your FeedBurner feed address and click “Save Settings.” Zap! Pow! Kraaakkkk! Now you’ve got the complete picture of how your content is being consumed out here, out there, out everywhere.

HIT! (Emaki.net/The Visual Linguist)

The technique at work here is commonly used in comics. Neil Cohn over at The Visual Linguist refers to it as ‘replacing a certain panel to get an entailment of the action’ (see example to the right).

I would think of it not so much as replacing a panel for something else but rather as zooming in on the action. The goal is not to get the entailment of the action, although that may be the effect. The goal is rather to drag the reader onto the scene to focus on the raw action, inviting her/him to recreate it in the imagination.

Behind the scenes

The ideophones used in the FeedBurner post invite us to imagine what happens after we click ‘Save settings’. They provide us with a peek behind the scenes, suggesting that a whole slew of machinery is set going by this one click, and Zap! Pow! Kraakkkk! produces the desired result.

Dragging us onto the scene is something ideophones do exceedingly well (see ‘Under the spell of ideophones‘). As marked words, they set themselves apart from the surrounding linguistic stuff and take center stage (Kunene 2001). As sound images (depictions, Lautbilder) of sensory events, they ‘fire the individual imagination’ (a phrase used by Deborah Tannen (2007[1989]:134) in a discussion of the role of imagery in conversation) and create a heightened sense of involvement (Nuckolls 1992).

The FeedBurner example is interesting because this type of mimetic use of language is stylistically marked for most English speakers. It sort of fits in with the branding strategy of FeedBurner, which is characterized by a decidedly colloquial style of communication all throughout their website. Cornelius Puschmann had a thoughtful post on such issues of style some time ago.

References

  1. Kunene, Daniel P. 2001. Speaking the Act: The Ideophone as a Linguistic Rebel. In Ideophones, ed. F. K. Erhard Voeltz and Christa Kilian-Hatz, 183-191. Amsterdam: John Benjamins.
  3. Nuckolls, Janis B. 1992. Sound Symbolic Involvement. Journal of Linguistic Anthropology 2, no. 1: 51-80.  
  4. Tannen, Deborah. 2007. Talking Voices: Repetition, Dialogue, and Imagery in Conversational Discourse. 2nd ed. Studies in Interactional Sociolinguistics 25. Cambridge: Cambridge University Press.

Mumbling and other mouth sensations: Ideophone proeverij II (with sound clips)

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With three mouth-related ideophones we’ve got a true proeverij this time. Welcome to dinner! You’re invited to try the first ideophone on the menu, mùkùmùkù. Feel free to sustain the mumbling to get some feeling for the word. Mùkùmùkùmùkùmùkù. The mumbling mouth movements of a toothless person. This is quite a special ideophone in that uttering it (or shall I say muttering it) actually gives one a bit of the mouth feeling a mumbling toothless must be having.

mùkùmùkù
[mùkùmùkù] the mumbling mouth movements of a toothless person
ɔ̀ɖe kanya mukùmùkù • he eats like a toothless person [lit. eats mouth mùkùmùkù]

Now take a deep breath, and get ready for the next course: saaaaaa. This is a Siwu ideophone for a cool sensation in the mouth, as one would get for example with mint or toothpaste. It is devoiced towards the end, so it ends, quite appropriately, in a breath sound. It has a sister ideophone suuu, which evokes a burning sensation as one would get when taking in, for example, a very spicy soup. (The burning is continuous, i.e., not punctuated; yuayua would be an ideophone for a punctuated burning sensation.)

saaa
[saaḁ] cool sensation [esp. in the mouth]

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ì-se sááá
it-COP IDPH.cool
it is saaa
suuu
[suuu̥] burning sensation [esp. in the mouth]

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ah! ì-te ì-bɛbɛrɛ mɛ [sucks in air]… ì-te ì-bɛbɛrɛ mɛ sùuú kɛ̀lɛ̀!
INTJ.pain it-PROG it-be.burning me … it-PROG it-be.burning me IDPH.hot just
Ah! It is burning me … it’s burning me suuu!

If you listen to the audio clips, you’ll note that the ideophones are uttered in a prosodically marked way, with a drawn out vowel, intonational foregrounding, and (in the case of suuu) heavy tonal modulation. This performative aspect of ideophone use is one of the ways in which ideophones stand out in discourse, calling attention to themselves and thereby to the imagery they evoke (cf. Nuckolls 1996:62-78).

Together, saaa and suuu form a sound-symbolic cluster of items that are closely related in both form and meaning. There are more clusters like that — last time’s ɣeee ‘swarming of animals’ for example has a close relative ɣɔɔɔ which describes a moving mass of water. This type of clustering (it has been likened to templatic morphology) is quite common in ideophonic vocabulary worldwide. Finally, note that the opposition between saaa/suuu and mùkùmùkù illustrates once again the iconicity of word form that was highlighted in the previous proeverij.

References

  1. Nuckolls, Janis B. 1996. Sounds Like Life: Sound-Symbolic Grammar, Performance, and Cognition in Pastaza Quechua. New York: Oxford University Press.

‘Poetry in ordinary language’: Evans-Pritchard on ideophones

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If one had to sum up their character in a short phrase one might say that they are poetry in ordinary language ; and one feels that no other sounds would serve the purpose equally well of evoking sensations which compose the meaning, just as one cannot think that any possible line could be substituted for, shall we say, “For ever piping songs for ever new”.
(Evans-Pritchard 1962:145)

The reference to Keats’ Ode on a Grecian Urn is particularly apt because Ezra Pound (ABC of reading, p. 63ff.) discusses Keats’ poetry in a chapter on the means of charging language to the utmost possible degree — which is exactly what ideophones do.

  1. Evans-Pritchard, E. E. 1962. Ideophones in Zande. Sudan Notes and Records 34: 143-146.
  2. Pound, Ezra. 1934. ABC of Reading. London: Routledge.

Ideophone proeverij I

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kùrodzai te kùfɛrɛrɛ ɣèèè: Queleas come to drink in thousands at dusk and the last rays light up their wings. Photo © Wildcaster [via flickr]

While I’m busy analysing conversational data from the last two fieldtrips, my plan is treat you to a few fine Siwu ideophones every once in a while.

(Incidentally, the title of this mini-series testifies to a sad lexical gap in English: there seems to be no good equivalent for the Dutch ‘proeverij’, a noun derived from the verb proeven ‘to taste’, blandly translatable as ‘tasting event’ but rich with layers of allusions to culinary delight and bon-vivantism. However, let’s not worry too much about the lexical poverty of English and go straight on to savour some Siwu sound symbolism.)

tsɔ̀kwɛtsɔ̀kwɛ
of cutting in a sawing movement
ɔ̀to ɔtu kɔkɔ́ ítì tsɔ̀kwɛtsɔ̀kwɛ • he is cutting off the fowl’s head in a sawing movement ~
ɣèèè
[ʕèèè] of living beings moving in great numbers (swarm, flock)
màturi sɛ́ ɣèèè • people are swarming ~ [lit. they go ~]
kùbɔibi sɛ ɣèèè • the insects are swarming ~ [lit. they go ~]
kùrodzai te kùfɛrɛrɛ ɣèèè, ɔ̀wuri amɛ • the birds are flying ~ in the sky
àkpɛ sɛ ɣèèè ndu amɛ • the fishes go ~ in the water

Siwu ideophones display a weak iconic relationship between the form of the ideophone and the aspectual structure of the event evoked; in other words, they usually look like the events they depict. Reduplication for example evokes repetition, distribution, plurality, or a combination of these. In tsɔ̀kwɛtsɔ̀kwɛ above, reduplication is coupled with alternating vowel and tone patterns that bring into focus the irregularity of the sawing event. In contrast to this, non-reduplicated monosyllabic ideophones like ɣèèè depict sensory events as unsegmented or unitary.

The ideophone ɣèèè is interesting in this respect because it could also have focused on the pluractional sense of a swarming event — in which case you would expect a reduplicated form. This sense is out of focus however, as the gesture that regularly accompanies the ideophone also shows. It is in focus, I would argue, in an old friend of ours: Japanese uja uja, another ideophone depicting a swarming event.

Three misconceptions about ideophones

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In a previous post I have outlined the history of the term ideophone. This post takes on three common misunderstandings about the nature of ideophones. As an added bonus, if you read all three, you get one for free (below the fold). The working definition I adopt for ‘ideophones’ is the following: Marked word that depict sensory imagery. In lay terms, ideophones are words that stand out (are ‘marked’) and whose form betrays something of (is depictive of) their meaning.

  1. ‘Ideophone’ is just jargon for onomatopoeia. Not quite. Onomatopoeia is generally understood to be limited to words imitating sounds. Ideophones however evoke all sorts of sensory events — not just sounds, but also taste, gait, visual effects, texture, smell, and so on.
    Consider the following Siwu ideophones: vɛlɛvɛlɛ ‘a dizzy, giddy feeling in the body’; yuayua ‘a sensation of burning (the visual impression, the feeling, or both)’; kpotoro-kpotoro ‘moving jerkily like a tortoise’; ɣɛkpɛtɛɛ ‘delicately fragile, for example of autumn leaves’. These words do not imitate sounds, yet to a Siwu speaker they vividly depict sensory events in a way that is reminiscent of onomatopoeia. The German linguists had an excellent term for this: Lautmalerei ‘painting with sound’, the result of which was a Lautbild ‘sound picture’ (Westermann 1907, 1927, cf. also Bühler 1934).
  2. English and other Standard Average European (SAE) languages lack ideophones. Not quite. Given the definition of ideophone above, ideophony is probably a universal phenomenon. English, for example, has ideophonic words like glimmer, twiddle, tinkle which are depictive of sensory imagery: their form betrays something of their meaning in ways that words “chair” and “dog” do not.
    All the same it is true (and interesting) that languages differ in the extent to which they systematize and elaborate their ideophonic (expressive) resources. In that sense English is definitely a much less ideophonic language than, say, Semai (Central Aslian, Austroasiatic, Malaysia), where ideophones are a word class as big as the two other major word classes, nouns and verbs, or Gbeya (Adama-Eastern, Niger-Congo, Central African Republic), where over 5000 ideophones have been collected. In the latter type of language, ideophones make up a large and clearly recognizable class of words, whereas in English, ideophonic vocabulary is sprinkled all over the lexicon (and probably less common overall).
  3. Ideophones are a feature of primitive languages. Not quite. This idea is at least as old as the first descriptions of ideophones in ‘exotic’ languages. It was made popular by anthropologist Lévy-Bruhl’s musings about ‘primitive mentality’, in which ideophones were adduced as evidence for the ‘irresistible tendency’ of the native to ‘imitate all one perceives’ (1926:142). One thing we have learned since then is that the notion of ‘primitive language’ makes no sense outside the highly problematic model of cultural evolutionism in which it was coined.
    I don’t even want to give counterexamples in the form of supposedly non-primitive languages which nonetheless are ideophonic; anyone interested can look up some relevant literature (start with Voeltz & Kilian-Hatz 2001). For linguists, languages differ in interesting ways and along all sorts of dimensions; but the supposed dimension of primitivity is not one of them.

Continue reading →

Early sources on African ideophones, part III: ‘Onomatopoeia as a formative principle in the Negro languages’, 1886

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A steady influx of vocabularies of exotic languages during the nineteenth century caused a veritable flowering of comparative philology. It became en vogue to be looking at primitive languages, and the late nineteenth century especially was a time in which every respectable gent in academia had to have dabbled in African philology.

One such gent was the Harry Thurston Peck (1856-1914). A classicist who would later become known for such works as Latin Pronunciation (1890), an edition of the Suetonius (1889), and most importantly the Harpers Dictionary of Classical Antiquities, he apparently had access to some dictionaries of West African languages in the 1880′s and could not, of course, resist the temptation to do something with it. The results were published in the American Journal of Philology in 1886.

Peck’s article is both disappointing and interesting. Disappointing for its dubious methodology, interesting because of the sheer amount of ideophones it presents in a time when the pervasiveness of ideophony in African languages was not widely recognized. Continue reading →

Bíààà

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The card arrived in the mail today, so I can now call myself the lucky owner of this rendition of the beautiful Kisi ideophone bíààà — ‘rain softly falling’.

Some time ago I wrote about Taro Gomi’s illustrations of Japanese ideophones, citing his warning that

“Linguists, who are always described by such orthodox adjectives as kashikoi (wise), tadashii (right), erai (great), or rippana (respected), cannot handle them” (1989:iii).

No matter how sympathetic I am to that provocative statement, it is not entirely true — if only because the work of art above was made by someone with an academic background in linguistics.

What it makes clear, though —and this is of course what Gomi means, and where I agree with him— is that ideophones deserve special treatment.

(See my previous post for background info on the artist and on Kisi.)

The sound of rain falling, in your ears

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More from the missed-while-I-was-in-the-field dept.: back in August, artisan jewelry shop My Word! featured a beautiful pair of earrings decorated with the Kisi ideophone bákàlà-bákàlà for ‘the sound of big, fat raindrops.’ I love the design, in which colour, shape and size work together to recreate the event evoked by the ideophone.

bákàlà 'big fat raindrops falling'

Earrings with the Kisi ideophone bákàlà-bákàlà, by My Word! jewelry

Kisi [kqs] is spoken by upwards of 250,000 people in Guinea, Sierra Leone, and Liberia. It is a member of the Southern branch of Atlantic, fairly closely related to Temne, Gola, Sherbro, and Krim. Its ideophonic system is well-known through George T. Childs’ 1988 dissertation, The phonology and morphology of Kisi.

I decided to look up the ideophone written on the earrings, and sure enough, there it is on page 182: “bákàlà-bákàlà, sound of rain falling in single, heavy droplets”. It is one of those Kisi ideophones which always come in reduplicated form, which reinforces the happy match between the word and the product.

Behind My Word! is Joanna Taylor, a paper jewelry artist with an academic background in linguistics. I guess it figures that the linguistic data is accurate, right down to the tone marks (High-Low-Low). These earrings, along with two other Kisi pieces, are part of her Project Panglossia, in which she makes (at least) two pieces per week in a language other than English in celebration of 2008, the UN’s International Year of Languages. Lovely!

References

  1. Childs, George Tucker. 1988. The phonology and morphology of Kisi. PhD Dissertation, University of California, Berkeley.