Double negation and iconicity
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Ludovic De Cuypere
Abstract
Typological research suggests that double negation - the use of two negative markers to denote one negative meaning - is a popular strategy amongst a wide variety of languages. This paper focuses on two types of double negation. The first type, exemplified by Fr. Je ne chante pas ‘I don’t sing’, consists of a discontinuous sentence negator. The second type consists of a sentence negator and a negative indefinite pronoun or adverb as in I don’t see nothing. Iconicity is in the first type related to the language change known as Jespersen’s Cycle leading towards the double negative structure. The second type is arguably one of two possible strategies to avoid the less iconic use of a negative indefinite pronoun.
Abstract
Typological research suggests that double negation - the use of two negative markers to denote one negative meaning - is a popular strategy amongst a wide variety of languages. This paper focuses on two types of double negation. The first type, exemplified by Fr. Je ne chante pas ‘I don’t sing’, consists of a discontinuous sentence negator. The second type consists of a sentence negator and a negative indefinite pronoun or adverb as in I don’t see nothing. Iconicity is in the first type related to the language change known as Jespersen’s Cycle leading towards the double negative structure. The second type is arguably one of two possible strategies to avoid the less iconic use of a negative indefinite pronoun.
Kapitel in diesem Buch
- Prelim pages i
- Table of contents v
- Preface and acknowledgements vii
- List of Contributors ix
- Introduction: Insistent Images 1
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PART I. Iconicity and grammaticalization
- Putting grammaticalization to the iconicity test 17
- Iconic thumbs, pinkies and pointers 37
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PART II. Iconicity and the aural
- The physical basis for phonological iconicity 57
- Reading aloud and Charles Dickens’ aural iconic prose style 73
- Iconicity and the divine in the fin de siècle poetry of W.B. Yeats 91
- Is lámatyáve a linguistic heresy? 103
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PART III. Iconicity and the visual
- The beauty of life and the variety of signs 113
- Forms of restricted iconicity in modern avant-garde poetry 129
- Eco-Iconicity in the poetry and poem-groups of E.E. Cummings 155
- The language of film is a matrix of icons 173
- Liberature 191
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PART IV. Iconicity and conceptualization
- Meaning on the one and on the other hand 211
- Iconic text strategies 229
- ‘Damn mad’ 247
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PART V. Iconicity and structure
- Iconicity and the grammar–lexis interface 269
- Iconicity in the coding of pragmatic functions 289
- Double negation and iconicity 301
-
PART VI. Iconicity and multimedia / intertextuality
- Iconicity in multimedia performance 323
- Author index 347
- Subject index 353
Kapitel in diesem Buch
- Prelim pages i
- Table of contents v
- Preface and acknowledgements vii
- List of Contributors ix
- Introduction: Insistent Images 1
-
PART I. Iconicity and grammaticalization
- Putting grammaticalization to the iconicity test 17
- Iconic thumbs, pinkies and pointers 37
-
PART II. Iconicity and the aural
- The physical basis for phonological iconicity 57
- Reading aloud and Charles Dickens’ aural iconic prose style 73
- Iconicity and the divine in the fin de siècle poetry of W.B. Yeats 91
- Is lámatyáve a linguistic heresy? 103
-
PART III. Iconicity and the visual
- The beauty of life and the variety of signs 113
- Forms of restricted iconicity in modern avant-garde poetry 129
- Eco-Iconicity in the poetry and poem-groups of E.E. Cummings 155
- The language of film is a matrix of icons 173
- Liberature 191
-
PART IV. Iconicity and conceptualization
- Meaning on the one and on the other hand 211
- Iconic text strategies 229
- ‘Damn mad’ 247
-
PART V. Iconicity and structure
- Iconicity and the grammar–lexis interface 269
- Iconicity in the coding of pragmatic functions 289
- Double negation and iconicity 301
-
PART VI. Iconicity and multimedia / intertextuality
- Iconicity in multimedia performance 323
- Author index 347
- Subject index 353
