Is lámatyáve a linguistic heresy?
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Joanna Podhorodecka
Abstract
The aim of this paper is a brief study of iconic effects in the phonology of J.R.R. Tolkien’s invented languages. Tolkien’s notion of lámatyáve or ‘phonetic fitness’ is here explained in reference to Ivan Fónagy’s theory of symbolic vocal gestures – systematic, meaningful distortions of speech sounds that convey emotive messages. By analyzing several samples of Tolkien’s artificial languages, the author proves that effects similar to those that Fónagy describes on phonetic level appear on phonological level in the structure of those languages, most notably in quantitative proportions of particular sounds.
Abstract
The aim of this paper is a brief study of iconic effects in the phonology of J.R.R. Tolkien’s invented languages. Tolkien’s notion of lámatyáve or ‘phonetic fitness’ is here explained in reference to Ivan Fónagy’s theory of symbolic vocal gestures – systematic, meaningful distortions of speech sounds that convey emotive messages. By analyzing several samples of Tolkien’s artificial languages, the author proves that effects similar to those that Fónagy describes on phonetic level appear on phonological level in the structure of those languages, most notably in quantitative proportions of particular sounds.
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
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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
