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Статья поступила в редакцию 02.09.21
УДК 801.8
Evenko E.V., Cand. of Sciences (Philology), senior lecture, Tambov State Technical University (Tambov, Russia), E-mail: nazrova33-1975@mail.ru
Glivenkova O.A., Cand. of Sciences (Philology), senior lecture, Tambov State Technical University (Tambov, Russia), E-mail: olga-glivenkova@ramblerl.ru
ICONICITY AS A PHONOSEMANTIC MEANS OF SOUND TONALITY REPRESENTATION IN THE TEXT. The phenomenon of iconicity and its two subsystems onomatopoeia and sound symbolism are considered in the article. The central element of it, symbolic sound word is investigated in order to emphasize phonetic sign motivation of a sound. The paper aims to prove symmetry of iconic relationships between the meaning of the symbolic sound word and its phonetic form. Different classifications of sound symbolism are presented to identify the major one in symbolic sound word creation. Iconicity as a phonosemantic means is analyzed to underline the symbolic sound value of detecting sound tonality in the text. For this purpose the analysis of quantitative accumulation of the sound dominant of advertising texts as a phonosemantic means of sound tonality representation on segment phonological level is considered. Thus it proves the necessity of further investigation in the field of typological phonosemantics as a modern science.
Key words: iconicity, sound symbolism, onomatopoeia, phonosemantics, sound dominants, sound tonality, advertising text, attractive and manipulative function.
Е.В. Есенко, канд. филол. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: nazrova33-1975@mail.ru
О.А. Глисенкоса, канд. филол. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: olga-glivenkova@ramblerl.ru
ЗВУКОИЗОБРАЗИТЕЛЬНОСТЬ КАК ФОНОСЕМАНТИЧЕСКОЕ СРЕДСТВО РЕПРЕЗЕНТАЦИИ СМЫСЛ-ТОНАЛЬНОСТИ В ТЕКСТЕ
В данной статье рассматривается явление звукосимволизма и звукоизобразительность, подсистемами которой являются звукоподражание и звуко-символизм. Центральным элементом звукоизобразительной системы языка является звукоизобразительное слово, которое исследуется в работе, чтобы подчеркнуть фонетическую мотивированность звука как знака. Цель статьи заключается в том, чтобы продемонстрировать существование звукоизобразительной связи между значением слова и его звучанием благодаря явлению звукового символизма. В работе представлены различные классификации звукового символизма с целью определения его базового типа для создания звукосимволического слова. В статье анализируется количественное накопление звуковой доминанты рекламного текста и звукоизобразительность как фоносемантическое средство репрезентации смысл-тональности на сегментном фонологическом уровне. Таким образом, многочисленные эксперименты подтверждают необходимость дальнейшего исследования области типологической фоносемантики как современной науки.
Ключевые слова: звукоизобразительность, звукосимволизм, звукоподражание, фоносемантика, звуковые доминанты, смысл-тональность, рекламный текст, аттрактивная и манипулятивная функция.
The general term that combines the concepts of onomatopoeia and sound symbolism is iconicity. In this work, following S.V. Voronin, we consider that the iconic system of the language includes symbolic sound and onomatopoeic subsystems. The human mind arbitrarily searches for the symmetry between sound and meaning to create new words (poetry, prose, advertising). Conventional sound symbolism
includes associations of phonemes and groups of phonemes (phonestems, phonetic intensives) with certain meanings and is characterized by a high degree of derivation. This type of sound symbolism has a very broad meaning, including both onomatopoeia and synesthemisms, combining both involuntary and arbitrary. This work is relevant from the point of view of the influence of phonics, not only on the basis of its attractive
functions, but also manipulative one. The purpose of the work - to consider iconicity, sound symbolism as a phonosemantic means of creating sound tonality, with the aim of underlining the meaning of phonosemantic organization of words into constructions.
The fact of the existence of sound symbolism in different world languages, unconditionally, proved by experimental-psychological and linguistic-typological investigations [1, p. 18-19]. Early existence of sound symbolism was often questioned or completely unrecognized, it was not full understanding of its essence.
The problem of sound symbolism closely locked with the language sign motivation problem. According to S. Ullmann, three types of motivation in semantics: semantic, morphological, and phonetic are distinguished [Ullmann 1962]. In 1969, a seminar was held in Leningrad, devoted to the problem of motivation of the language sign, and many articles and monographs were written by both foreign and native authors (Balli Sh, Pavlov V.M., Avetyan E.G., Gorelov I.N., Zilbert B.A.). The above mentioned authors have also included syntactic motivation, phrase motivation and other diversity of motivations (I.N. Gorelov): primary (phonetic) and second, all of which are included (see below). For our research, only phonetic motivation is of interest, therefore other types of motivation are not analyzed.
Today, we can speak with confidence about the presence of a direct connection between the sound form and meaning in significant layers of the vocabulary of various languages of the world, especially when Saussure's postulate about the absence of such a connection received a scientifically substantiated refutation (both in terms of philosophical and systemological, and in specifically linguistic plan) on the part of pho-nosemantics, where the principle of involuntary (motivation) of a linguistic sign serves as the main methodological principle [Voronin 1982]. Under phonetic motivation, following V.V. Levitsky, it is usually meant "the presence of certain correspondences between the symbolic meaning of the sounds included in the name and the lexical meaning of this name (word)" [2, p. 46-47].
Considering the phonetic motivation of a linguistic sign, the presence of an involuntary connection between the sound form of a word and its meaning, one should distinguish between two of its varieties: onomatopoeia and sound symbolism. Accordingly, the iconic system of the language, the system-forming property of which is the presence of a regular arbitrary phonetically motivated connection between the phonemes of the word and the motive of the nomination [1, p. 176], is subdivided into onomatopoeic and symbolic sound subsystems. Onomatopoeia is a direct expression in the language of nature sounds, the cries of animals and various sound processes, that is, imitation of external sounds by the sounds of speech (the sounds of the external environment surrounding a person). This type of iconic system is the clearest case of phonetic motivation. In the case of sound symbolism, phonetic motivation is not so obvious, and even often an "intuitively felt phenomenon", sometimes requiring verification by experimental psycho-linguistic or linguistic-typological methods. It should be noted that there are difficulties with attributing a particular sound unit to the class of onomatopoeia or sound symbolisms, since it is difficult to determine what prevails - sound or non-sound. So, for example, in the English words drop, which has both the meanings "to drop" (designation of very fast series of blows) and "drop" (designation of round). An example of the English word splash with the meaning "to splash on water, mud, to move" is even clearer. But also this word has the onomatopoeic meaning "splash, hit the water with your hands". The words marked in dictionaries as "imitatives", i.e. onomatopoeic in origin, at this stage of their development are perceived as designations of something small or large. Their symbolism is explained by the fact that large bodies, including the vocal organs of animals, emit a low sound, and small bodies - a high sound, and, therefore, the words originally denoting a low / high sound (animal voice) are transformed into words denoting large / small size.
The study of sound symbolism and phonetic motivation of a linguistic sign requires extrapolation to other fields of science, the involvement of an extralinguistic factor, which is most important for bringing the data of ontogeny, primatology, neurophysiology in favor of the existence of sound symbolism (in favor of the theory of fusai) [1, p. 129-145, 182-186].
In the course of our research, the question arises about the unequal sounding of iconic words in different languages of the world; the existence of synonyms and homonyms in the language; the very existence of different languages (calling the same objects of reality by different names) [Vostrikov 1965, Abaev 1976].
In the process of word formation, the problem of choosing an attribute, which is the basis of the nomination, is of great importance [3, p. 147-187]. For the first time, the law of nomination was formulated by S.V. Voronin.
The connection between the symbolic complex and the object of the nomination is multivalued due to the multiplicity of attributes in this object and the multiplicity of objects that may have this attribute. For example, the kinemes accompanying such different sensory-emotional states, such as extreme satisfaction and suffering, aversion to smell and neglect, are similar and sometimes identical [1, p. 185].
The sign, which is the basis of the nomination, must necessarily be dominant and may be "unassigned", which has not yet received a designation in the language (in this case, it will be a matter of a primary, iconic nomination) or already "designated", which has already received a designation in the language (in this in the case of a second nomination). The dissimilarity of the phonetic appearance in different languages is due to the fact that their nomination is based on different attributes of the object. Thus, it is the law of the multiplicity of nominations that explains the dissimilarity of symbolic sound words in different languages of the world, the existence of synonyms and homonyms in the language, and the very existence of different languages.
If, however, the nomination of words with the same meaning is based on the same sign, then in their sound design there should be similarities that are at first glance imperceptible. The phonetic structure of each separately taken language has its own specific peculiarities, but not all languages are equally well adapted to a successful sound image, sometimes it turns out that in one language or another there are no sounds that most accurately convey the attribute assumed to be the basis of the nominated object. For example, abruptives widely represented in the Caucasian languages are absent in most languages of the world. Abruptives transmit the tension of individual articulators of the human speech apparatus during various sound physiological processes that require effort. This concerns the expressiveness of sounds in the iconic words of the Ossetian language. In very many languages, the voiceless occlusive laryngeal l (Arabic gamza), which denotes the constriction of the throat during physiological processes in the articulatory apparatus, is not represented, however, it is represented in Arabic and some other languages.
At first glance, the similarities in the sound design of symbolic sound words of different languages that are identical in meaning are often not easy to notice: these similarities are determined by the regularity that operates in sound representation (both in onomatology and sound-symbolism), which consists in the fact that the denotation (acoustically and non-acoustically) is depicted by one or another type of phonemes (phonemotype) or by a combination of several phonemotypes as part of the corresponding symbolic sound word.
This pattern can be most clearly demonstrated by the example of onomatopoeia, where "each type of sound is transmitted by one or another phoneme as part of a certain phonemotype" (or a combination of several phonemotypes) as part of the corresponding phonoitrakinesemism.
It is known that language is a continuously changing object and -symbolic sound words are no exception. In the course of the evolution of the language, they also undergo changes. Sometimes changes in words (both iconic and non-iconic) in the process of the historical development of a language can turn out to be so significant that their modern sound appearance is unrecognizably different from their ancient sound appearance. It follows from this that in the synchronous comparison of symbolic sound words and other systems and subsystems of the language, entering into diachrony plays an important role. It is important to take into account not only their modern, but also their original forms. Comparison of symbolic sound words, taking into account their original forms, will allow to establish the initial similarity of the compared lexemes.
Words that are iconic by their origin gradually lose their iconicity in the course of the evolution of the language; there is a "darkening" of the primary sound quality of words. According to E.G. Avetyan, this process is inversely proportional to "the progress of the sign turns out to be a regression in the area of the unity of sound and meaning" [4, p. 55].
According to the law of relative denaturalization of a linguistic sign, formulated by S.V. Voronin, "in the process of evolution in diachrony at the stages of quasi-natural, natural-conventional and in modern synchrony at the conventional-natural stage, the linguistic sign undergoes relative denaturalization" [1, p. 187]. For the first time, having arisen as icinic entity, a linguistic sign develops within a given quality until the linguistic system at this stage exhausts the possibilities of development within the framework of sound visualization. Relative denaturalization implies a weakening, "darkening" of the original primary motivation of a linguistic sign, its partial loss. In the process of incomplete demotivation of the linguistic sign, the primary motivation is weakened and replaced by the second motivation - semantic and morphological. Thus, the symbolic sound origin of words at the present stage of language development, according to A.G. Spirkina turns out to be "disguised". For example, A.G. Spirkin cites Darwin's well-known observation of his grandson, who, as a child who began to speak, called the duck "quack" and then, due to associations, called water, and all birds, and even all coins (since he saw the image of an eagle on one French coin) [5, p. 31-32].
S.V. Voronin illustrates the "disguise" of iconic word with the following examples from different languages: grudge "express dissatisfaction, mutter, grumble" (English), tpn "flat, flat" (Ossetian language), tam "mind, ability to understand, taste" (Semitic language) [1, p. 152]. Here he conducts an etymological-phonosemantic analysis of a number of ancient Germanic abstracta ("life", "spirit"), the results of which indicate that with a consistent application of the principles of the systems approach, the original motivation of even many abstract lexemes can be revealed.
There is also a tendency to preserve or restore the visualization of sounds in the language, which resists the law of relative denaturalization of the linguistic sign [6, p. 95]. It exists due to the imagery of symbolic sound words. To confirm this tendency in the language, O. Espersen gives a number of examples: English word "tiny" (where initially the long [i] was diphthongized in [ai] due to the well-known phonetic laws in English) is sometimes pronounced as [i] due to the sound symbolism acting here [i] indicating small size [7, p. 285-286].
Thus, in the language, in parallel with the process of relative denaturalization, the process of renaturalization of the linguistic sign takes place. The law of iconic inertia is closely related to this tendency. According to this law [1, p. 190], "the iconic function of a phoneme remains in diachrony longer than the phonetic quality of a phoneme". The law of iconic inertia can explain the preservation of the iconic function of transmitting the sign of "roundness" ([u] turned into [a] bulb "onion".
So, in the course of the study of sound symbolism, taking into account such important extralinguistic and intralinguistic factors of iconicity as the multiplicity of nomination, the variability of symbolic sound words in the course of the evolution of the
language and their gradual denaturalization in the symbolic sound words of various languages, a similarity is found "along the vertical" (the presence of direct or approximated correspondences between a symbolic sound word and a denotation) and similarity "horizontally" (which means the similarity - structural and functional - between the symbolic sound words of different languages.
It should be noted that comparing the symbolic sound words of different languages, it is also necessary to take into account the fact that in the same language there can be sound images of the same object, but of different "age" [8, p. 31], and there are also sound images that have arisen in different periods of the evolution of the language on a different phonetic basis.
Scientists such as T.A. Van Dijk and W. Kinch believe that the perceived stream of sounds should be interpreted in terms of phonemes, the sequence of phonemes in terms of morphemes, and structured sequences of morphemes in terms of sentences. For a maximum of several seconds, these structures should be assigned a meaning, and at the maximum rate of pronunciation, the assignment of meaning to lexical units should be carried out in the interval from 0.1 to 0.2 seconds. "At the same time, parts of the sentences should be combined into sentences, relations should be identified that ensure the coherence of these sentences, in order to unite a topic, this fragment should be set its global macrostructures."
As a physical phenomenon, sound has certain acoustic characteristics: pitch, loud-ness, duration, regularity, and dissonance. These psychophysiological sound parameters allow us to classify the sound quality. Various natural phenomena, movement are accompanied by sounds, which is directly reflected in the onomatopic words (rustle, seethe, spank). Sound units are arranged in a special way and when perceiving the sound organization of the text, both from the side of its form and from the side of its content units, a special type of sound is comprehended by the recipient. Based on this, the emotional mood of the text (poetic, prosaic, advertising) is created by the special tone, sound tonality.
Sound coloration, sound tonality as the sound organization of a text is formed in the course of the individual's mental activity and is aimed at recreating such mental processes and states as emotions and states of the soul. With the help of a certain emotion or group of emotions, given the genetic commonality of emotions and sensations, language and seek to find their expression in sound.
Especially clearly, the special sound organization of the text with a certain sound tonality is used by the authors of the advertising text in order to convince the recipient that only such a company can offer the necessary and useful products. The advertising text model is a story-characteristic about a company or organization that offers the advertised product, to which phonetic organization, sound tonality, performs not only an attractive, but also a manipulative function.
In this regard, let us consider, as an example of the representation of sound tonality of "pleasure from the external characteristics of an object". The identified connotations of advertising texts with alliterated sound [l] are represented by a spectrum of semantic associations organized according to the principle of the phonosemantic field [Mikhalev 1995] with connotative dominants "light", "light", "cheerful", "slippery", "pleasant impression of food".
Luscious Low-Cal Licks (a promotional review for ice cream in Prima magazine) [9];
Lick the lid of Life (Muller yoghurt) [9].
The following advertising texts with an alliterated sound [l] can serve as the following example of sound tonality "a pleasant impression from the product, directed outward":
Wine is a little like love; when the right one comes along, you'll know it (Bolla wine) [10].
The lure of lipstick. Our lipstick lust list (advertising review of cosmetics in Fair Lady magazine) [9].
Библиографический список
Representation of sound tonality "pleasant emotions of the recipient himself" with alliterated sound [l] is pronounced in the following examples:
Live the Palace Life (Palace Resorts hotels) [10];
Live a little (Beefeater gin) [9];
Live your life. Love your job (Nurse Mates workwear) [9];
The sound tonality of the "object characteristics" is represented by the following phonosemantic connotations "light", "mobile":
Lightlife. Live Long. Travel Light. (Lightlife vegetarian products) [10];
Time Flies. The largest pedal platform plus ultra lightweight EXPRESSO 12 [9].
The sound tonality of the "object characteristics" with alliterated sound [l] is represented by the following phonosemantic connotations "long", "long", "smooth", "slippery":
The look is in the line. Intense precision. Lasting Liner design. Lancome (Lan-come eyeliner) [9];
Washing machine live longer with Calgon (Calgon household chemicals) [10].
The phonosemantic connotations "light", "transparent", "shining" represent sound tonality of "the characteristics of the object":
Lamps of elegance (Frederick Cooper chandeliers) [9];
Crizal live Life in the Clear (Crizal lenses) [9].
Phonosemantic analysis of isolated phonemes and sound complexes is the first stage of linguistic analysis, which verifies the criteria for the perception of other stimuli - advertising texts written using stylistic means of the segment phonological level. At the second stage, contextual sound symbolism was investigated and the identification of the presence of phonosemantic connotations, as well as their features associated with the advertised object.
So, for example, for sound repetitions [b], the represented meaning-tonality "characteristic of the object", the main phonosemantic connotation is "convex" and additional "elastic, strong":
Glaxo buils bonny babies (Glaxo milk) [9];
- phonosemantic connotations "soft", "light", "full" for sound repetition [p]:
The poof is in the pad (Stri-Dex facial lotion) [10];
- phonosemantic connotations "round", "dark", "thick" for sound repetition [u]:
It puts you in a good mood (Sanka coffee) [10].
Thus, in this linguistic study, using the examples of English advertising texts, it was revealed that alliterated consonants have a greater sound quality: the phonosemantic analysis of research units showed the presence of a greater share of alliteration among the phonosemantic means of the segment level. Articulatory and expressive characteristics of repeated sounds, enhanced with the help of segment phonosemantics, act as modifiers for decoding the message of the advertising text and contribute to the metaphorization of the perception of the expression plan. For the texts considered above, the general phonemotype of instrumentation elements, which is based on the articulatory sign of labialization, functioning as a linguistic gesture, is a stimulus for the creation of phonosemantic connotations "convex, rounded".
Sound symbolism has been the object of research more than once in English [Jespersen 1933; Marchand 1959], but there was not even an attempt to give a complete classification of symbolic sound words in general in English and in other languages. For the first time the symbolic sound material of the English language was systematized by S.V. Voronin in his work "Fundamentals of Phonosemantics" [Voronin, 1982], in which sound-symbolism is considered as one of the subsystems of the iconic system of the language. The central element of this subsystem is the symbolic sound word. This classification is applicable not only to English language, it is inherently universal. Phonosemantic classification of symbolic sound words provides great opportunities for studying the possibilities of sound-symbolism in various languages and typological phonosemantics creation.
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Статья поступила в редакцию 16.08.21
