Onomatopoeia - SpeedyLook encyclopedia

List nonexhaustive onomatopoeias

Hugo Pratt and the dilemma of the linguistic performativity of the onomatopoeias

Hugo Pratt, the author of famous the Corto Maltese, was influenced in its youth by the reading of American cartoons. By drawing its own stories, he preferred in many cases to use the onomatopoeias used in English, estimating them nearer to the sounds to which they refer: in particular, “ace” was selected instead of “side” to appear the detonation of firearms.

That invites to a reflection on the formation of onomatopoeias in French language, whose entry of charge is much more problematic than in some other languages: “glou-glouter”, “to make miaou” belongs to a “low” zone of the linguistic spectrum. That is also checked in the repertory of the verbs of cries of animals, whose etymological effectiveness (exits of Latin roots) sacrifices, in many cases, their performative effectiveness .

Sploing sploing

History

As of 1905 in episodes of Snipe, the C-W communication sploing sometimes written splouing or sploug appears, in particular at the time of the opening of an umbrella or relaxation mortal for a mouse of a Tapette. It is thought that the influence on André Franquin of his readings of youth makes it possible to make the historical link.

The modern field of Sploing

Many cartoons transposed the sploing as the audio-descriptive onomatopoeia took an important place in the narration. Swiiing , Swwoing or more modern Stwouip of invoice replaced the antique sploing . In the Manga S Japanese, the Scrlurrlph can be comparable there (approximate translation).

Interlingual variations

If everyone hears the same noises, the phonetic transcription of the onomatopoeias varies enormously according to the languages.

Thus the “ French-speaking cock-a-doodle-doo ” becomes “ kikeriki ” in German, “ cock-have-doodle-C ” in English, “ quiquiriqui ” in Spanish, “ chicchirichi ” in Italian, the “ hiiiiii! ” French-speaking becomes “ heeeeeen! ” in Esperanto, etc

One can explain that by the phonological variations of each language.

Onomatopoeias at the origin of the language?

One of the theories on the formation of the first Langue affirms its onomatopoeical nature containing imitation of natural sounds heard and reproduced by the first men. Also called thesis “ouah-ouah” ( bow-wow theory ), this theory is that of Gottfried Wilhelm von Leibniz in the Nouveaux tests on the human understanding ( 1765). The distance to the thing which the use of the onomatopoeia supposes is well already a fact of Langage.

According to its Greek etymological definition quoted in preamble, the onomatopoeia is a “creation of word”; it is made of continuations of Phonèmes, intended to imitate or suggest by phonetic imitation a cry or a noise. It is thus also spontaneous only the Interjection and varies from a Langue with the other. Already Plato in his Cratyle seeks to go back to the language originating while going back to the sources in the primitive Mots which it calls prôta onomatopa .

The imitative onomatopoeias of the cracking, the slapping or flow (crac, clac, cop-flac) undoubtedly form part of the first designations of action ( ac ) observed in nature.

The Linguistique affirms that the meant onomatopoeical one merges with the Meaning. The dichotomy meaning/meant would not exist for the onomatopoeias. It would be the case for have pain, though ullages makes also badly, or for the beurk and pouih of the dislike in front of miasmas of the postilions of the lisper (onomatopoeical word): isn't this to forget that meant is an internal feeling?

The Linguistique should not cut biology. To say that meant have is the Meaning have is a physiological blunder: meant, it is the feeling of pain (noxious) which causes the expression of a cry Meaning. Meant merges, here, with the referent which is a Stimulus intern. The cry caused by the algic feeling very quickly before the two years age will pass from the spontaneous ah to the have , by a mimetic Conditionnement of the native tongue if she is French or will pass in the child from the ah to the to the for allemande and the outch for English. For these algic onomatopoeias, the biological Référent is the stimulation of the receivers algic, meant is the awakening of the pain and the Meaning is the conditioned answer modulating the natural primitive cry of pain in algic onomatopoeia of the language of the suffering one.

The imitative origin of certain words as the names of bird is confirmed by agreements multilinguales. Thus, the funny one of bird that we name cuckoo is known as kokilah in Sanskrit, kokkux in Greek, cuculus in Latin corresponding to the imitation of the redoubled cry of the bird. The succulent Latin word cuculus , still represented by of Provence the couguou and Tuscan cuculo , underwent in French, with time, (goes very from goes away, but not “O”!) an abnormal phonetic evolution: second C, which should have disappeared was maintained to preserve at the word its expressivity, from where the word cuckold in modern French: husband misled according to manners of the female of the cuckoo, which changes nest with each brooded or animal with horns according to the quanquans ( old french 1554) of the gossip or cancouaille inhabitant of Franche-Compt3e of the district!

A certain number of Mots are officially of onomatopoeical origin such: rattling, Trictrac, hubbub, froufrou, to bark, miauler, to bleat, meugler, to neigh, caqueter, hululer, piailler, roucouler, coasser, croasser, couiner, spit, thunder, renifler, to scrape, crack, Peter, to murmur, susurrer, to whisper, tinkle, chirp, jaser, to hum, zozoter, to lisp, etc

But as wrote it already the Resident of Besancon Charles Nodier in his Dictionnaire of the onomatopoeias of 1808 “Onomatopoeia should be given an idea more distinct and more precise than that which one would draw from the vague definitions of the rhéteurs. To make pass a feeling in the spirit of the others, one had to represent the object which produced it by its noise or its figure. The names of the things, spoken, were thus the imitation of their sounds and the names of the things, writings, the imitation of their forms. The onomatopoeia is thus the type of the marked languages and the hiéroglyphie, the standard of the written languages”.

The dictionary of Nodier, small chief of linguistic work, shows the reflection of nature in the voice and the language. He regards the onomatopoeia as the single source of all the languages. For example, “to tinkle, tinkling”, written Nodier: “onomatopoeias of the sound of the bell, which have happy equivalents in the Latin tinnitus , the Italian tintinnire , the tingle English ”. For glare: “comes from the noise of a hard body which divides with violence when it is burst, splits it or breaks it”. The glossateurs and the etymologists could recognize in this word glare , “ Cl ” of clac , onomatopoeia imitating a sharp snap, a slapping of closing.

Opposed to any motivation of the words, of the traditional linguists, such Bally, point out, that “to tinkle” a story suggests, but “to tint” does not do it! This criticism is moved, since to tinkle is well of acoustic onomatopoeical origin, whereas it cannot naturally be the case about it to indicate the colors, visual characters! But if “to tint” is the Homophone “to tinkle”, it is that precisely, in the field visual, one is constrained to establish synesthesic correspondences. If “to tinkle” made noise and with the its of the bells resounds, “to tint” is to make color. The discovery of the unconscious directions of the letter T, according to Doctor Christian Dufour (2006) makes it possible to understand that T to tinkle door makes of them the direction of blow (tamtam, tap-tap) whereas T to tint has the direction of cover (fabric, task, carpet, hanging). The word “glare” which translates also an intense noise, extended in the same way to the visual field to mean bright color, and according to Doctor Christian Dufour, in our unconscious codon Cl implies that this glare can close us the eyes (to blink).

The material, browsable objects by the Seen, hearing and various tacts lend themselves to a fine discrimination, while the odors or the tastes, nonvisible and nonpalpable are transcribed with difficulty in words and are named according to the inanimate or animated objects, of which they emanate: a taste of orange, spotted, sweetened, vanilla and a perfume of pink, lily of the valley… or m! Should this observation make reflect the traditional linguist because if the word is really only a conventional sign, why the languages did not stick arbitrary chains of sounds to each one of these perfumes? Because the conventional one is ridiculous, even absent in the language! If) were only pure for them Convention, it would have no difficulty there in pass from one language to the other, but to translate word for word will be always to betray.

That the onomatopoeias were at the origin of the Mots of a rudimentary language, that is probable. But they should especially be regarded as a tank of couples of phonemes which, them, are the true bricks of a first language that one can describe as protolangage. Moreover, the example of a recent onomatopoeia as vroum vroum also shows that the onomatopoeias can be born from certain couples of Phonèmes resulting from words from our advanced language ( vr to vrombrir), because the direction of the codon vr burns us the vr are (= surrounds, turns): octopus, white frost (which surround), grass snake or vouivre, gimlet (penetrates while turning) with multiple vegetable examples: bored (bindweed), gimlet of the vine, chèvrefeuille, hemp, ryegrass, deliver (turns the pages), to open (turns on the hinges), to work, operate, deliver (to make rounds like a VRP, recent abbreviation which shows until where the unconscious one is registered)! What a intoxication! Whereas the Interjection S are only dependant on the emotion and exploit their tonality to express different emotions, the onomatopoeias are connected to our knowledge either with the emotion or with spatiality with the possibility of association in chain: vlan, will patatras !

The onomatopoeias are thus the sound raw material of the units of the code of unconscious, of the linguistic whole of bricks.

cf To hear the words which say the evils , page 222, Éditions of the Dolphin, June 2006

See too

ullage sound onomatopoeias of the whole world

List of the concepts used in Natural linguistics
Grammar
(grammar)
Interjection

Nds-nl: Onomatopeejies Simple: Onomatopoeia

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