Chapter 9. Why do we understand music as moving?

Julich-Warpakowksi, Nina

doi:10.1075/celcr.19.09jul

Cited by 10 publications

(1 citation statement)

References 20 publications

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“…There have been notable exceptions, such as Ibarretxte-Antuñano (1996, 1997 who investigates the sense of smell in Basque; Evans and Wilkins (1998) concentrate on the sense of hearing in Australian aboriginal cultures. More recently, scholars have focused on the whole array of perceptual modalities: for instance, Trojszczak (2019) deals with the sense of touch, Julich (2019) examines the language of music, Speed and Majid (2019) explore the "neglected senses" of touch, smell, and taste. Bagli (2021) authored a monograph on the sense of taste in English, and Toratani (2022) edited a volume on the Language of Food in Japanese.…”

Section: Introductionmentioning

confidence: 99%

How to Point with Language: English Source-Based Language to Describe Taste Qualities

Bagli

2023

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Western languages notoriously lack specific, abstract vocabulary to describe sensory perception. Despite the paucity of specific lexical items, descriptions of sensory characteristics of food abound in English. One of the most common strategies is source-based language (e.g., creamy), which allows speakers to evaluate and communicate a current sensory experience with respect to a prototypical source of the sensation. The aim of this paper is to review the different morphosyntactic patterns used to convey source-based information to describe flavour, and to provide a taxonomy of the constructions involved. The three types of source-based language discussed are organised along a cline from more analytical (i.e., X tastes like Y), to more synthetic (i.e., adjectival suffixes), with a medial stage in which the source of the sensation is morphologically free, but syntactically embedded in constructions following the pattern N1 of N2 (e.g., a splash of chilli). Previous literature has accounted for this phenomenon either as motivated by conceptual metonymy, or as a case of “pointing structures”. I argue that the two different theoretical accounts need not be in stark opposition, rather they both contribute to our understanding of the figurative usage of concrete items in language. Data were retrieved online from a collection of gin Tasting Notes, created by expert tasters to evaluate the flavour profile of the liquor.

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Section: Introductionmentioning

confidence: 99%

How to Point with Language: English Source-Based Language to Describe Taste Qualities

Bagli

2023

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Bold colors, sweeping melodies, offensive smells

Galac

2024

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This paper presents a corpus-based exploratory study of the figurative conceptualizations of visual, auditory, and olfactory stimuli in English and Hungarian. Through a manual semantic analysis of altogether 6,800 occurrences of 18 sensory nouns (three per sensory modality in each language) in the TenTen corpora, the following conceptualization types of perceptual stimuli have been examined: reification, agentification, animization, and personification. The paper presents the relative frequencies of these conceptualizations along with their subtypes and concrete linguistic manifestations in English and Hungarian. Among a number of interesting observations that call for further investigations, the following findings merit special attention: (1) visual stimuli have the lowest values in every category; (2) in both languages, agentification is the most typical in the case of olfaction; (3) with the exception of representations of olfactory stimuli as living beings, every conceptualization type is more frequent in the Hungarian data.

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Fictive motion in the wild

Matlock

2022

Metaphor in Language, Cognition, and Communication

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Chapter 9. Why do we understand music as moving?

Cited by 10 publications

References 20 publications

How to Point with Language: English Source-Based Language to Describe Taste Qualities

How to Point with Language: English Source-Based Language to Describe Taste Qualities

Bold colors, sweeping melodies, offensive smells

Fictive motion in the wild

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