Opening: 10:30 – 11:00 (Emmanuel College, Room 119) Professor Paul Gooch, President of Victoria University Professor David Klausner, Vice-Dean for Interdisciplinary Affairs, University of Toronto Professor Olga Fischer, Professor of Germanic Linguistics, University of Amsterdam Professor Chistina Ljungberg, Professor of English Literature, University of Zurich

Tuesday, June 9

Iconicity in Language & Literature

University of Toronto - Victoria College June 9-13, 2009

Schedule Pages 1-4

Abstracts Page 5-24

Information Page 25

Keynote address 1: 11:00 – 12:00 (Emmanuel College, Room 119) Emeritus Professor Hu Zhuanglin (Peking University, China)

Imagic iconicity in the Chinese language Chair: Professor Christina Ljungberg (University of Zurich, Switzerland)

Lunch break

Session 1: 2:00 – 5:50 (Emmanuel College, Room 119) Chair: Professor Costantino Maeder (Louvain-la-Neuve University, Belgium) 2:00 – 2:40: Professor Vincent Colapietro (Pennsylvania State University, USA)

Image, diagram, and metaphor 2:40 – 3:20: Dr Vera Saller (Psychoanalytisches Seminar Zurich, Switzerland)

How iconicity contributes to an understanding of the Freudian so called “Sachvorstellungen” (thing representation)

3:20 – 4:00: Professor Drude van der Fehr (University of Oslo, Norway)

What is art for? And why does it work? 4:00 – 4:30: Coffee Break 4:30 – 5:10: Dr Valerie Robillard (University of Groningen, The Netherlands)

The poet as trickster: Spatial Maneuvers and the Verbal Artifact

5:10 – 5:50: Professor Maaret Koskinen (Stockholm University, Sweden)

The director as writer or the writer as director? Ingmar Bergman and the intermedialities of language

Session 2: 2:00 – 5:50 (Northrop Frye Hall, Room 007) Chair: Professor Zoltán Kövecses (Eötvös Loránd University, Hungary) 2:00 – 2:40: Professor Han-liang Chang (Fu Jen Catholic University, Taiwan)

Mental space mapping in classical Chinese poetry: A cognitive approach

2:40 – 3:20: Dr Thomas Eder (University of Vienna, Austria)

The meaning of form in literary text 3:20 – 4:00: Dr Tatiana Iatcu (Petru Maior University of Targu Mures, Romania)

The boundaries of iconicity in English phrasal verbs formed with up and down

4:00 – 4:30: Coffee Break 4:30 – 5:10: Mr David Glyn Wilson (University of Neuchâtel and University of Geneva, Switzerland)

Iconicity in Conceptual Blending: material anchors in William Morris’s News from Nowhere

5:10 – 5:50: Mr Mark Dingemanse (Max Planck Inst. for Psycholinguistics, Nijmegen, The Netherlands)

Ezra Pound among the Mawu: The everyday poetics of ideophones in a West African society

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Wednesday, June 10 Session 3: 2:00 – 4:00

(Northrop Frye Hall, Room 007) Chair: Professor Hu Zhuanglin (Peking University, China) 2:00 – 2:40: Professor Jac Conradie (University of Johannesburg, South Africa)

Temporal sources and modal targets: an iconic or indexical relationship?

2:40 – 3:20: Professor Olga Fischer (University of Amsterdam, The Netherlands)

Cognitive implication of reduplication in spoken and sign languages

3:20 – 4:00: Professor William Herlofsky (Nagoya Gakuin University, Japan)

Iconic thinking and the contact-induced transfer of linguistic material: the case of Japanese, signed Japanese, and Japanese sign language

4:00 – 4:30: Coffee Break

Session 4: 2:00 – 4:00 (Northrop Frye Hall, Room 008) Chair: Professor Mark Changizi (Rensselaer Polytechnic Institute, USA) 2:00 – 2:40: Dr Keiko Masuda (Chuo University Tokyo, Japan)

The sound of symbolically-used, non-existent vowels in Japanese

2:40 – 3:20: Mr Kimi Akita (The University of Tokyo, Japan)

The lexical basis of sound symbolism of sound symbolic words in Japanese

3:20 – 4:00: Dr Jui-Pi Chien (National Taiwan University, Taiwan)

Tacit notions of iconicity in Ferdinand de Saussure’s Writings in General Linguistics

4:00 – 4:30: Coffee Break

Thursday, June 11 Session 5: 9:00 – 12:00

(Northrop Frye Hall, Room 007) Chair: Professor David Lidov (York University, Canada) 9:00 – 9:40: Dr Damjana Bratuž (University of Western Ontario, Canada)

On the persistence of an iconic misrepresentation: two musical examples by Bela Bartok

9:40 – 10:20: Professor Costantino Maeder (Louvain-la-Neuve University, Belgium)

Argumentative, iconic, and indexical strategies in Schubert’s Die Schöne Müllerin and Winterreise

10:20 – 10:40: Coffee Break 10:40 – 11:20: Dr Luca Nobile (Université de Lille 3, France)

Phono-sémantique différentielle des monosyllables italiens: vers un traitement systématique

11:20 – 12:00: Professor Franck Bauer (Université de Caen, France)

L’hypothèse iconique. Problème de méthode 12:00 – 2:00: Lunch Break

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Session 6: 2:00 – 5:50 (Northrop Frye Hall, Room 007) Chair: Professor Han-liang Chang (Fu Jen Catholic University, Taiwan) 2:00 – 2:40: Professor Heilna du Plooy (North-West University, South Africa)

Words and shells, and words as shells 2:40 – 3:20: Ms Svetlana Soglasnova (University of Toronto, Canada)

The iconic use of noun properties in a literary text 3:20 – 4:00: Dr Gabriella Bologna (University of Verona, Italy)

Henry James’s The Aspern Papers and the iconography of Venice in Anglo-American painting in the late 19th century

4:00 – 4:30: Coffee Break 4:30 – 5:10: Mr Andrew James (Chikushi Women’s University, Japan)

The embedding of Victor Gollancz in Kingsley Amis’s The Green Man as non-intentional inspiration

5:10 – 5:50: Dr Zhao Xinxin (Kunming University of Science and Technology)

A Burning World of War – How Iconicity Works in Constructing the Fictional World View in A Farewell to Arms

Friday, June 12 Keynote address 2: 11:00 – 12:00

(Emmanuel College, Room 119) Professor Mark Changizi (Rensselaer Polytechnic Institute, USA)

The look and sound of nature in writing and speech Chair: Professor Olga Fischer (University of Amsterdam, The Netherlands) 12:00 – 2:00: Lunch Break

Iconicity in Language & Literature

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Session 7: 2:00 – 5:50 (Northrop Frye Hall, Room 007) Chair: Dr Anne Urbancic (University of Toronto, Canada) 2:00 – 2:40: Piotr Sadowski (Dublin Business School, Ireland)

The iconic indexicality of photography 2:40 – 3:20: Professor Massimo Leone (University of Turin, Italy)

Maimed cities and miming forms: the (an-)iconicity of urban destruction

3:20 – 4:00: Dr Christer Johansson (Stockholm University, Sweden)

Iconicity as intermedial concept 4:00 – 4:30: Coffee Break 4:30 – 5:10: Dr Stefania Consonni (University of Bergamo, Italy)

The tangled shape of time: The iconic configuration of Sterne’s Tristram Shandy and the intermediality of narrative

5:10 – 5:50 Ms Christine Schwanecke (Ruprecht-Karls-Universität Heidelberg, Germany)

Form miming meaning and form miming form: (mult-)I-conicity in John Irving’s A Widow for One Year (1998) and in the film based on the novel

Saturday, June 13 Session 8: 9:00 – 12:00

(Northrop Frye Hall, Room 007) Chair: Professor emeritus Paul Bouissac (University of Toronto, Canada) 9:00 – 9:40 Professor emeritus John J. White (King’s College London, UK)

Thematized iconicity and iconic literary devices in the modern novel: A consideration of some modes of interaction

9:40 – 10:20: Professor Marthinus Beukes (University of Johannesburg, South Africa)

Chiasms, white spaces, ellipses, and parentheses in Antje Krog’s poetry

10:20 – 11:00: Professor Gabriele Rippl (University of Bern, Switzerland)

Iconic features in Charles Simic’s Dime-Store Alchemy 11:00 – 11:40: Professor Michele Rak (University of Siena, Italy)

Novel figures and eyes figures: The Love and Psyche story from Apuleius to Rafael

11:40 – 12:00: Coffee Break 12:00 – 13:00: Iconicity in Language and Literature business session Co-chairs: Professors Olga Fischer and Christina Ljungberg

BANQUET

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Akita, Kimi ................................... 14 Bauer, Franck ............................... 18 Beukes, Marthinus .......................... 23 Bologna, Gabriela........................... 19 Bratuz, Damjana ............................ 16 Chang, Han liang............................ 9 Changizi, Mark............................... 20 Chien, Jui-Pi ................................. 15 Colapietro, Vincent......................... 5 Conradie, Jac................................ 12 Consonni, Stefania.......................... 22 Dingemanse, Mark .......................... 12 Du Plooy, Heilna ............................ 18 Eder, Thomas................................ 10 Fischer, Olga ................................ 13 Herlofsky, Bill ............................... 13 Iatcu, Tatiana ............................... 10 James, Andrew.............................. 19 Johansson, Christer......................... 21 Koskinen, Maaret ........................... 8 Leone, Massimo ............................. 21 Maeder, Costantino......................... 16 Masuda, Keiko ............................... 14 Nobile, Luca ................................. 17 Rak, Michele ................................. 24 Rippl, Gabriele .............................. 23 Robillard, Valerie ........................... 8 Sadowski, Piotr.............................. 21 Saller, Vera .................................. 6 Soglasnova, Svetlana ....................... 18 Schwanecke, Christine ..................... 22 Van der Fehr, Drude........................ 7 White, John.................................. 23 Wilson, David Glynn ........................ 11 Xinxin, Zhao ................................. 20 Zhuanglin, Hu ............................... 5

ABSTRACTS In order of appearance

HuZhuanglin(PekingUniversity)ImagiciconicityintheChineselanguage

The nature of arbitrariness and iconicity hasbeen a heated topic for debate among Chineselinguists and semioticians in the past twenty years.Due to the fact that modern Chinese linguisticscholarship has been strongly influenced bySaussure’sCourse inGeneralLinguistics, thedominantview inChinawasoncemarkedbyarbitrariness.Yet,with the development of cognitive linguistics, todaythescalehastiltedtowardiconicity.Sincemostofthepapers in favour of arbitrariness have focused onSaussure’s view of sign as the dualistic relationbetween “signifier” and “signified”, that is, “sound‐image” and “concept”，and almost remained thesameincontentintheirargument,thepresentpaperwill mainly deal with iconicity studies in the Chineselanguage in China as more and more articles havebeen emerging in this field and helped deepen ourunderstandingof theontologyandphylogenyof theChineselanguage.

Seeing that both sides have acknowledgedthe role of iconicity at the syntactic level and thetextual level, thispaper, to save spaceand time,willnot deal with sequence iconicity, distance iconicity,quantity iconicity, space iconicity, temporal iconicity,markedness iconicity. etc., and will confine itself tothe imageiconicity,that is,soundiconicityandgraphiconicity.Indoingso,IwillstartwithabriefreviewofconceptsandviewsheldbyChinesephilosophersandetymologists,pastandpresent.

VincentColapietro(PennsylvaniaStateUniversity)Image,Diagram,andMetaphor

It is far from implausible that some of C. S.Peirce’s other distinctionsmight eventually prove tobe as heuristically fruitful as the distinction of icon,index, and symbol has proven itself to be. Thedistinction of icon, index, and symbol is based uponthe relationship between a sign and its dynamicobject. This relationship constitutes the basis (or“ground”) of signification; it accounts for whyanything is accorded the status of a sign (or whyanythingistakentofulfillthefunctionofasign,inanextremely broad and thus irreducible vague, though

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not vacuous, sense). Anything functions iconically –i.e., anything fulfills the function of an iconic sign –insofar as the basis of signification is an intrinsicrelationship between the perceptible properties of asign and the object of that sign. Anything functionsindexically insofar as the basis of its signification is acausal connection, whereas anything functionssymbolically insofar as this basis (or “ground”) is adisposition (convention or custom being only onebroad class of such a dispositional “ground”). Thesedistinguishable functions are, more often than not,dynamicallyintegratedinactualsigns.Theynamenotseparate signs but distinct functions of irreduciblycomplexprocesses

The aim of this paper is to work towardmaking Peirce’s distinction of image, diagram, andmetaphor (Collected Papers, 2.276) as intelligible andsuggestive as his distinction of icon, index, andsymbol. It is, at least, to take a step or two in thisdirection.Thoughsomeattentionwillbepaidtohowthis distinction, like the more famous one, iscategoreally derived, more attention will be paid toexploring the possibility that image, diagram, andmetaphor are distinct functions typically realized indynamicintegrationwithoneanother.

Theclassificationofthemodesofsignificationin terms of the relationship between a sign and itsobject(icon/index/symbol)leads,inonedirection,toaclassification of signs in terms of how the inherentqualities of a sign serve in variousways to fulfill theiconicfunction(image/diagram/metaphor).

The simplequalities of images stand in sharpcontrast to thedifferential relationshipsofdiagrams;in turn, the heuristic projections and intimations ofmetaphors are markedly different from both thesequalities and these relationships. The task ofexplaining more clearly than Peirce himself evermanaged to do this threefold distinction and, then,suggesting some of the more important respects inwhich image, diagram, and metaphor namedynamically integrated functions seems especiallyappropriate for a gathering of a society devoted toexploringvariousaspectsof iconicity. Ina sense, thedistinctionof icon, index,andsymbolwillbeusedasan image, diagram, and metaphor – for illuminatingthedistinctionofimage,diagram,andmetaphor.Thisdeployment of the one distinction to illuminate theother is in accord with the recursive manner socharacteristic of Peirce’s semiotic investigations.Examples will be drawn from everyday and literaryusesoflanguage.

VeraSaller(PsychoanalytischesSeminarZurich)HowiconicitycontributestoanunderstandingoftheFreudian so‐called “Sachvorstellung” (thingrepresentation)

There are many reasons for preferring theapplication of Peircian semiotics to the reshapedstructuralism‐basedpsychoanalysis.Peirciansemioticshastheinstrumentstoconceiveanddifferentiatenon‐linguistic signs and deal with them. The Peirciandivisionofthesignsintosymbols,indexesandiconsisextremely apt and its advantages can be clearlydemonstrated. In this conference Iwill advocate thethesis that the Peircian concept of iconicity showsmanyitemsofwhatFreudcalledthecharacteristicsofthe unconscious and indeed corresponds in manyaspects to Freud’s Sachvorstellung “thingrepresentation”.

I will show that Iconicity does not coincidefullywith the current termofwhatphilosophers call“pictorial”oriconic.Peirceemphasisesthattheiconicrelationship of sign and object is not based on themainlyvisualorpictorial,butasthesharingofcertainaspects:“Firstly,thereare likenesses,or icons;whichserve to convey ideas of the thing they representsimply by imitating them.” This means that thelikenessmightbevisual,butalsoother sensesmightbeaddressed,suchashearing,touching,smellingandtasting.

In the developmental understanding we canimagineaveryprimitive icononthe levelof theFirstasanearlysteptowardthecapacityofunderstandingand managing signs. The small child is eventuallycapable of recognising recurring objects orexperiences as similar; to be precise, a presentperception reminds him of an experience orperception inthepast.Readingtheoutcomeofbabyobservations reported by Daniel Stern I wasimpressed by the capacity of babies to translaterhythms into visual images or sounds. Newbornbabies, only a couple ofmonths and not yet able tospeak, recognized theirmother’s face, scent and thewayshewalked,breathedandtalked.

InadivisionofLuciaSantaellathesefirstsignsare nevertheless accorded to the second stage oficonicitybecauseaninnerpictureiscomparedwithanouter object, which could be said to be the secondstep in perception. In contrast, a pure icon has noreference to the outer world or even, as yet, to asystem of signs. It follows that the similarity is

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altogethervague.Criticsof iconicitysometimespointoutthateverythinginourworldcanbeconsideredassimilar to everything else in some way. Iconicity onthe level of the First is pure possibility. But it ispreciselyherethatitplaysthemostimportantroleinthe process of signs and most fundamentally in thecapacity of recognition in general. This concernspredominantly creative thinking, a quality that wascalled“abductiveconsequences”byPeirce.Similarly,metaphorizing or transferring an idea or mode ofunderstandingfromoneareatoanotheriscrucialforanytheoryorargumentation.

The already mentioned Lucia Santaelladifferentiates six kind of iconicity. Starting with thepure icon characterised as sheer possibility, shedemonstrates how indexical, and later, howsymbolical aspects are added, development thatculminates in the hypo‐icon. Secondness introducesthe character of pointing or referring to an object.Spoken and written language then is consideredmostly as a system of symbols. It is tied to realitythrough indexes, for example personal pronouns,adverbial qualifications. Roman Jakobsohn namedthese linguistic indexes ‘shifters’. The depictingfunction of similarity also has its effects withinlanguage, inventing and producing new metaphorswhich start to develop into a system, that is, theybecomesymbols.Shiftersorindexesintheirownway,tie in with this system through their pointing atspeakerandsituation‐totheHicetNunc.

ComingbacktotheFreudianUnconscious,itisprecisely the vagueness of the signs that is crucial.There isamergedmeaningthatcouldpossiblystandfor something that is not clear yet. I would like toshow that ascribing the tropes of metaphor andmetonymy to the Freudian forms of defence(repression and condensation) as structuralism did,was unfortunate because it tied the principle oficonicity too closely to the mechanisms of defence.WhatIwould liketoemphasizeontheotherhand, isthemeaningoficonicityfortheprocessesofthoughtingeneral.

In my view it makes more sense to considericonicity (and this also means metaphor andmetonomy) as crucial for thinking in general. Themechanismsofdefencedoindeedshowconsiderableiconicity but, simultaneously, prevent other possiblelinks,whichwouldhavebeenindexicalorsymbolic.BibliographySantaella Braga, Lucia (1996): “From pure icon to

metaphor:Sixdegreesoficonity”.In:Colapietro

andOlshewsky (eds):Peirce’sDoctrineofSigns.Theory, Applications and Connections. Berlin,NewYork:MoutondeGruyter:205‐214.

Stern, Daniel (1985): The Interpersonal World of theInfant. A View from Psychoanalysis andDevelopmentalPsychology.[NewYork].

DrudevanderFehr(UniversityofOslo)Whatisartfor?Andwhydoesitwork?

InherbooksWhatisArtfor?(1988)andHomoAestheticus: Where Art Comes From andWhy (1995),EllenDissanayakearguesthatarthasbeencentral tohuman evolutionary adaptation, and that theaesthetic faculty is a basic psychological componentof every human being. It is central to this view toovercome dualisms such as the spiritual‐physical andtheobjective‐subjective,becausethesedualismshavebeenensuringthepersistenceofthebeliefthatartisincorporeal (1995: 27). Dissanayake’s perspective isbioevolutionary,andartforherisadoing,abehavior.As she underlines in her books, to view art as abioevolutionary need has not been common inaesthetics and is still highly controversial to many.There is onephilosopher, however,who longbeforeDissanayake held a comparable view: the Americanphilosopher andpragmatist JohnDewey (1859‐1952).InArt andExperience (1934),hepresentsa theoryofaesthetic experiencewhichunites body andmindbyclosing the divide in the subject‐object dualism. Hisaesthetics entails a theory of quality, qualitativeimmediacyandimagination.Inthispaper,Iarguethat,in his aesthetic theory, Dewey actually answers whyarthasplayedandstillprobablyplayarole inhumanevolution.Theansweristhatthequalityofartiswhatmanneedsinhisinteractionwithhissurroundingsandthus in evolution. Dewey substantiates his theory byentering into dialogue with his “father” inpragmatism,CharlesS.Peirce,andhisthinkingaroundevolutionand instinct.The interactionbetween innermanandman´snaturalsurroundings isperformedbywayofasenseofqualityinwhichimaginationplaysanimportant role. Firstness and abductive “thinking” iswhat “happens” in art and ensures its effect on themind‐body, which implies the possibility of freedom,change and growth. Iwant to add that this is basedon an epistemology of vagueness; the Peirceanfallibilism.

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ValerieRobillard(UniversityofGroningen)The poet as trickster: Spatial Maneuvers and theVerbalArtifact

Becauseoftheirwideandvariedrelationshipswith the visual arts, ekphrastic texts offer a uniqueopportunity to study the operations of meta‐referentialityonanumberof levels, fromdescriptionof the visual pre‐text to a wholesale imitation of itsstructure. When these texts attempt to imitate thephysical nature of the work of art (challenging theborders between the spatial and the temporal), theverbal text moves into a mode of self‐reflexivity inwhich it is concerned with the nature of its ownmedium.Moreover,ekphrastictextsoftengobeyondthis venture into spatial territorybymoving tootherplanesofreferenceconnected(oftenbyextension)totheworkofart;inthiscase,thetextisconcernedwiththe theoretical assumptions that go into theconstruction of the work of art itself. Moving fromimaginative space to physical space to theoreticalspace, these texts become hybridizations of anynumber of disciplines that are often not directlyconnected with the artwork. This paper will explorethe notion of analogous structuring (a term that Ihave used elsewhere) through the consideration ofWilliamCarlosWilliams’ekphrasticpoem“TheRose”(1923),which structurally addresses Juan Gris’ cubistcollage“Roses”(1914)andwhichbelongstoaperiodin thedevelopmentofartwhicharguably representsone of themost provocative in interart cooperation.Indeed,thespiritofanarchyamongartistsandwritersduring the first half of the 20th century not onlyquestioned the very nature of images and theirrepresentation but also challenged the spatial andtemporal boundaries between the visual and verbalarts in highly innovative ways. Many of the poemswritten byWilliam CarlosWilliams drew their energyfrom the “ shattered” images of modernist art,images that, in their turn, were based on theprinciples of mathematics, resulting in an intricatehybridofvariousmedia.Inhisessaysonart,Williamsspecifically addressed theoretical notions underlyingcubism’s structural configurationsand theirpotentialsignificance to his own art. In an article entitled“Vortex” (1915), for example, Williams explains thathis poetry is concerned with “the force that willexpress its emotional content by an arrangement ofappearances of planes…”. This notion of the verbaltextassumingthenatureofavisualartifactisfurtherclarifiedbythefollowingstatementinwhichWilliamsexplainshisunderstandingofverbalplanes:

“Iamplify“planes”to includesounds,smells,colors, touch used as planes in the geometric sense,i.e., without limits except as intersected by otherplanes. Substance is not considered, for apart fromtransparency,whichshowsnothing, itdoesnotexistaside from surface or plane […] plane is theappearance.”

In this statement,Williams not only explicitlyaddressestheideologicalandmathematicalproblemswhich lay at the foundation of cubism but hereexplains his method of appropriating cubism’stheoretical and structural elements to form visualartifacts that are constructed in such away that thereader is “tricked” into becoming the viewer – anotionthatliesattheverygenesisofekphrasis.

MaaretKoskinen(StockholmUniversity)The director as writer or the writer as director?Ingmar Bergman and the intermedialities oflanguage

IngmarBergmanpublishedhisautobiographyThe Magic Lantern (1987), five years after havingfinished his film career with Fanny and Alexander.What makes this autobiographical work interestingfrom an intermedial point of view, specifically in acontext focussing iconicity, is its self‐reflexiveperformativity, represented by numeroustheatricalizations and cinematicalizations of thewrittentext.Infact,attimeslanguageitselfseemstoturn into a theatrical stage or, alternatively, intocinematicallychargedmise‐en‐scènes.

This is not only stylistically elegant, for whatcan be more artful than a film and theater directorwho, as the very title of the autobiographical bookannounces, turns written memories into cinematicand theatricalperformances?Butmore interesting inthiscontexristheextenttowhichBergmanseemstoremind the reader of who (or what) is in chargethoughout these pages: the narrator becomes thedirectorof the text, so to speak, lightingandsettingthestage.

Needlesstosay,then,TheMagicLantern isofinterest in an intermedial context, since it so clearlydialogueswithothermedia.Itisalsoofinteresttotheextentthatonedefinesintermedialityasdealingwith“mixedmedia”,asopposedtotheideaof“pure”artsor media endowed with certain fixed mediaspecificproperties, which in turn supposedly address onepredominant sense (as in the term “visual media”).What Bergman’s work sheds light on, then, are the

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varioussensoryratios(visual,aural,tactile)involvedinvariousmedia,alongaspectrumofpossibilities:firstlyontheleveloforiginandconception,secondlyonthelevel of representation, and thirdly on the level ofpotentially activated senses in the reception ofvariousmediaexpressions.

Han‐liangChang(NationalTaiwanUniversity)Mental spacemapping inclassicalChinesepoetry:Acognitiveapproach

Primary verbal composite modelling, asmanifested in cognitive poetry, raises serioustheoreticalquestionsoverthenatureandfunctionofthe linguistic sign (Stockwell 2002). If language as aconventional symbolic system qualifies as thePeirceanThirdness, itcannotpossiblybeatthesametimeaFirstness.Rather thangettingonceagain intothe infinitely boring debate on the naturalness orarbitrariness of the linguistic sign, or compromisinghimselfbyopting foraboth‐andsolution, theauthorchooses to delve into the empiricism of readingclassical Chinesepoetry,mainly that produced in theseventhandeighthcenturies,wherethespecialuseofimagistic language, quite different from its variousEnglish counterparts, has evoked heated debate onpoeticiconicityoverthepastfourdecades.

Thedebatehasbeenmademorecomplicatedby the supposedly “ideographic” (and popularly butwrongly held “iconographic”) nature of the Chinesewriting system which has remained virtuallyunchanged since the second century. A classicstatement on poetic diction in the 1971s reads:“Chinese nouns are close approximations ofuniversals.” (Kao & Mei 1971). The underlyingassumption is a kind of simplistic iconicity existingbetween substantives‐‐“unadorned archetypalnouns”‐‐andnaturalphenomena.

The above statement was made, ironically,duringtheheydayofstructurallinguisticsandpoeticswhen theywerebelatedly introducedandapplied tothestudyofChinesepoetry(Jakobson1966,KaoandMei 1971, Guillén 1971‐72, Cheng 1982). At the sametime, such lexical and syntaxical iconicity, whenintroduced into the Chinese speaking world, waswarmly received by traditional interpreters, who,harbouringasimilarvisionofmimesis,foundtheideacongenial to their favorite “poetic talks” (i.e., criticalfragments),suchasqing‐jingjiaorong(“emotionandscenery convergence”), jing‐jie (“poetic boundary”,either “personalized” or “non‐personalized”), etc.

Theironylies inthefactthat, inthe1960sand1970s,structuralpoeticsbasedontheSaussurianmodeldidnotcatchonandhasnevertakenroot,probablydueto traditional critics’ general lack of training andinterest in linguistic analysis and suspicion oflinguistics‐informedpoetics.

Curiously, the next paradigm, cognitivelinguistics (CL), has rarely been appropriated to dealwithclassicalpoetryeither,partlybecauseittakestocommonalities that operate across all kinds ofdiscourses, and partly due to CL’s predominantinterest in language cognition’s more immediatecontextuality and its concern with “commonoperations in everyday life” (Fauconnier and Turner2002). Lacking perhaps the refined sophistication oftextual analysis of the previous generation, thecognitive approach, with its focus on humanconceptualization and language cognition, however,may have much to say on the reading of Chinesepoetry. For instance, the renewed interest in, andnovel articulation of, categories and prototypesmayshed light on both the semantic and pragmaticaspectsofpoetry, andmayprovide theoretical inputonthetraditionalconceptoficonicity.Andthekindofpoetic“space”(e.g.,“scenery”and“boundary”citedabove), whose “iconicity” has appealed toprofessional exegetes and common readers, whenexamined in the light of contemporary thinking onspatialcognitionanditslanguagerepresentation,mayturn out to be a misnomer and will have to be re‐conceptualized and re‐articulated (Landau andLakusta2006).

The paper attempts to re‐read classicalChinese poetry, especially that which deals with theprototypes of time and space, in terms of cognitive“commonalities”, and attempts to address theproblematic why classical poetry in general lacksfigurative and imagistic intricacy, characteristic ofhighly conceited Western poetry, such as in themetaphysical andmodernistic traditions. Specifically,the paper will analyze the ways in which mentalspaces in Chinese poetry are mapped, for example,and how vital relations, scales, force‐dynamics, andimage‐schemata, are integrated or “blended” increatingmediated poetic “space” (Fauconnier 1997).Through close reading of sample poems, which arenoted for their representations of “space,” in termsofcurrentLanguageandSpacestudies(SlackandZee,2003,Hickmann andRobert 2006), the paper arguesthat the commonly assumed iconicity in classicalChinese poetry, to return to the Peircean terms that

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opens this proposal, should bemore properly calledpoeticindexicality.BibliographyCheng, François (1982 [Fr. 1977]). Chinese poetic

writing. Trans. Donald A. Riggs and Jerome P.Seaton.Bloomington:IndianaUniversityPress.

Fauconnier, Gilles (1997). Mappings in thought andlanguage. Cambridge: Cambridge UniversityPress.

Fauconnier, Gilles, and Turner,Mark (2002).Thewaywe think: Conceptual blending and the mind’shiddencomplexities.NewYork:BasicBooks.

Guillén, Claudio (1971‐72). “Some observations onparallelforms”.TamkangReview2‐3,395‐415.

Jakobson, Roman (1987 [1966]). “GrammaticalparallelismanditsRussianfacet”.InLanguageinliterature. Edited by Krystyna Pomorska andStephen Rudy. Cambridge, Mass.: BelknapPress.145‐179.

Kao, Yu‐kung and Mei, Tsu‐ling (1971). “Syntax,diction, and imagery in T’ang poetry”.HarvardJournalofAsiaticStudies(31),49‐136.

Landau, Barbara, and Lakusta, Laura (2006). “Spatiallanguageandspatialrepresentation:Autonomyand interaction”. In: Maya Hickmann andStéphane Robert, eds. Space in languages:Linguistic systems and cognitive categories.Amsterdam:JohnBenjamins.309‐333.

Stockwell, Peter (2002). Cognitive poetics: Anintroduction.London:Routledge.

ThomasEder(UniversityofVienna,Austria)TheMeaningofForminLiteraryTexts

In my talk I would like to confront twoaccountsdealingwiththemeaningofforminliterarytexts: “historic“ structuralism and contemporarycognitivepoetics.Structuralism

Structuralists assume that literary textsconveyahiddenmeaningbeyondthe literalmeaningof the used words and sentences, which has to berecovered in the act of interpretation. Poems saysomething literally and mean something different.Poetry expresses concepts and meanings indirectly.Roman Jakobson’s famous formula “In the poeticfunction,therelationofequivalenceisprojectedfromthe axis of selection to the axis of combination“implies that phonological equivalence necessarilyinvolves semantic equivalence, which is responsible

for the additional, hidden, and implied meaningconveyed by poetry. According to recentinterpretation (Schroeder 2001) of Jakobson’swritings it is far from being clear what Jakobsonmeans by “principle of equivalence on the axis ofselection“–intheendoneisleftwiththeassumptionthat words on the axis of selection are similar ordissimilarwith respect to theirmeaning. if examinedmore precisely, “contiguity on the axis ofcombination” is best understood in a loose andmetaphoric sense of “contiguity“. According to thiscritique,formalpropertiesinverbalartworksarebestunderstoodasevokingcuesforstressingthemeaningwhichtheusedwordsconveyliterally,farfrombeingiconicsensustricto.CognitivePoetics

The adaptation of cognitive methods to thestudy of artworks and literary texts may provide aresolution to the problem of the form/meaningrelation that arises from the quoted critique.Cognitive poetics offers an explanation of stylisticapproaches to literature which is grounded in thehumancognitivesystem.Iwillsketchwhatimplicationthenotionof“imageschemas“andsocalled“COGS“(Lakoff 2006) have to the study of literature ingeneral and the role of iconicity within it. ImageSchemasandCogsareconceivedasgivingmeaningtoform inartworksand literarytexts. Iwillendmytalkby looking closely on the so called iconicityassumptionincognitivelinguisticsaccordingtowhichwords in which events are represented in languagereflecttheirchronologicalorder(Gibbs2006,178sq.).BibliographyGibbs, R. (2006). Embodiment and Cognitive Science.

Cambridge,NewYork,etal.:CambridgeUP.Lakoff G. (2006). The Neuroscience of Form in Art.

Mark Turner (ed.), The Artful Mind : CognitiveScience and the Riddle of Creativity. New York:OxfordUP,153‐169.

Schroeder S. (2001). “Coded Message Model ofLiterature”. Richard Allen and Malcolm Turvey(eds.), Wittgenstein, Theory and the Arts.Routledge,210‐228.

TatianaIatcu(PetruMaiorUniversityofTarguMures,Romania)The boundaries of iconicity in English phrasal verbsformedwithupanddown

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Amongthemostimportantandstudiedformsof figures of speech are metaphor, irony, indirectrequests, and idioms – which are conventionalizedexpressions in which the intended meaning often isdifficult or impossible to recover from the wordsmakinguptheexpression(E.g.,Hekickedthebucket).Although the main verb of the English idiom is alsofoundintheidiomofone’smothertongue,youneverknow what preposition or adverb to use in suchformations. When using phrasal verbs, mostly asidiomatic verbal phrases, the difficulty arises notwhenwemeet them in English, butwhenwe try tousethemonourown.

Phrasal verbs, like the majority of phrasalidioms,areinfactsemanticallycompositional,andthephenomenon of idiomaticity is fundamentallysemanticinnature.Therearesomecommonfeaturesthat idiomsandphrasal verbs share (seeNunbergetal. 1994): conventionality, inflexibility, figuration,proverbiality, informality, affect, predictability,althoughnoneoftheseapplyobligatorytoall idiomsandphrasalverbs.Somedonotinvolvefiguration(bydint of); many lack register restrictions and somebelongmoretoliterature(‘RenderuntoCaesar’).

The paper is trying to demonstrate thaticonicity is to be found in the first surface layer ofphrasalverbs,whentheirmeaningistransparentandthesignifierisanaloguewiththesignificant;whenweenter the deep structure, it is more difficult to findcorrespondenceswhichmighthelpusunderstandthephrasal verb constructions. Examples with phrasalverbsformedwithupanddownwillbesupplied.BibliographyBolinger, Dwight (1971) The Phrasal Verb in English.

Cambridge,Mass.:HarvardUniversityPressChomsky,Noam(1972)LanguageandMind.NewYork:

HarcourtBraceJovanovich,Inc.HallidayM.A.K. (1994)Language as Social Semiotics.

GreatBritain:RoutledgeLakoff,G.&Johnson,M.(1981)MetaphorsWeLiveBy.

Chicago & London: The University of ChicagoPress

Nunberg, Geoffrey, Sag, Ivan A. & Wason, Thomas(1994) "Idioms" (in Language. Journal of theLinguisticSocietyofAmerica.Vol.70,No.3Sept.,pp.491‐530)

Palmer,F.R.(1976)Semantics.Cambridge:CambridgeUniversityPress

David Glyn Wilson (University of Neuchâtel andUniversityofGeneva)Iconicity inConceptualBlending:materialanchors inWilliamMorris’sNewsfromNowhere

This paper applies the cognitive theory ofconceptualblending(FauconnierandTurner2002)toWilliam Morris’s 1891 political utopia News fromNowhere (NN). In this novel, Morris expresses hisaesthetic, social, and political convictions primarilyand most forcefully not through propositionalargumentation: instead, iconic material anchors areset up to support conceptual blending networks inwhichthereaderisguidedtoconjureuphuman‐scalescenes and contexts. These complex integrationnetworksachieve intense iconicandoftenemotionalcompression (and decompression) of vital relations(suchas identity,change,ortime) inblendedspaces,heighteningthepersuasiveandaestheticpotentialofthetext,oftenatkeypointsinitsstructure.

Followingon fromVan Langendonck’s (2007:398) inclusion of metaphor “in the classification oficonic phenomena”, I argue that material (andconceptual) anchors, whether metaphorical or not,alsobelong in thisclassification.Specificelementsofmaterial anchors prompt in a motivated way forintegration networks and blends and are thus notmere arbitrary symbols, in Peirce’s sense (ibid: 394),but strongly motivated icons supporting highlycomplexcognitiveproducts.

Examples of material anchors developed inNN include: Ellen (one of the main characters), thepopulation of Nowhere, coins, Trafalgar Square,KelmscottManorandChurchintheCotswolds.

This analysis of iconicmaterial anchors inNNinvestigates the construction and processing of theblendsforwhichtheystand,aswellastheirplaceandvalue in the overall structure and reception of thisnovel.BibliographyFauconnier,G.2007.“MentalSpaces”,inGeeraerts,D.

andCuyckens,H.(eds).2007.Fauconnier, G. and Turner, M. 1998. Blending as a

Central Process of Grammar.http://markturner.org/centralprocess.WWW/centralprocess.html.Accessed2August2008.

Fauconnier,G.andTurner,F.2002.TheWayWeThink:Conceptual Blending and the Mind’s HiddenComplexities.NewYork:BasicBooks.

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Geeraerts,D.andCuyckens,H.(eds).2007.TheOxfordHandbook of Cognitive Linguistics. New York:OxfordUniversityPress.

Helsinger, E. K. 2008. Poetry and the Pre‐RaphaeliteArts: Dante Gabriel Rossettl andWilliamMorris.NewHaven&London:YaleUniversityPress.

MacCarthy, F. 1995. William Morris: a Life for OurTimes.NewYork:AlfredA.Knopf.

Talmy,L.2007.“AttentionPhenomena”,inGeeraerts,D.andCuyckens,H.(eds).2007.

Turner, M. 1996. The Literary Mind: The Origins ofThought and Language. New York: OxfordUniversityPress.

Turner, M. 2007. “Conceptual Integration”, inGeeraerts,D.andCuyckens,H.(eds).2007.

VanLangendonck,W. 2007. “Iconicity”, inGeeraerts,D.andCuyckens,H.(eds).2007.

Wilmer, C. (ed.). 1993. William Morris: News fromNowhere and Other Writings. London: PenguinBooks. (Editedwith an Introduction andNotesbyCliveWilmer.)

Mark Dingemanse (Max Planck Institute forPsycholinguistics,Nijmegen)Ezra Pound among theMawu: the everyday poeticsofideophonesinaWest‐Africansociety

The language of the Mawu people of easternGhanahasa largeclassof ideophones:markediconicwords that vividly evoke feelings. Ideophones arefound abundantly in African, Asian, and Amerindianlanguages;asadistinctclassofwordstheyarerareinIndo‐European(VoeltzandKilian‐Hatz2001).Theirusehas been summarized eloquently by Fortune: “Withthemoneisinaspecialrealmofspokenart.Thereisaroundness,acompleteshape,notsovividlyconveyedby more complex constructions, more formalexpressions. They attempt to be a vivid re‐presentation or re‐creation of an event in sound ...Always they try tocapture the freshnessofaneventand express it of themselveswith nothing to dull orcloudtheevocation”(1962,6).

The similarity between ideophonic and poeticlanguageiseasytosee.YettheshadowofLévy‐Bruhl,whoassignedmimicrytotherealmofprimitivity,hasloomedlargeoverlinguisticsandliterarytheoryalike.ThepoetEzraPound,acentralfigureofModernism,isa case in point: while his fascination with Chinesewriting spawned the ideogrammic method, themimicry and gestures of the ‘primitive languages in

Africa’ would never become more than a merecuriosity(ABCofReading,21).

This talk imagines Pound transposed into theculture of the Mawu. What would have struck himabouttheirwaysof‘charginglanguage’withimagery?I will show that there are three levels of iconicity inSiwu ideophones —direct, relative, and Gestalticonicity— which are combined in various ways tovividly recreate sensory events in sound. Theabundant use of ideophones across awide range ofdiscoursegenressuggestsaconcernofSiwuspeakerswith their perceptions. These observations will bejuxtaposed with Pound’s views on the ‘word ofliterary art which presents, defines, suggests thevisual image’ (Selected Prose, 321), and his perpetualinterestintheexactqualitiesofperceptions.Thegoalof this contrastive analysis is to shed light on thelinguistic and cultural ecology of an everyday poeticdevice in the world's languages, and in so doing torehabilitate what one might call ‘the ideophonicmethod’.BibliographyFortune, G. 1962. Ideophones in Shona: An Inaugural

Lecture Given in the University College ofRhodesia and Nyasaland on 28 April 1961.OxfordUniversityPress.

Pound, Ezra. 1934. ABC of Reading. London:Routledge.

———. 1973. Selected Prose. New York: NewDirections.

Voeltz,F.K.Erhard,andChristaKilian‐Hatz,eds.2001.Ideophones. Typological Studies in Language,44.Amsterdam:JohnBenjamins.

JacConradie(UniversityofJohannesburg)Temporal sources and modal targets: an iconic orindexicalrelationship?

It can be shown that when temporaladverbials develop epistemic or modal senses, theydo so in a systematic way. However,why a certaintemporal reference converts into a certain modalsense, may perhaps be clarified by regarding thedeictic or aspectual temporality of the adverbial inquestion as an iconic or indexical sign, sometimesborderingonthemetaphorical.

Among the sources of epistemic particlesexpressing ‘possibility’ in various languages are (i)adverbials referring to the future, such as Afr. aans‘possibly’(obsolete)<aanstons ‘inashortwhile’,and

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straks‘perhaps’fromDu.straks‘inashortwhile’,andsimilarly Dan. snart and Gk. τάχă, (ii) adverbialsreferringtouniqueor incidentaloccurrences,suchasEng. perchance (obsolete), Fr. éventuellement, Hung.esetleg,Pol.przypadkowo,Port.poracasoandtalvez,Rus. sluchaino and isiZulu khathisimbe ‘on someoccasion’andmhlawumbe‘onadifferentday’,and(iii)adverbials indicating repeated action, such as Du.soms, Eng. perhaps (< pl. happes), Fris. faaks, Pol.czasemandSwahilihuenda.

In contrast to adverbials referring to thefuture, those referring to the past (iv) are often thesource of senses that may be described as‘evaluative’: Nama huga ‘long ago’ > Afr. hoeka,‘conclusive’: Fr.déjà, Gm. einmal and Turk.henüz, or‘emphatic’:Dan.engang,Du.pas.Referencetoa‘longperiod’(v)maybethesourceofan‘evaluative’sense,as in Port. sempre, of a ‘conclusive’ sense, as in Fr.encoreandHung.egyremegy,whileanothersourceof‘conclusive’ may be (vi) temporal adverbials orexpressionswithaperfectiveaspect,suchasAfr.tenslotte,Dan.endelig,Eng.afterall,Fr.aprèstout,enfinandfinalement,Gm.haltandschließlich,It.dopotutto,Port.afinal, Sp.despuésde todo andSwed.ändåandslutligen.

Thereareof coursedifferentways to lookat‘possibility’. It would perhaps be helpful to regard itless abstractly as ‘possible occurrence/event’. Fromthepointofviewofdeictictime,thepresentandpastwould be excluded as loci of ‘possibility’, becauseassociationwiththesetimeframesindicatesanactualrather than a possible event. What is possible,therefore, by implication lies in the future. Thesomewhatindirectrelationshipbetweenthetemporaland epistemic senses of an adverbial may becharacterisedasindexical.Incontrast,therelationshipbetween aspectual ‘repeated action’ and ‘possibleoccurrence’ is more directly one of diagrammaticiconicity: now it happens, now it doesn’t, now ithappens,nowitdoesn’t,etc.–ideally50%ofthetimein each case. Adverbials referring to a once‐offoccurrence assume an intermediate position. Theuniqueoccurrenceisonceagainbyimplicationnotthepresentorthepast,butsometimeinthefuture,asisgraphically – almost metaphorically – described byisiZulu mhlawumbe ‘on a different day’, but beingindirect, an indexical relationship.On theotherhandthe contrast between actualization and non‐actualizationisa1:1contrast,whichisaniconicimageof‘possibleoccurrence’.

In contrast to the inherent uncertainty of‘possibility’, evaluative, conclusive and emphatic

senses indicate or imply the speaker’s certainty inregardtoapropositionorsituation.Whileareferencetosomethinghavingbeen inexistence in thepastorforalongperiodoftimeimpliescertaintyandfixture–an indexical relationship,therefore–theperfectiveaspect may be regarded as an iconic image of a‘conclusive’sense.

OlgaFischer(UniversityofAmsterdam)Cognitive implicationof reduplication inspokenandsignlanguages

Many reduplicated forms in language(common, poetic, visual) are cognitively transparentor “iconic” but there are also reduplications wherethis 'motivation' is much less clearly evident. In thispaper, Iwill consider two typesof reduplication: thecognitively transparent (motivated) type, and thecognitivelyopaque (arbitrary)one.Mygoal is to findout how far iconicity plays a role. In doing so, I willraise the question of why reduplication is so muchmorefrequentincreoles.Finally,Iwilldiscussthecaseof sign languages in which gesture reduplicationoccurs very frequently, asking in conclusionwhethertheuseofreduplicationinsignlanguagecouldexplaintheroleplayedbyiconicityincommonlanguageand,eventoagreaterextent,inpoeticlanguage.

WilliamJ.Herlofsky(NagoyaGakuinUniversity)Iconic Thinking and the Contact‐Induced Transfer ofLinguistic Material. The Case of Japanese, SignedJapanese,andJapanSignLanguage

Statedverysimply,iconicthinkingistheabilitytorecognizesimilarities(anddifferences) indifferent(and similar) phenomena in the world. This way ofthinkingcanoftenleadtoimitation,andthisimitationcan be, in human beings, the imitation, or imitativeborrowingofabstractobjects(suchasideas,orotherkinds of meaning‐carrying devices), as well as moreconcreteobjectsintheworld(liketools,orweapons).Imitation and borrowing also often occur whenlanguages come into contact, and these are twoimportantmethods that languages have available tothem for forming new words and enriching theirlexicons. These two methods, along with manyothers, are available to all natural human languages,including sign languages, but lexical borrowing isparticularly prominent among sign languages. Onereasonforthis isthatalmostalloftherelativelynewsignlanguagesareminority languagessurroundedby

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much older and more lexically rich majority spokenlanguages.ThisisalsothecaseinJapan,whereJapanSign Language (JSL) is surrounded by spokenJapanese and the hearing Japanese culture. Inaddition, in this type of signed‐spoken/minority‐majority language environment, an intermediatelanguage, a manual version of the spoken majoritylanguage,oftendevelops. In Japanaswell, amanualversion of Japanese, Signed Japanese (SJ), whichutilizesthegrammarofJapanese,butthesignsofJSL,coexistswithJSL,and isoftenusedbybilingualdeafpeoplewhencommunicatingwithhearingorhard‐of‐hearing people. And so, although JSL is anindependent language, different from spokenJapanese, spoken Japanese has had considerableinfluenceon JSL,especially in its lexicon,wherenewtermsoftenfirstpassthroughSJ,as loanwords,andthencontinueontoenterintotheJSLlexicon.Thisisalso true of other word‐formation processes, likegrammaticalization and lexicalization, where overtime free morphemes become grammaticalizedbound morphemes, and bound morphemes becomefree lexical items. The present analysis will considerhowtheword‐formationprocessesinbothSJandJSLinteracttoexpandthelexiconsandgrammarsofbothlanguagesbyfocusingontheroleofmanualaffixesinword‐formation. The first portion of the analysiswillillustrate how the structures of words in spokenJapanese influence the development and use ofmanual affixes (affixes that originate as freemorphemes and then grammaticalize into boundmorphemes),andwill thenconsideranexampleofasomewhat rare, manual bound‐morpheme prefix inJSL,focusingonhowthisprefix,thoughunproductiveandlimitedinscope,canvaryinlocationandshape.

KeikoMasuda(ChuoUniversity,Tokyo)Thesoundofsymbolically‐used,non‐existentvowelsinJapanese

This paper investigates the phonetic featuresof vowels with a diacritic for voiced obstruents(dakuten) in Japanese,which are phonologically andorthographically non‐standard but often observedrecently in informal linguistic media. A dakuten is adiacritic to mark voicing in the kana syllabary andlooks like two dots on the upper right corner of akana. Since vowels are already voiced, it is simplyimpossible for vowels to be alteredby a dakuten. Inrecent years, however, it has been observed that adakuten is sometimes added to vowel‐only kana in

informal linguistic media particularly for youngpeople, such as comic strips, subtitles used for TVcomedyshows,personalwebsitesandemailandtextmessages,andthereseemtobesomecoherentideasofwhatthesenon‐existentvowelsshouldsoundlike.There also seems to be a shared understanding thatthey symbolically add a negative and/or emphaticnuance.

In her previous study, the author examinedrecorded data of these vowels produced by non‐phonetician subjects. Although certain tendenciessuchascreakinessandloweredpitchwereobserved,there were claims from those who listened to thesample data at the presentation that the recordedvowelsdidnotsoundlikeorweredifferentfromwhatthey imagined as such sounds. The disagreementmight be due to the small number of data and theinadequacyofthesubjects’pronunciationskills.Sincetheywerenotphoneticians, theymaynothavebeenable to fullyexpresswhat theyconsideredasvowelswithadakuten.

In response to the claims of disagreement, aperception experiment was conducted wheresubjects rated interjectional expressions including avowelwithadakutenembeddedinasentencebasedonwhether the expressions sounded like what theyimagined as such sounds. The expressions wereproducedandrecordedbyatrainedphonetician(theauthor), and the subjects were native speakers ofJapanese aged around 20 (university students). Theresult and its implications including the symbolic useofadakutenwillbediscussed.

KimiAkita(UniversityofTokyo)The lexical basis of sound symbolism of soundsymbolicwordsinJapanese

This paper proposes that the specialphonosemantic status of mimetics (or ideophones)stems from their distinctly specific lexical meanings.Mimeticsaregenerallycharacterizedbytheirpeculiarphonosemanticproperties.Thisiswhytheyarecalled“sound‐symbolicwords.”However,itisalsotruethatsound symbolism is also reported for nonmimeticregular lexical items (Slobin 1968; Tanz 1971). Then,whatmakesmimeticssoundsospecial?

Two experiments were conducted.Experiment 1askedtwentynativeJapanesespeakersto rate the magnitude, brightness, and hardnessevokedby140novelwordsonseven‐gradedscales.Ahalf of the stimuli satisfied one of the productive

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morphophonological templates (e.g., C1V1^C2V2‐C1V1C2V2,where^=accentnucleus),whichprimarilydefine Japanese mi‐metics (Akita 2009). As a result,no clear difference in both consonantal and vocalicsym‐bolisms was obtained between words with amimetic template (e.g., ga^nuganu) and wordswithoutamimetictemplate(e.g.,gaanuu).

Experiment 2 compared consonantalsymbolismofnovelwordspresentedinareferen‐tiallyspecific sentence (e.g., “I chopped the vegetables”).Judgments by twenty Japanese speakers showed asignificant interaction between themorphophonologicalformsandcon‐sonantalfeatures(voicedvs.voiceless)ofthestimuli(F(1,299)=26.99,p<.001).Thatis,wordstakingamimeticformturnedouttoyieldsharperconsonantal‐symboliccontrasts.

Thesetwosetsofresultstogetherallowustoconclude that the critical phonosemantic differencebetween “sound‐symbolic words” and “words withsoundsymbolism”residesintheirdegreeofsemanticspecificity(or“expressivity”)aslexicalitems.BibliographyAkita, K. 2009. “The grammar of sound symbolism:

Theoretical approaches to iconic and lexicalproperties of Japanese mimetics”. PhD diss.,KobeUniv.

Slobin,D. I. 1968.“Antonymicphonetic symbolism inthreenatural languages”.JournalofPersonalityandSocialPsychology10,3:301‐305.

Tanz,Ch.1971.“Soundsymbolisminwordsrelatingtoproximity and distance”. Language and Speech14:266‐276.

Jui‐PiChien(NationalTaiwanUniversity)TacitNotionsof Iconicity inFerdinanddeSaussure’sWritingsinGeneralLinguistics

In the movement of reconceptualizing iconicsigns in the 1980s and 1990s, the feature of“linearity,” credited to Saussure as his majorcontribution to the study of linguistic signs, wasneverthelesstakenasatargetofcriticism(GroupeMu1992: 59). To break away from Saussure and hisfollowers, the Belgian Groupe Mu developedalternativemodelsfortheanalysisofthecomplexitiesand interpretations of iconic signs. They even wentfurthertodeclarethatweshouldabolishanexcessiveuseoflinguisticmodelsinthestudyofvisualartsandseek to redefine the nature of linguistic phenomenabased on a thorough study of human perception

(1992: 147). Following this strand of thought, whichgrew from cognitive and experimental findings, theyadvocated the idea that linguistic rules (langue)should stay independent of the study of visual arts.However, the unsettled issue is whether Saussurereallydidgotosuchextremesastoimpose“linearity”and “uni‐dimensionality” on our perceptions andinterpretationsofvisualpatterns.

A look intohismiscellaneousnotesandwritingsreveal that he was actually considering the spatialrather than the temporal as abetterwayof formingand understanding signs in general (Saussure 2006:74‐79). Although he summarized rules (langue)accordingtolinguisticphenomena,healsowrotethat“vocal apparatus,” “the original contract” and “theinitial convention” are “of lesser (or least)importance” when it comes to the co‐existence oflinguistic and non‐linguistic systems in his project ofsemiology(2006:201‐202).Thesemiologicalsysteminhis terms blurs boundaries and distinctions: itsfundamental features which are derived fromlinguistic systems offer an index to the ways manyother systems function. This idea can help us in ourneed explore iconicity (which presupposes similaritybutcangobeyondit)atadeeperlevel.

Saussure has also been criticized for hisignoranceofideogramsorwritingsystems.However,inhisnotes,hedevisesapairof terms likeseme andsôme and employs their distinctions tobringout theprinciple of “pluriform divisibility.” This principle isbasedonmeaningbutcangobeyond itsconstraints.He makes the point that we should abandon theprinciple of succession in time and references toconcrete entities (sômes) for the benefit of formingvisual patterns in our mental space (2006: 75). Inotherwords, the general characteristic of seme as ameaningful entity or holistic impression is more“iconic” than “logical,”whichpresents asymmetricaland irregular patterns rather than identical cuts orunits. Being iconic in Saussure is not about reducingvisual stimuli to geometrical patterns (aspsychologists believe “schema” should function) orsettinglimitstowhatwecansee(asconventionalistsentrustsuchoperationto“cognitivetype”).Hisvisualsemes as a system are subject to constructions,multidimensional combinations and recombinations.Drawing on such system, he not only questions“linearity”asanaspectoflinguisticsignsbutalso,inaparadoxical fashion, enhances our knowledge of theworkings of “unidimensional semes.” This paperdiscussestacitnotionsoficonicityinSaussure’snotesand writings and argues for their essential role in

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conceptualizing the interdependence betweenlinguisticandnon‐linguisticsystems.BibliographyAndacht,Fernando.“IconicityRevisited:AnInterview

with Joseph Ransdell.” RSSI: RecherchesSemiotiques/RSSI: Semiotic Inquiry. 23.1 (2003):221‐240.

Bierman, Arthur K. “That there are no iconic signs.”Philosophy and Phenomenological Research XXI11:2(December1963):243‐249.

Bouissac,Paul,MichaelHerzfeld,RolandPosner,eds.“Iconicity and Pertinence.” Iconicity: Essays onthe Nature of Culture: Festschrift for Thomas A.Sebeok on His 65th Birthday. Tubingen:Stauffenburg,1986.193‐213.

Bouissac, Paul. “Saussure’s legacy in semiotics.” TheCambridge Companion to Saussure. Ed. CarolSanders. Cambridge; New York: CambridgeUniversityPress,2004.240‐260.

De Cuypere, Ludovic. Limiting the Iconic: From themetatheoretical foundations to the creativepossibilities of iconicity in language (Iconicity inLanguage and Literature, v. 6.) Amsterdam:JohnBenjaminsPub.Co.,2008.

DeSaussure,Ferdinand.Écritsdelinguistiquegénérale.Eds.S.BouquetandR.Engler.Paris:Gallimard,2002.

DeSaussure,Ferdinand.WritingsinGeneralLinguistics.Trans. Carol Sanders and Matthew Pires.Oxford; New York: Oxford University Press,2006.

Eco, Umberto. Kant and the Platypus: Essays onLanguage and Cognition. Trans. AlastairMcEwen.London:Vintage,2000.

Fehr, Drude. “Realism and Semiotics.” OrbisLitterarum44(1989):1‐9.

Greimas, A.J.; Courtés, J.Semiotics and Language: AnAnalytical Dictionary (1979). Trans. Larry Crist,et. al. Bloomington: Indiana University Press,1982.

Groupe µ [Mu]. Traité du signe visuel: Pour unerhétoriquedel’image.Paris:Seuil,1992.

Haiman, John. “In defense of iconicity.” CognitiveLinguistics19.1(2008):35‐48.

Hutton, Christopher. “The arbitrary nature of thesign.”Semiotica75‐1/2(1989):63‐78.

Itkonen, Esa. Analogy as Structure and Process:Approaches in Linguistics, Cognitive Psychology,and Philosophy of Science (Human cognitiveprocessing, 14). Amsterdam: John BenjaminsPub.Co.,2005.

Ransdell, Joseph. “On Peirce’s Conception of theIconic Sign.” Iconicity: Essays on the Nature ofCulture:Festschrift forThomasA.SebeokonHis65thBirthday.Tubingen:Stauffenburg,1986.51‐74.

DamjanaBratuž(UniversityofWesternOntario)On the Persistence of an Iconic Misrepresentation:TwoMusicalExamplesbyBélaBartók

To say that Hungarian composer Béla Bartókhasnotbeen“heard,”yet, istoacknowledgethatheremains one of the most misinterpreted among thegiantsofthe20thcentury.

Hisownpianorecordingsareinhabitedbythevocal flexibility of the Hungarian language, bytransparencyofsound,andarichvarietyofunfamiliartimbres;aboveallbyacircularityofmovementthatisinobviouscontrasttotherelentlessverticalpoundingthathasbecomeattached to theperformanceofhispianomusic.

The middle movements from Bartók’sSonatina (1915) and from his Sonata (1926) for pianopresent the interpreter/performerwith thechallengeof recreating, respectively, a fastdancemusic, andalament, for both of which the notation and theindicationsareinsufficientlyprecise.

Unless the performer is acquainted with thepeasant‐style references that Bartók statedwere hismodel, with all the imagery, structure, text, gesture,and articulation implied in the notation, the rhythmand the dynamics selected will inevitably result in aperformancethatprojectsandsuperimposesontothescorecompletelyalieniconicfeatures.

Recordings of the brief Sonatina middlemovement by Hungarian pianists, including thecomposer, are explored and examined, while anoriginal lament collected and recorded by Bartók isjuxtaposedtovariousmis‐readingsofhisSonataslowmovement.

CostantinoMaeder(Louvain‐la‐NeuveUniversity)Argumentative, iconic and indexical strategies inSchubert’sSchöneMüllerinandWinterreise

Schubert’s The Fair Miller‐Maid, based on a

collection of lyrics byWilhelmMüller, is published in1823. This utmost successful song cycle is apparentlycharacterizedbya remarkablepianoaccompanimentthatconsistmainlyintheiconicimitationofsoundsof

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therealworldandthemoodofthemaincharacter,asdepicted inthepoems. It isacommonplacetoclaimthatSchubert’smusic in itselfdoesnotcontributetosignification: it simply illustrates and heightenswhatMüllerhaswritten.

A close reading of the partition shows thatindeed Schubert, in the beginning, simply creates arather simple world of iconically determined soundpatterns, according to early Romantic poetics: aflowing brook, the sound of hunter’s horn, verticalchords and pauses signifying stasis or death and soforth. Most of those patterns are unusually oftenquoted and varied in the very first four Lieder.Through this argumentative strategy, those patternsare strongly tied to the contents and words of thetextandfunctionattheendassignifierreferringtoaprecise signified. These iconic words can contradictthe song texts or nuance them, and therefore whatseemstobeliterallyevident.

This is combined with another iconic device,more of an indexical character: the opposition ofminor and major tonalities, closely tied to differentdimensions, to wit illusion and reality in this case.Schubert’s interpretation of Müller’s poems istherefore unique and cannot be reduced to asuperficial illustration, as we will point out in ourlecture/speech. As a result, Schubert creates anautonomous Song Cycle, without having to changeMüller’stexts.

All those musical strategies are easilyrecognizable by any listener accustomed to classicalmusic, without having any knowledge of harmonicstructuresormorphologyofclassicalmusic.

LucaNobile(UniversitédeLille3,France)Phono‐sémantique différentielle des monosyllabesitaliens:versuntraitementsystématique Onappliqueà la langue italienneuneméthodeoriginaled'analysedulexique,quiviseàenmettreenvaleur l'iconicité phonologique. Cette méthode sebase sur la conception saussurienne de la langue entantque système (1916 : 155‐184), sur les théoriesdusigneetde l'énonciationd'EmileBenveniste (1939et1970) et sur la notion d'iconicité diagrammatique deRoman Jakobson (1949 et 1965). On traite donc lessignifiants et les signifiés comme des valeursdifférentielles, relatives à un système d'oppositions,qui doit être pris en compte dans sa totalité, ensupposant qu'il possède une cohérence interne etqu'ilestrelativementarbitraireparrapportàlaréalité

extralinguistique. Afin d'avoir accès à ce systèmed'oppositions en tant que totalité délimitée et doncanalysable,onregroupe lesmotspar leurnombredephonèmesetondécritchaquegroupeenpartantdesmots les plus brefs, qui sont également les plusfréquents et les moins nombreux. Cela permet dedégager en même temps les dimensionsdiagrammatique et figurative de l'iconicitéphonologique. On commence ainsi par étudier les rapportsdifférentiels entre les huit mots d'un seul phonème("monophonèmes"; Nobile 2003, 2008, 2009b). Onabordeensuiteles200mots,environ,dedeuxoutroisphonèmes(«biphonèmes»et«triphonèmes»),ensebornant ici aux deux sous‐systèmes principaux, celuides personnes grammaticales et celui des adverbes.On analyse enfin le système des adverbes (Nobile2009b),organisésleplussouventencouplesoutrios,quipermettentdedifférencierlelieu(qua,là,via/kwa,la, via/ « ici, là‐bas, ailleurs »), le lieu vertical (su, giù/su,ʤu/ « enhaut, enbas »), le temps (poi, già,mai/pɔi,ʤa,mai/ «puis,déjà, jamais»), laquantité (più,po',men/pju,pɔ,men/«plus,peu,moins»),laqualité(ben, mal /bɛn, mal/ « bien, mal »), ainsi que derépondreàunactedeparole(si,no/si,nɔ/«oui,non») ou de renverser la valeur de vérité d'une phrase(non/non/«nepas»). Enconclusion,cetteméthodepermetdedécrirede façon cohérente environ 85% des formesmonosyllabiques de l'italien standard (95% desoccurrences), ce qui se rapproche d'un traitementsystématiquedurépertoirelexical,considérédupointde vuede l'expériencequ'en fait le système sensori‐moteur de l'organisme. Ces résultats semblentconfirmer l'hypothèse d'une origine mimético‐gestuelledulangage,tellequ'elleaétéavancéesuiteà ladécouvertedesneuronesmiroirsparRizzolatti&Arbib(1998)etparGentilucci&Corballis(2006).BibliographyBenveniste,E.(1939),«Naturedusignelinguistique»,

inBenveniste1966:49‐55.Benveniste, E. (1966), Problèmes de linguistique

générale,I,Paris,Gallimard.Benveniste, E. (1970), «L’appareil formel de

l’énonciation»,inBenveniste1974:79‐90.Benveniste, E. (1974), Problèmes de linguistique

générale,II,Paris,Gallimard.Gentilucci, M., Corballis, M. (2006), « From manual

gesture to speech : A gradual transition »,Neurosciences and Biobehavioral Reviews 30,949‐960.

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Jakobson, R. (1949), «L’aspect phonologique etl’aspect grammatical du langage dans leursinterrelations»,inJakobson,R.1963:161‐175.

Jakobson, R. (1963),Essais de linguistique générale, I,Paris,EditionsdeMinuit.

Jakobson,R. (1965),«A la recherchede l’essencedulangage»,Diogène,51,22‐38.

Nobile,L. (2003),«L'originefonosimbolicadelvalorelinguisticonelvocalismodell'italianostandard»,Rivista di Filologia cognitiva,<http://w3.uniroma1.it/cogfil>

Nobile,L.(2008),«TheGrammaticalMonophonemesof Standard Italian. A Structural Isomorphismbetween Phonological and SemanticOppositions?».

Nobile,L.(2009b),«Lavoceallospecchio.Un'ipotesisull'interfaccia fonetica‐semantica illustratasulle più brevi parole italiane », Actes du XLIIConvegno Internazionale della Società diLinguistica Italiana. Pise 24‐28 septembre 2008(àparaître).

Rizzolatti,G.,Arbib,M.(1998),«Languagewithinourgrasp»,TrendsinNeurosciences21,188‐194.

Saussure, F. (1916), Cours de linguistique générale,Paris,Payot,1995.

FranckBauer(UniversitédeCaen)L’hypothèseiconique.Problèmesdeméthode

Le point de départ de cette communicationserait l’examen d’une analyse des rapports de laformeetdu sensenpoésieque l’onpeut considérercommeexemplaire: cellequeS.J.Keyseraproposéejadis de 4 textes de Wallace Stevens («Form andMeaninginfourpoems»,CollegeEnglish,1976).

L’examendecetteanalyse,dontlapertinencen’a,àmaconnaissance, jamaisétécontestéeetdontles résultats n’ont pas été, me semble‐t‐il, exploitéscommeils leméritaient,permetd’établir(c’estàcelaque je consacrerais le deuxième temps de macommunication) les précautions méthodologiques àrespecter si l’on veut s’assurer de la validité despropositions interprétativesobtenuesparapplicationd’unprotocoledutypedeceluiqu’utiliseKeyser,etseprémunir contre certaines objections que cetteprocédurepeutsusciter.

Ces précautions méthodologiques, queKeyser,leplussouvent,n’explicitepas,oun’explicite,quandilchoisitdelefaire,quedefaçontrèsindirecte,supposentladéfinitiondecritèresdemarquagedelasignifiance formelle, qui renvoient eux‐mêmes à un

certain nombre de principes régissant lefonctionnement linguistique du texte de poésie.L’ensemble de ces principes, que jem’efforcerais dedégager dans un troisième temps (principe de non‐contrainte, principe de consistance, principed’autonomiedesniveauxd’analyse),estlecadredanslequelonpourraitenvisagerd’esquisser(telestl’objetdequelques‐unsdemestravauxdepuisunevingtained’années)unethéoriegénérale.

HeilnaduPlooy(North‐WestUniversity,SouthAfrica)Wordsandshellsandwordsasshells

The South African (Afrikaans) novelist IngridWinterbach is known for her individual style, theoriginalityofvoiceinhernovelsaswellasanunusualandironicviewonreality.InthispaperIwouldliketofocus onWinterbach's ability to integrate the use oflanguage and narrative technique to such an extentthatthelanguageinsomepassagesinthenovelscanbedescribedasiconic.

Winterbach uses words and phrases fromdifferent domains, discourses and semantic fields aswell as archaic language and often coin phrases inwhichtheincongruousrelationbetweenthewordsisambiguousand ironic.Shemakes thestatement thatshe likes to use language in away that resists directunderstandingandinterpretation.Toachievethissheemploys word games and lists of words in whichunexpected meanings develop so that the semanticvalue of the words as well as the words as suchbecome important in the thematic development ofthe novel. InWinterbach's novelswords donot onlycreate unexpected and defamiliarized meanings onaccount of illogical systems of creative thought, butalsobearwitnesstoallthepreviousandideologicallysuspectmeaningsinthehistoryofthewords.

Inthesenovelsthereisanawarenessofwhatliesbeneaththesurfaceofthings,thematicallyaswellas linguistically,sothatthereaderbecomesawareofthe achaeology of thought and the archaeology oflanguage (as described by Foucault). In this paper Iwould like toexploreWinterbach'spoeticsasa formoficonicity.

SvetlanaSoglasnova(UniversityofToronto)Theiconicuseofnounpropertiesinaliterarytext

Our proposal investigates the iconic use ofnoun properties in a literary text from an integratedperspective (cf. Anderson 1999). For example, the

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famous passage describing the rapid progress of acarriageinPushkin'sEugeneOneginprovidesevidencefor an iconic use of grammatical categories of aRussiannounintermsofdiagrammaticiconicity,pacePeirce. We argue, however, that the iconic use ofnominal categories in this example is integrated intothegeneralstructureofthestanzawhichservesasanactive frame rather than a passive background foriconicityeffects.This lineof inquiry is furtherappliedto the recent phenomenon of Slavic Fantasy genrefiction(slavianskaiafentezi)whichprovidesexamplesof the iconic use of noun properties as a trigger ofcognitiveframeswitches.Cognitiveframeanalysis(cf.Stockwell2000,GavinsandSheen2003,Lakoff 1987)mayaccount for cross‐leveldynamicsof iconicity (cf.Jakobson1960)inanintegrated,systematicmanner.

GabriellaBologna(UniversityofVerona)HenryJames’TheAspernPapersandtheiconographyof Venice in Anglo‐American painting in the latenineteenthcentury

The paper addresses the topic of theiconography of Venice in Henry James’ only novelentirely settled in Venice. Originally published in TheAtlanticMonthlyin1888,TheAspernPapersisrevisitedfor theNewYorkedition in 1907,with a frontispiecebythefamousAmericanphotographerAlvinLangdonCoburn.Although a great part of the plot is confined in therooms of an old palace, the story offers brilliantdescriptionsofthetown,with itscanals,monumentsandcafes.Thesame imageofamagnificentplace tospend summer time admiring its architecture duringtheday,andenjoyinganicecreamatthefamousCafèFlorian in Piazza San Marco in the evening, may befound in the depiction of James’ contemporarypainters.

The social lifeofEnglishandAmericanartistsliving inVeniceat theendof thecenturywasdeeplyrootedincirclessuchastheoneinPalazzoBarbaro,agothic building on the Grand Canal, owned by theCurtis family from Boston. The Palace attracted aremarkable group of artists such as Anders Zorn,Robert Browning, James McNeill Whistler and JohnSingerSargent.

During his staying at the Palazzo Barbaro, in1887,JameswrotethelastpartoftheAspernPapers,and he has been certainly influenced by the artisticmilieuof theAmericanscene in thetown.Thecanalsand the laguna depicted inWhistler’s pastels and in

the Venice Sets of etchings, Sargent’s and RalphCurtis’oils are just someof theworkswhichmaybeconnectedwithJames’descriptions.

AndrewJames(ChikushiWomen’sUniversity)TheembeddingofVictorGollancz inKingsleyAmis’sTheGreenManasnon‐intentionalinspiration

ThispresentationexaminestheKingsleyAmisnovel The Green Man (1969) as an example of whatEarlR.Andersonhascallednonintentional inspiration(AGrammar of Iconism, FairleighDickinsonUP, 1998,325).AlthoughAmis probably did not realize that hewasrepresentinghisformerpublisherthroughthecatVictorHugo in this novel, thepatternof lampooningpublishershadbecome firmlyestablished inhis earlyfiction. Amis’s first publisher, the disreputable R.A.Caton, served as the model for L(azy) S(od) Caton,whomadecameosinthefirstsixnovels.Catonneverphysically appears but (as nefarious publishers arewont to do) inconveniences the heroes from adistance, via telephone messages and writtencorrespondence.

L.S. Caton was killed off in The Anti‐DeathLeague(1966)because,asAmishimselfadmittedinaninterview, the joke had gone on long enough. Threeyears later, though, he unintentionally introducedCaton’s successor—another character based on aformerpublisher—intheghoststory,TheGreenMan.Insupportoftheargumentthataspectsofthenovelare more usefully examined as the product ofinspiration than as intention, Amis wrote the novelwhen hewas suffering from alcoholic hallucinations.The protagonist, innkeeper Maurice Allington, hassimilarexperiencesandstruggles todifferentiate thereal world from the one that he envisions whileinebriated.

AllofAmis’snovelscontaincommentariesontheimportanceofindividualandartisticfreedomandcomplaints against hindrances to freedom. In TheGreen Man, Victor Hugo the cat fulfills the rolepreviouslyplayedbyL.S.Caton.EarlR.Andersonhasexplained, in regards to inspiration, that there is asense inwhich“thecompositionalprocesssomehowis separate from the personality or personal identityof the poet” (327). Amis perhaps did not intend toportrayhispublisherthroughthecat—theconnectionhas never been critically recognized or admitted byAmis—but it will be argued that the relationshipsbetween cat and protagonist, author and publisher,werebornefromintuitive,nonintentional inspiration.

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TheconnectiontoGollanczbeganwiththechoiceofasimilar name and deepens through the developmentofthecat’spersonalityandrelationshiptohismaster.Ultimately, the cat’s death will be shown to mirrorGollancz’sownthroughthebenefitsaccruedtobothprotagonistandauthor.

Zhao Xinxin (Kunming University of Science andTechnology)A Burning World of War – How Iconicity Works inConstructing the FictionalWorld View inA FarewelltoArms

This thesis is a study on how a literary workmakesfrequentuseoftheiconicpotentialinherentinlanguagetoconstructafictionalworldview.Contraryto Saussure’s arbitrariness between signifier andsignified, iconicity allows an analogue relationbetweenthelinguisticsignifierandtheextralinguisticsignified. Natural and perceived similarity betweenform andmeaning constitutes the basis of iconicity,which has been discussed ever since Aristotle firstposited the principle of mimesis. This thesis is todemonstratethatinaliterarywork,theform(i.e.thenarrative pattern and linguistic arrangement) isiconicallyrelevanttothemeaningofaliterarywork;inotherwords,theformofanovel ismotivatedbytheintendedmeaning. Inthatway,theabstractmeaning(theme/world‐view) could be visualized by theconcreteform.

A case study of Hemingway’s A Farewell toArms is presented to show that instead of thecommonlyacceptedtwothemesofloveandwar,theoverriding themeof this novel iswar – the universaland pervasive condition of existence. Humanexistenceis itselfawaragainsttheforcesthataspireto make human life shorter and less pleasant. Theburningworldofwar isproducedby the iconic forcein literary language, from lexical choice to syntacticstructure,frompatternwithinaparagraphtopatternbetweenparagraphs,fromthewholechaptertoeventhe whole narrative structure. Usually, syntax andsoundstandatthecenterofascrutinyfromaniconicangel. This thesis pays efforts to elucidate thaticonicity work effectively on almost every level ofliterary language, to be more specific, the followingtextualformalfeatureswillbegivendetailedanalysisof: thechoiceof lexical items (general/specificword,possessive/non‐possessive word, repetition), wordorder, syntax (transitivity, cohesion), dialogues,juxtaposition of paragraphs, pronoun shifts, tense

shifts, style (noun/verb style, parataxis/hypotaxis),and narrative (narrative structure, focalization).Throughtheiconicquantitativeandsequentialmeans,the abstract theme becomes accessible, and theformlessfictionalworldbecomestangible.

In the study the author attempts to bridge agap between literary criticism and the study oflanguage. The analyzing methods used herein givecredit to the studies of linguistics, narrative andstylistics.Theexamplesquotedfromthenovelwillbedescribed or analyzed from linguistic, narrative andstylistic perspectives, and will henceforth beinterpreted in terms of iconicity in relation to thetheme. Iconicity, which is an interdisciplinary field,could readily integrate the study of language withthat of literature. As literature consists in a creativeexploitationofeverydaylanguage,acloserlookfroma linguistic point of view is highly instructive forliterary critics too. On the other hand, linguists willalso greatly profit from a critical examination of theliterary use of the iconic potential intrinsic tolanguage.Literarycriticscouldusethetext‐groundediconic evidence to justify their interpretation, andwouldnotreadilybeaccusedofsubjectivity.Linguistswould also hardly be accused of damaging theaesthetic valueof the literarywork in the contextoficonicity.Toreadaliteraryworkinaniconicapproach,twoabilitieswillbeneededsimultaneously:theabilityto respond to it as a literarywork, and the ability toobserveitslanguage.

Mark Changizi (Rensselaer Polytechnic Institute,U.S.A.)Thelookandsoundofnatureinwritingandspeech

Our sensory systems may be the mostcomplex and well‐honed machinery in the knownuniverse,butthey’reterribleatreadingbarcodesandcomprehendingfaxmachinebrrrr.Visionandauditionare not general purpose sensory systems capable ofaccommodatinganystimuli thrownat them,butare,instead, highly specialized adaptations selected overhundreds of millions of years for processing naturalscene stimuli.Why, then, arewe suchgood readers?The advent of writing is much too recent for us tohave evolved visual mechanisms for processingwrittenwords.Recentevidencesuggeststhatwritingculturally evolved over time to look like nature – inparticular,writtenwordslooklikevisualobjects–justwhat our visual systems are good at processing.Writing has come to harness our visual system, so

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much so that we appear to have visual areas forprocessingwrittenwords.Inlightofthisworkonhowcultureharnessesourbrainsforwrittenlanguage–bylooking likenature–onemightwonderwhether thesame principle could underlie our ability tocomprehend speech. Could speech have culturallyevolved over time to sound like natural auditoryevents, thereby harnessing our ancient non‐linguisticauditorycapabilities?

PiotrSadowski(DublinBusinessSchool)TheIconicIndexicalityofPhotography

Just as linguistic iconicity adds emotiveexpressiveness to the informational contentcommunicated by language’s symbolic code, so invisual communication combining different types ofsigns can enhance the communicative power ofimages.Aclassiccaseinpointisphotography,whoseunique visual appeal results from combining thebasically iconic code (close perceptual resemblancebetween image and its referent) with indexicality.Photography is indexical insofar as the representedobject is “imprinted” by light and the chemical (orelectronic) process on the image, creating a visuallikeness that possesses a degree of accuracy and“truthfulness”unattainableinpurelyiconicsignssuchaspainting,drawing,orsculpture.Theindexicaloriginof the photographic image explains why discussionsof the photographic media (including film andtelevision)oftenemploycategoriesnormallyreservedfor the emotive and irrational effects produced intraditional societies by sympathetic magic, with itsobjectively wrong but psychologically compellingsense of direct causal link between objects oncephysically connected but later separated (here: theobjectanditsdisplacedphotographic“imprint”).Thepaperwilldiscussthesemioticstatusofphotographyboth in terms of its iconic indexicality, and in thecontext of historic antecedents such as deliberateimprintsofhands,deathmasks,waxeffigies,shadowportraits,andexperimentswithcameraobscura.

MassimoLeone(UniversityofTurin)Maimedcities andmiming forms–The (an)iconicityofurbandestruction

InLuftkriegundLiteratur(translatedinEnglishas The Natural History of Destruction), Winfried G.SebaldpondersonGermanliteratureintheimmediateaftermathofWorldWar II.Hepointsout that itwas

unable to give an effective verbal account of thecatastrophic destruction of German cities by theAllies’ bombings. He therefore sets forth his ownevocationof that period, trying to transmit a properidea of the devastation of entire German urbancenters.Asit ischaracteristic inmostSebald’sworks,words are accompanied by images of various kinds(photographs,postcards,filmposters,etc.).Farfrombeing mere illustrations, they often bring about anautonomous iconic discourse that interplays incomplexsemanticwayswiththeverbalone.

Thepaperwill start fromthesemioticanalysisofsuch interplay in order to tackle more generalquestions:

1) If iconicity is form miming meaning, whichform can iconically render (both in the visualandintheverbaldiscourse)theideaofatotaldestructionofforms?

2) Inparticular,which iconic formsareeffectiveinmimingtheideaofthecompletedisruptionof cities, considered as places where mostmodern civilizations organize, signify andcommunicatetheirmeanings?

3) Is it possible to conceive an iconicity ofaniconicity, a way in which cultures, throughwordsandimages,literaryaccountsandvisualrepresentations, stereotypically mime thedissolvingofmeaningfulformsintochaos?

ChristerJohansson(StockholmUniversity)Iconicityasintermedialconcept

InmypaperIdiscussandanalysetheconceptoficonicityfromanintermedialperspective.Thefieldof iconicity is divided along the following lines:primary and secondary (or mediated) iconicity;obligatoryandoptionaliconicity;completeandpartialiconicity. These distinctions and there intersectionsarerelatedtothePeirciantrichotomyimage,diagramandmetaphor,andappliedtothethreemainmediaofnarrativity and fictionality, prose fiction, fiction film,anddrama.Someexamples: 1) Cinematic narratives are characterized byprimary iconicity, that is all meaning and fictionalcontent isdependenton the iconic relationbetweensign vehicle and depicted content. The iconicity ofprose fiction and drama is, by contrast, secondary,mediated by (different kinds of) conventional signrelations.

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2) The dramatic stage and the image‐ andsoundtracks of film narratives represent icons,identity signs and dummies, representing fictionalcharacters, objects, and events. More over, themeaning of the filmic and dramatic depictions isrelatedtothefictionalcontentbyadefault‐principle:we presuppose, in the absence of indications to thecontrary,thatthethingsweseeandhearcorrespondto fictional truths. The literary narrative does notrepresent other iconic signs, like identity signs anddummies,butissometimesinitselfadummy,thatisan imitation of some kind of non‐fictional discoursetype or genre, a phenomenon very rare incinematographicanddramaticcontexts.

3) Prose fiction, fiction film and drama areunitedbyakindofobligatorydiagrammatic iconicity,a default‐principle, correlating sign vehicle andfictional content. The (temporal) order of theelementsof thesignvehicle,corresponds,as longasnoindicationstothecontraryemerge,withtheorderandcausalityofthefictiveeventsandexistents.

StefaniaConsonni(UniversityofBergamo)TheTangledShapeofTime:TheIconicConfigurationofSterne’sTristramShandy,andtheIntermedialityofNarrativeRepresentation

Partially based on a book‐length studycurrently in progress, devoted to iconic plotconstruction strategies in the Eighteenth‐Centurynovel, my paper suggests an interdisciplinaryapproach to narrative intelligence as a network oftextual relationships, related both to the theory ofliteratureandthesemioticsof thevisualarts,aswellas to aesthetics and the history of epistemology.Narrative structures, as shown by Sterne’smasterpiece plot, are intermedial artefacts, bothtemporally dynamic and spatially geometrical innature, i.e.,bothnarrativeand illustrative,verbalandiconic artefacts. As it were, the act of configurationprovides a shape to narrative time, replacing merechronology with significant temporal morphologies.This invites a reflection on the intermedial status ofnarrative representation: if we assume plot in abroader‐than‐usual sense, as amise en intrigue, as a‘synthesis of the heterogeneous’ operating in bothspaceandtime, itmayproveavalidstagefordebateon such challenging issues as fiction, mimesis andreference.

By investigating the articulate iconicpatternsconfiguring Sterne’s narrative,mypaperwill address

some crucial points in the history and theory of therelationshipsbetweentimeandspace,andtheverbalvs.visualarts.Thescopeofmyanalysis istwofold:1)To cross‐examine the languages of literature andpainting / sculpture / architecture, along with theirsisterart,music,astheytakeshapein(andgiveshapeto) Sterne’s spatial‐temporal texture. 2) To trace thephilological and critical development of specificinteractions among different sign systems –particularlyof iconicaspects innarrativetexts–fromtheutpicturapoësisparadigmthroughmilestonesofintermediality, such as Leonardo’s Trattato dellapittura and G.E. Lessing’s Laokoon, to Arnheim andGombrich’s theory of time in the spatial arts, and(conversely)toJosephFrank,W.J.T.MitchellandPaulRicœur’stheoryofspaceinthetemporalarts.Eachofthese issues findsanecho,oftenofbothphilologicalandcriticalvalue,inSterne’snovel.Myanalysisshouldthen, however synthetically, help me illustrate theimplications – also involving, as already mentioned,the status of fiction – of an interdisciplinary idea ofplot configuration. A still unsurpassed token ofnarrative intelligence, Tristram Shandy’s tangled plotembodies the iconic character always inherent tonarrative representation, and helps us give shape tothetheoreticalissuesattachedtoit.

Christine Schwanecke (Ruprecht‐Karls‐UniversitätHeidelberg)Form miming meaning and form miming form:(mult)I‐conicityinJohnIrving’sAWidowforOneYear(1998)andinthefilmbasedonthenovel

John Irving has often been praised for his“stunningly visual” novels (Los Angeles Times BookReview 7/2005), with which he paints such “detailedmap[s] of human nature” (The Kansas City Star,27/2005) that it feels as if there are real people inactualsituations,iconicallyreferredto.InAWidowforOne Year (1998), however, his iconic way ofstorytelling is pushed even further. Snap‐shots,portraits, drawings, postcards, polaroids, frameshops, picture books, even bare picture hooks:Wherever the reader looks, (s)he is surrounded byiconic diagrams or – by way of ekphrasis – verballyevokediconicimages.Thisdoesnotonlyholdtrueforthestory‐levelof thenovelbutalso for itsdiscourse‐level,i.e.thewayinwhichthestoryisverballyaswellastypographicallyconstructed.

Thispaperaimsatexploring themultilayereddimensions of iconicity – its “(mult‐) i‐conicity” –

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occurring at all levels of the literary text, so as toquestion its impactonaswellas itsfunctionsforthenarrative under examination.Moreover,wewill lookbeyond the shape iconicity takes in the novel bycomparing the iconic forms to the way theymaterializeinthefilmbasedonthenovel,TheDoorintheFloor(director/screenwriter:ToddWilliams;2004).Thus, we will observe if and in which way therespective verbal icons change into visual ones, andconsequentlyconsider the influence the“intermedialtransfer”hasontheirfunctiontomimeeitherformormeaning.

JohnJ.White(King’sCollegeLondon)Thematizediconicityandiconicliterarydevicesinthemodern novel: A consideration of some modes ofinteraction

Thematized iconicityhasfora longtimebeentheorphanofIconicityStudies.Itsroleinthemodernnovel has, for example, received decidedly scantattention from those of a Peircean persuasion,although the phenomenon has become a keyingredientoffictionfromVladimirNabokovtoDanielKehlmann.Umberto Eco, one of themost influential20th‐ 21st century theoreticians todevelop a distinctlyPeircean approach to the analysis of semiosis, isbetterknownamonghiscontemporariesasanovelistthan for his contribution to semiotics.While Il nomedellarosa(1980)/TheNameoftheRose(1983)wasthe20th century’s most important “semiotic novel” byvirtue of its concentration on the protagonist’sinterpretive approach to iconic signs‐qua‐clues, noiconic effects are used in the novel itself, with theexceptionofthetwoarchitecturalplansinthework’sfrontispiece. Iconicity is nevertheless extensivelythematized, although without informing the novel’stechniqueeithervisuallyoracoustically.Until the21stcentury, the same held true for Eco’s subsequentfiction.OnlyinLaMisteriosaFiammadellaReginaLoana(2004)/The Mysterious Flame of Queen Loana: (2005)does Eco bring together thematized iconicity andiconiceffects integrated into theverbal fabricof thenovel. Having explored the implications of this newsymbiosis between thematized iconicity and iconicliterary devices, the present paper will attempt toidentifyandexploresignificantpatternsofinteractionbetween its examples’ theme and method, thestructural aspects of such contrived interfacing andtheextenttowhichbothfeaturescanberelatedtoaspecificallyPeirceanconceptionofthesignas“Icon”.

BibliographyUmberto Eco. The Mysterious Flame of Queen Loana:

An Illustrated Novel. Trans. Geoffrey Brock.London: Secker & Warburg, 2005. Italianoriginal:LamisteriosafiammadellareginaLoana.Milan:Bompiani,2004.

David Lodge. Deaf Sentence. London: Harvill Secker,2008.

Daniel Kehlmann.Measuring the World. Trans. CarolBrown Janeway. London: Quercus, 2007.German original: Die Vermessung der Welt.Hamburg:Rowohlt,2005.

MarthinusBeukes(UniversityofJohannesburg)Chiasms, white spaces, ellipses, and parentheses inAntjeKrog’sPoetry The poet Antjie Krog wrestled with bodilydestruction in her previous volume of poetry, BodyBereft, and the inability of language to comprehendtheprocessofdecay.Sheasks“howandwithwhat/doesoneacquireavocabularyonage?”(28).Differentaspects of language usage were implemented toshow iconically how her body is becoming old andthat she battles to find words to describe thedecayingprocess. In the recent publishedpoems forPoetry International 2009, Rotterdam, Where Ibecome you, she again explores the abilities andinabilities of language, i.e. syntax and the outlay ofthe poem visually, to portray iconically herrelationship with her beloved. Separateness isdescribed by means of distance through the deicticwords “here” and “there”, which becometogethernessasshegetsclosertoherbeloved.ButitisalsothesemanticallydistancethatKrogdealswithinthesepoems.Thestructuraldistortioninthepoemformservesasvehiclefortheseparateness.

Iwill attempt to show in this paper how sheexplores chiasms, white spaces in the sentence /verse,ellipses,parenthesesandwordrelations inherconnectednesstohim.

GabrieleRippl(UniversityofBern)IconicFeaturesinCharlesSimic’sDime‐StoreAlchemy

My talk is concerned with the contemporaryAmerican poet Charles Simic and his collection ofprose poems published under the title Dime‐StoreAlchemy.TheArtofJosephCornell in1992.SimicpayshomagetooneofAmerica’sgreatestsurrealistvisual

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artists, whose work he reactivates in the Americancultural memory. While it is clear that Cornell’smontages, assemblages and ‘magical’ boxes haveinspired Simic’s poetry, so far only his ekphrasticverbal means have been investigated by literaryscholars.Theequally rich iconicqualityofhispoems,thefactthattheyarethemselvespresentedasboxesandthusapproximateCornell’svisualtechniques,hasbeen neglected. Against the backdrop of recentdebatesaboutintermediality,iconicity,(post‐)moderncultureandcultural archives Iwill try toexplainhowintricately Simic based his art on strategies of visualiconicity.

MicheleRak(UniversityofSiena)Novelfiguresandeyesfigures:TheLoveandPsychestoryfromApuleiustoRafael

The novel by Lucio Apuleius (The Golden Ass,sec.II)wasrediscoveredandtranslatedbyBoccaccio.Inthenovelanoldladytellstoayounggirlabductedfromthebrigands the fableofLoveandPsyche.Thefable is the first representation of the stories,sufferings and pleasures which that painful andthrilling experience called love requires. Manycultures all around the globe have subsequentlyselectedthisfabletorepresentlovepositionsthroughthevisualarts.InItalyandinEuropethefablebeginstocirculateintheItalianandEuropeanhumanism.Thehistory isput informofvisualstorybyRafaelfortheFarnesinaVillaLoggiainRomein1519withthehelpofGiulio Romano and various other erudites: with theimage of the Psyche story it celebrates the buyer’smarriage. The Rafael fresco story becomes a modelthat circulates in form of press, of painting, ofdecorationandof fable for thewholeModernity, upto the French Revolution. This essay reconstructsRafaelandhiseruditefriends’interpretation.

In the fable, Psyche puts at risk thefundamentalsoftheexperienceoflife:desire,beauty,contact, in thatplaceoutof timeandaway fromthespacethatallloversdesire:inthegildedLoveBuildingwhere all the others are invisible andwhere there iseverything lovers do need. The fable shows theseparation, the search, the tests, the pain, theapotheosis, in that place where lovers imaginethemselves:amongthegodsandinthesky.

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We gratefully acknowledge the financial support of Victoria University (for a Social Sciences and Humanities Research Council Institutional Grant (SIG) Award), Victoria College (Principal Office), the Social Sciences and Humanities Research Council of Canada, the University of Amsterdam, and the Swiss Biennial on Science, Technics, and Aesthetics.