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Tattoos are common these days, people get themselves inked for several reasons. Because each tattoo represents something bigger behind it, especially to the person who chose the particular design. However, there is no tattoo design which doesn’t represent something meaningful. Also, there are people who are minimalists and want to get themselves inked with some small or a minimalist tattoo.īelieve it or not, minimal tattoo comes with deep meanings. Yes, there are many people who because of their professions or for some other reasons cannot have a tattoo that is bigger in size. This diverse and invigorating collection should be of lively interest to linguists and literary critics alike.As the name says it all, Minimalist Tattoo designs and ideas are for the ones who want to have a tattoo but cannot have one. Of the syntactical studies in the final section, Part 5, most remarkable are those by O lga F ischer (‘On the role played by iconicity in grammaticalisation processes’, 345–74) and B ernt K ortmann (‘Iconicity, typology and cognition’, 375–92). In Part 4, the paper by F riedrich U ngerer (‘Diagrammatic iconicity in word-formation’, 307–24) discusses the role of isomorphism and iconicity of motivation in word-formation. Here, however, the paper by E va L ia W yss on the ACSII characters used iconically in email (‘Iconicity in the digital world’, 285–304) departs from the core topic in that smiley faces and pictures made of ACSII characters, for instance, are nonlinguistic signs and therefore do not properly belong to the realm of linguistic iconicity. cummings (‘ “singing is silence” ’ 199–214). The contributions in Part 3 address visual aspects of language among these are articles by M ax N änny on alphabetic letters as imagic icons (‘Alphabetic letters as icons in literary texts’, 173–98) and by A ndreas F ischer on iconicity in graphic design (‘Graphological iconicity in print advertising’, 251–83), as well as papers on individual literary texts or poets such as that by M ichael W ebster on e. In Part 2 one appreciates the brisk contribution of H ans H einrich M eier which traces the history of linguists’ conflicted understandings of phonological iconicity (‘Imagination by ideophones’, 135–54). W hite (‘On semiotic interplay’, 83–108), in which White explores iconicity and indexicality in 20th-century literature.
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Also in this introductory section are several literary studies of general interest, including that by J ohn J. Of particular value in Part 1 is the paper by I van F ónagy (‘Why iconicity?’, 3–36), in which he illustrates how iconicity is a basic principle in natural languages and serves as a modifier or distorter that alters the rules of grammar and influences language change.
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The book concludes with author and subject indexes. Thus, linguists have often looked to literature to find the most conspicuous iconic forms (for instance, metaphors or other literary devices such as alliteration, parallelism, and metrical form) while literary scholars have benefited much from contemporary linguistic studies of the nature and types of iconicity and the role iconicity plays in language formation.Īfter an excellent introduction by the editors, the book’s 20 contributions are divided into 5 sections, in which the linguistic studies are intermingled with the literary: Part 1, ‘General’ (1–120) Part 2, ‘Sound and rhythm’ (121–69) Part 3, ‘Letters, typography and graphic design’ (170–304) Part 4, ‘Word-formation’ (305–42) and Part 5, ‘Syntax and discourse’ (343–422). Iconicity is inherent in language generally but is intensified in creative language, in which a close relation between the form of a word and its meaning heightens expressivity. In this international gathering, the first of its kind, both linguists and literary scholars presented studies of iconicity in their respective areas. This stimulating volume presents a selection of papers from a symposium on ‘Iconicity in Language and Literature’ (Zurich, March 1997) organized by the University of Zurich and the University of Amsterdam.