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In this paper I seek to account for the productive word-formation process resulting in the current proliferation of un-nouns, the semi-legitimate offspring of Humpty Dumpty´s un-birthday present (1871) and 7-Up´s commercial incarnation as The Un-Cola (1968), a construction that can be linked to the more well-established categories of un-adjectives and un-verbs, whose formation constraints we will also examine. Drawing on a large corpus of novel un-nouns I have assembled in collaboration with Beth Levin presented in the Appendices to this paper, I will invoke Rosch´s prototype semantics and Aristotle´s notion of PRIVATIVE opposites, defined in terms of a marked exception to a general class property, to generalize across the different categories of un-words. It will be argued that a given un-noun refers either to an element just outside a given category with whose members it shares a salient function (e.g. un-cola) or to a peripheral member of a given category (an unhotel is a hotel but not a good exemplar of the class-not a HOTEL hotel).
Reduplicative words like chiffchaff or helter-skelter are part of ordinary language use yet most often found in substandard registers in which attitudinal and expressive meaning components are iconically foregrounded. In a rating experiment using nonwords that either conform to, or deviate from, conventional reduplicative patterns in German, the present study identified affective meaning dimensions, judgments of familiarity and esthetic evaluations of sound qualities associated with such words. In a subsequent recall test, we examined
the respective mnemonic potential of the different types of reduplication. Results suggest that, in the absence of semantic content, reduplicative forms are inherently associated with
several affective meaning associations that are generally considered positive. Two types of reduplicative patterns, namely full reduplication and [i-a]-vowel-alternating reduplication,
boost these positive effects to a particularly pronounced degree, leading to an increase in perceived euphony, funniness, familiarity, appreciation, and positive belittling (cuteness) and, at the same time, a decrease in arousal. These two types also turn out to be particularly memorable when compared both to other types of reduplication and to non-reduplicative structures. This study demonstrates that reduplicative morphology may in and of itself, that is, irrespective of the phonemic and the semantic content, contribute to the affective meaning and esthetic evaluation of words.