In:Semblance and Signification
Edited by Pascal Michelucci, Olga Fischer and Christina Ljungberg
[Iconicity in Language and Literature 10] 2011
► pp. v–viii
Get fulltext
This article is available free of charge.
Published online: 23 November 2011
https://doi.org/10.1075/ill.10.toc
https://doi.org/10.1075/ill.10.toc
Table of contents
Preface and acknowledgements
Introduction
Toward a phonosemantic definition of iconic words
Iconic thinking and the contact-induced transfer of linguistic material: The case of Japanese, signed Japanese, and Japan Sign Language
Ezra Pound among the Mawu: Ideophones and iconicity in Siwu
Cognitive iconic grounding of reduplication in language
Imagic iconicity in the Chinese language
Words in the mirror: Analysing the sensorimotor interface between phonetics and semantics in Italian
Un mélange genevois: Tacit notions of iconicity in Ferdinand De Saussure’s Writings in General Linguistics
How to put art and brain together
Image, diagram, and metaphor: Unmined resource and unresolved questions
The farmers sowed seeds and hopes: Element order in metaphorical phrases
Non-iconic chronology in English narrative texts
A burning world of war: How iconicity works in constructing the fictional world view in A Farewell to Arms
Aesthetic qualities as structural resemblance: Divergence and perceptual forces in poetry
Mental space mapping in classical Chinese poetry: A cognitive approach
Iconicity in conceptual blending: Material anchors in William Morris’s News from Nowhere
Thematized iconicity and iconic devices in the modern novel: Some modes of interaction
Iconicity and intermediality in Charles Simic’s Dime-Store Alchemy
Words, like shells, are signs as well as things
Unveiling creative subplots through the non-traditional application of diagrammatic iconicity: An analysis of Kingsley Amis’s The Green Man
The iconic indexicality of photography
Unbinding the text: Intermedial iconicity in Peter Greenaway’s Prospero’s Books
Argumentative, iconic, and indexical structures in Schubert’s Die schöne Müllerin
John Irving’s A Widow for One Year and Tod Williams’ The Door in the Floor as ‘(mult-)i-conic’ works of art
