Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Mimetics in Japanese comprise both onomatopoeic expressions (phonomimes) and other ideophones (phenomimes; psychomimes), which do not imitate acoustic phenomena. They can appear in various syntactic positions and adopt the syntactic functions of nouns in a referential phrase, predicates, attributes in a noun phrase and adverbs, with the latter being the most common usage. Since the stem of mimetic expressions such as SUTON ("thump"), KIRARI ("flash"), KYAAA ("Aaaah!") or GAN-GAN ("pounding") cannot be altered and common suffixes such as /N/, /RI/ and /Q/ (glottal stop) cannot be inflected, the syntactic function of mimetics in Japanese is determined by their position in the sentence and the particles (postpositions) used to indicate their function within a larger constituent. In colloquial speech, these particles may also be omitted, which sometimes results in the syntactic position being the only indicator of the syntactic function. However, when contrasting the grammatical usage of mimetics in data sources from various speech registers, it becomes apparent that not all mimetics are used with all particles and in all syntactic positions. Moreover, some mimetics may be combined with certain particles in idiomatic contexts, but would be used differently in spontaneous speech. For this reason, it is not surprising that opinions vary greatly when it comes to determining the distribution of individual mimetics, and mimetics as a class. This often results in L2 learners of Japanese being confused by contradictory statements in dictionaries and textbooks, which may not necessarily reflect the actual usage of mimetics in spoken Japanese and thus constitute an obstacle to effective language learning. The focus of this thesis is a description of the variable use of selected mimetics in attributive contexts, to shed light on the factors underlying the variation, and to establish whether a language change has been taking place in recent years. Empirical data collected from dictionaries, corpora, surveys and interviews shows that sociolinguistic factors such as gender, age and media exposure may influence the grammatical preferences of native speakers and their perception of mimetics. For this reason, both linguistic and extra-linguistic factors have to be taken into account in order to establish a grammatical framework for mimetics in Japanese.

<p>The aim of this essay is to examine whether language is iconic or arbitrary in the issue of onomatopoeia, i.e. whether animal sounds are represented in the same way in different languages. In addition, I will also look at onomatopoeical words which have been conventionalised, when the meaning broadened and they finally became part of ordinary language.</p><p>It can be stated that arbitrary signs have slowly taken over as different languages have developed, but the reason why is a topic for discussion – is there a scientific cause, based on the theory of evolution, or an explanation found in religious myths? Whatever the reason is, it is not likely that iconicity will vanish totally. It is connected to human neurophysiology and an ancient part of language, a natural resemblance between an object and a sign which can exist in different forms. Onomatopoeia is one example of iconic signs, an object named after the sound it produces, and according to one theory conventionalised imitations is actually the origin of language. Nevertheless, there are two main categories – language being either iconic or arbitrary. Regarding onomatopoeia, my results suggest that language is only iconic to a limited extent. English and Swedish have some common representations of animal sounds, but the languages also differ in many ways. Conventionalising seems common in both languages and many of the words in my survey have been incorporated in dictionaries, representing more than only the sound of a certain animal.</p>

Embora tenham pouca atenção no meio acadêmico, as onomatopeias são parte integrante de extrema importância nas histórias em quadrinhos em todo o mundo e, em especial, nos mangás. Com o aumento crescente da publicação de mangás no Brasil, percebe-se que há diversos entraves em suas traduções, e, dentre elas, estão as onomatopeias japonesas, principalmente no que se refere à presença das mimésis Gitaigo palavras que expressam aspectos psicológicos e emocionais, mas que se comportam como onomatopeias dentro da língua japonesa. Assim, esta pesquisa buscou identificar e analisar como são as traduções/adaptações das onomatopeias e mimésis japonesas inseridas nos mangás traduzidos para a língua portuguesa. Para isso, escolhemos as publicações voltadas ao público feminino, os Shôjo mangás, pensando em situações mais próximas do cotidiano brasileiro, o que facilitaria a compreensão do uso e função das onomatopeias/mimésis para os futuros aprendizes da língua japonesa. Com base em teorias de estratégias de tradução, elencamos oito casos característicos das traduções brasileiras de mangás. / Although with little attention by academics, the onomatopoeia are an integral part in the comics language, especially on mangas (Japanese comics). With the increasing publication of mangas in Brazil, it makes us realize that there are several obstacles in translating them, and the onomatopoeia are one of them mainly by the presence of the mimesis Gitaigo, words that expresses psychological and emotional aspects, but behaves like onomatopoeias in Japanese language. Thus, this study sought to identify and analyze the translations/adaptations of Japanese onomatopoeia and mimesis in manga translated to Portuguese. Thinking in situations closer to the Brazilian readers dayly life (which would facilitate the understanding of the usage and function of onomatopoeia/mimesis) we choose publications aimed at the female readers, the Shojo manga. Based on theories of translation strategies, we identified eight cases most used in Brazilian translations of manga.

The relationship between ideophones and gestures has only recently been studied and is not yet completely understood. The topic has been specifically addressed by Kita (1993), Klassen (1998), Dingemanse (2013), Mihas (2013), and Reiter (2013). Yet there has been little focus on onomatopoeic ideophones. Onomatopoeic ideophones have been set aside as different by many previous researchers (Klassen, 1998, pp. 28-31; Kilian-Hatz, 2001, pp. 161-163; Dingemanse, 2011, pp. 131, 165-167; Mihas, 2012, pp. 327-329; Reiter, 2013, pp. 9-10, 308). Being stigmatized as simple, they have been labeled as "sound mimicking words" (McGregor, 2002, p. 341), "non-linguistic sounds" (Güldemann, 2008, p. 283), or "imitative sounds" (Hinton et al., 1994, §2.1). This thesis specifically addresses the relationship between onomatopoeic ideophones and gestures in Pastaza Quichua (PQ). My data acquired from primary and secondary sources, consists of 69 interactions, comprising eight hours of video recordings collected in Tena, Ecuador. These recordings include traditional narratives, personal experience tellings, elicited descriptions of nature, short didactic explanations, and folksongs. My methodology consists of close examination, classification, and tagging of 435 ideophones in the PQ data for sensory class and gestural accompaniment, using McNeill's (1992) typology. This thesis demonstrates that onomatopoeic ideophones do not have the same relationship with gestures that synesthetic ideophones do. Synesthetic ideophones are consistently accompanied by gestures (94.4% of the time) while onomatopoeic ideophones are much less likely to be accompanied by gestures (27.0% of the time). The lack of gestures occurring with onomatopoeic ideophones is striking given that PQ speakers seem to be constantly gesturing during speech. The PQ data supports previous observations that most gestures accompanying ideophones are iconic (Kunene, 1965; Dingemanse, 2013; Reiter, 2013; Mihas, 2013; Kita, 1993). The data also supports McNeill's (2007, p. 11) statement that gestures are used to make an image more real and that repetition can lead to fading gestures. However, it challenges his prediction that a minimal departure from context is the cause of a conspicuous lack of gesture. Sensory type, that is whether an ideophone is onomatopoeic or not, seems to be the most important factor in predicting gestural behavior. This paper also contributes to a better understanding of the relationship between ideophones and gestures and, ultimately, between language and gesture.

Embora tenham pouca atenção no meio acadêmico, as onomatopeias são parte integrante de extrema importância nas histórias em quadrinhos em todo o mundo e, em especial, nos mangás. Com o aumento crescente da publicação de mangás no Brasil, percebe-se que há diversos entraves em suas traduções, e, dentre elas, estão as onomatopeias japonesas, principalmente no que se refere à presença das mimésis Gitaigo palavras que expressam aspectos psicológicos e emocionais, mas que se comportam como onomatopeias dentro da língua japonesa. Assim, esta pesquisa buscou identificar e analisar como são as traduções/adaptações das onomatopeias e mimésis japonesas inseridas nos mangás traduzidos para a língua portuguesa. Para isso, escolhemos as publicações voltadas ao público feminino, os Shôjo mangás, pensando em situações mais próximas do cotidiano brasileiro, o que facilitaria a compreensão do uso e função das onomatopeias/mimésis para os futuros aprendizes da língua japonesa. Com base em teorias de estratégias de tradução, elencamos oito casos característicos das traduções brasileiras de mangás. / Although with little attention by academics, the onomatopoeia are an integral part in the comics language, especially on mangas (Japanese comics). With the increasing publication of mangas in Brazil, it makes us realize that there are several obstacles in translating them, and the onomatopoeia are one of them mainly by the presence of the mimesis Gitaigo, words that expresses psychological and emotional aspects, but behaves like onomatopoeias in Japanese language. Thus, this study sought to identify and analyze the translations/adaptations of Japanese onomatopoeia and mimesis in manga translated to Portuguese. Thinking in situations closer to the Brazilian readers dayly life (which would facilitate the understanding of the usage and function of onomatopoeia/mimesis) we choose publications aimed at the female readers, the Shojo manga. Based on theories of translation strategies, we identified eight cases most used in Brazilian translations of manga.

Tidigare och aktuell forskning visar på att onomatopoesi förekommer iskönlitteratur men studierna saknar värdefull information inom ämnet. Merutförliga undersökningar går att spåra till ämnet inom språkvetenskap.Syftet med denna studie är att belysa hur onomatopoesi gestaltas iskönlitterära produktioner och om personer delar en gemensam tolkning avljudhärmande ord som kan förekomma i dessa produktioner. Studiengenomfördes med ett kvalitativt forskningsperspektiv samt med enfenomenologisk utgångspunkt. Ett frågeformulär utformades där 36individer deltog. Ett antal ljud presenterades för deltagarna som de sedanskulle texta. De ljud som visade på gemensamma tolkningar presenterades itexter. Dessa ljud var BONK och SPLOOSH. Slutligen skapades engestaltning som knyter samman den tidigare och den aktuella forskningenmed svaren från frågeformuläret. Detta resulterade i en interaktiv bok sommed hjälp av digitala verktyg skapar en originell produkt. / Previous and recent studies shows that onomatopoeia is presented in fictionstories but the studies lack valid information within the subject. Moredetailed research can be found within language studies. The purpose of thisstudy is to enlighten onomatopoeia, how it is presented in fictionproductions and if people share a mutual vision of sounds imitating wordsthat might be used in these productions. The study was conducted with aqualitative method and with a phenomenological perspective. 36 individualsparticipated in a questionnaire that was conducted. A number of sounds waspresented to the participants who then had to type the sound in text. BONKand SPLOOSH showed a mutual vision and the result was presented astables. A product was created to unite the previous and recent studies withthe result from the questionnaire. This resulted in an interactive book thatwith help of digital tool create an ordiginal product.

This paper addresses the issues inherent in comics translation, with specific regard to the translation of Japanese manga into English. In North America, the norms of manga translation have undergone several radical shifts in the past few decades, with strong preference being shown alternately for domesticating and foreignizing translations. Such paradigm shifts suggest differences between readerships, which have a strong influence on translators’ and publishers’ decisions. This understanding of the current translation situation then provides the backdrop for a novel method of translation that is centered around an initial textual analysis, which is itself rooted in a form-focused understanding of the comics medium. This understanding of the medium also sheds light on some of the translation issues specific to the Japanese context, particularly those of flopping and treatment of onomatopoeia. At all points in the translation process, the translator must keep in mind that comics is a medium that utilizes multiple overlapping, intertwining sign-systems, which can only be translated effectively when considered in relation to one another. The paper concludes with two short manga translations, which represent the culmination of these ideas.

В данной работе проведен анализ основных функций звукоподражаний и способы и их толкования в русском и китайском языках. Изучены морфологические особенности звукоподражаний как в русском языке, так и в китайском языке. Выделены отличительные характеристики звукоподражаний китайского языка, такие как частота употребления, первый тон, длинная история, схожая структура. Также выделены отличительные характеристики звукоподражаний русского языка, такие как отдельная группа, образованная с помощью ультрамгновенных глаголов, большая часть звукоподражаний принадлежать группе животных. В работе представлены различные классификации звукоподражаний, способы их перевода и лингвистические особенности их применения на практике. Отдельно представлена классификация звукоподражаний по критерию частотности их употребления в прецедентных или устно-разговорных текстах. В работе проведён анализ представленных в работе лексем, их повторяемость и сочетаемость с другими языковыми единицами, что позволило выделить алгоритмы их употребления. Мы использовали материалы Лексические единицы, фразеологизмы, семантические группы, выделенные в результате анализа письменных художественных, публицистических и устных разговорных текстов. В основу исследования положены общенаучные и лингвистические методы. Общенаучные: наблюдение, сопоставление, анализ, обобщение; лингвистические методы: компонентный анализ; метод описания. Методика исследования следующих моментов: Первый - выбор объекта, предмета и методов исследования, с выработкой собственной концепции исследования и понятийно-терминологического аппарата. / This paper analyzes the main functions of onomatopoeia and methods and their interpretation in Russian and Chinese languages. The morphological features of onomatopoeia have been studied both in Russian and in Chinese. The distinctive characteristics of onomatopoeia of the Chinese language are highlighted, such as frequency of use, first tone, long history, similar structure. The distinctive characteristics of onomatopoeia of the Russian language are also highlighted, such as a separate group formed using ultra-instant verbs, most of the onomatopoeia belong to a group of animals. The work presents various classifications of onomatopoeia, methods of their translation and linguistic features of their application in practice. Separately, the classification of onomatopoeia is presented according to the criterion of the frequency of their use in precedent or oral-spoken texts. The paper analyzes the lexemes presented in the work, their repetition and compatibility with other linguistic units, which made it possible to single out the algorithms for their use. We used the materials Lexical units, phraseological units, semantic groups identified as a result of the analysis of written artistic, journalistic and oral spoken texts. The research is based on general scientific and linguistic methods. General scientific: observation, comparison, analysis, generalization; linguistic methods: component analysis; description method. Research methodology for the following points: First - the choice of the object, subject and research methods, with the development of their own research concept and conceptual and terminological apparatus.

The book Paegŭi Kŭrimja (One Hundred Shadows) written by Hwang Jungeun (Hwang Jŏngŭn) was published in 2010 and translated by Jung Yewon (Chŏng Yewŏn) in 2016 after its success throughout South Korea.  It does not yet exist an official translation in Swedish and therefore, in order to make a comparative analysis about the differences in translation between Korean, English and Swedish, which is the author of the present thesis’ native language, the author have translated a part of the book (pages 1-40) during a course in Korean literature translation into Swedish. This thesis will be specifically focused on how the Korean onomatopoeias in the book have been changed through translation and what difference that creates for the meaning and nuance of the source text. This thesis uses a comparative qualitative method to examine how the onomatopoeias in the book have been affected by the English and the Swedish translations where the author found that there were some onomatopoeias that were more affected by translation than others, whereas omission was found to be the most used translation strategy, which resulted in some loss of nuance, but that no meaning was lost when omitting or changing the onomatopoeias. This thesis also compares the differences of the English and Swedish translations which were also considered to be minimal and disregarding one’s personal stylistic choice, the author found both translations to be appropriate and was therefore also not considered to affect the text in a significant way. The author hopes that further research about onomatopoeias and their place in translation will be studied in the future, as well as translation between Korean-English and Korean-Swedish to further expand and discover the Korean-English and Korean-Swedish literature area.