The focus of this essay is on examining the meanings of the onomatopoeia (sound imitating words) snap, crack and pop. Previous studies on onomatopoeia and sound symbolism are used to define the terms and create a model for an alternative categorization of these meanings. This model is then applied in a corpus study, conducted on the COCA (Corpus Of Contemporary American English) and BYU-BNC (The British National Corpus) corpora, to find a way to more accurately describe the meanings and functions of these words.  For this purpose the context in which snap, crack and pop are used is also addressed by observing how frequently they occur in formal and informal texts and which adjectives and adverbs frequently modify them. In the study it was discovered that these three words took on many different meanings that would be hard to list separately in a dictionary. These meanings did follow a pattern linked to the properties associated with the word. The study found snap, crack and pop to be informal words with a tendency to add emotion or effect to a statement. It is therefore concluded that sorting onomatopoeia by sound and non sound-related meaning and describing the informal characteristics of these words leads to a greater understanding of how they are used.   Keywords: Arbitrariness, crack, emotive, ideophones, mimetics, mimes, non-arbitrariness, onomatopoeia, phenomimes, phonomimes, pop, psychomimes, register, semantics, snap, sound symbolism and style.

This thesis represents a partial translation of the short story collection Omedetō by Kawakami Hiromi. Published in 2000, the collection contains twelve short stories, each narrating an intimate relationship between two people. It was favorably received by the literary world and was republished twice, in 2003 and 2007. My critical introduction provides context to Omedetō by discussing Kawakami’s biography and writing style, and the book’s reception in Japan. I also make note of my translation methods, domestication and dynamic equivalence, and provide examples of how I translated onomatopoeia. Finally, I give historical background to Japanese intimacy at the turn of the millennium and argue that each story serves as a commentary on Japanese modern intimacy, which Kawakami defines as a combination of physical and emotional closeness or a yearning for such.

<p>This study examines how the meanings of onomatopoeic phrasal verbs are created and in which register these verbs are most frequently used. Through the study of previous research on the subject qualities of onomatopoeia and phrasal verbs are identified. Based on this a framework for identifying phrasal verbs and categorizing the meanings of onomatopoeic verbs and particles was created. Using the Corpus of Contemporary American English (COCA), a study of concordance lines and frequency in different registers was carried out on 50 onomatopoeic phrasal verbs. These verbs were constructed from ten mono-syllabic onomatopoeic verbs and three opposite pairs of spatial adverbs. The study found that several metaphorical meanings of the onomatopoeic verbs examined were not listed in the Oxford English Dictionary (OED). The meanings of the particles were strongly linked to metaphorical structures.The conclusion of this study was that onomatopoeic verbs possess a flexibility that allows them to create a variety of different meanings. Furthermore, the types of meaning can be categorized after a pattern, although this pattern is often not found in the dictionary. The onomatopoeic phrasal verbs studied were most frequent in the fiction register, more so than other phrasal verbs. Understanding of the metaphorical nature of particles such as up and down is imperative to understand how the meaning of a phrasal verb is created. This should be taken into consideration when teaching English as a second language or creating a dictionary.</p>

Qu’on la considère comme faisant partie de la langue ou à la limite de celle-ci, l’interjection a toujours attiré l’attention des chercheurs. Aujourd’hui, l’étude de l’interjection relève d’un champ de disciplines vaste, et son rôle crucial dans la communication n’est plus mis en doute : l’interjection est inscrite dans le discours, et ses fonctions y sont nombreuses. Dans ce travail de thèse, nous étudions l’interjection en tant que marque d’oralité dans un texte écrit, sur l’exemple des bandes dessinées francophones et russophones, le but étant d’appliquer les conclusions traductologiques à la théorie de l’interjection. Cette analyse contrastive permet non seulement de définir les techniques de sa traduction, allant de la traduction littérale à l’adaptation ou la compensation, mais également d’enrichir sa théorie linguistique en confirmant son caractère conventionnel, sa polysémie, sa similitude avec la phrase, et son aspect fonctionnel. En complémentarité avec l’approche linguistique et traductologique, nous nous intéressons à l’étude de la plasticité de l’interjection : la visualité étant un facteur déterminant dans la construction du sens de l’interjection qui introduit les interrogations sur la poétique de l’interjection et l’élaboration du style à travers l’interjection dans la bande dessinée. Enfin, ce travail débouche sur d'intéressantes perspectives sur la comparaison de la traduction de l’interjection dans plusieurs paires de langue : cette étude de l’interjection dans un espace traductologique élargi permettant de contribuer à repenser, dans la continuité de notre travail, la définition linguistique de ce phénomène dans les langues. / Whether it is considered as part of the language or on its borderline, the interjection has always attracted the scientific attention. Today, the study of interjection includes a vast field of disciplines. Its crucial role in communication is no longer in doubt: interjection is indeed inscribed in the discourse, and its functions are diverse. In this thesis work, we study interjection as one of the marks of orality in a written text, on the example of the French and Russian comics, the aim being also to apply the translatological conclusions to the interjection theory. This contrastive analysis allows not only to define various techniques of its translation, ranging from literal translation to adaptation or compensation, but also to enrich the linguistic theory of interjection by confirming its conventional character, on the one hand, its resemblance to the sentence and its functional aspect. In complementarity with the linguistic and translatological approach, we are particularly interested in the study of the plasticity of the interjection: the visuality being a determining factor in the construction of the meaning of the interjection which introduces the interrogations on the poetics of the interjection and the elaboration of the style through the interjection. Finally, this work leads to some interesting perspectives, especially on the comparison of the translation of the interjection in several language pairs: this study of the interjection in a broader traductological space allowing to contribute to reconsider, in the continuity of our work, the linguistic definition of this phenomenon in languages.

[pt] Marca de identidade cultural, uma vez que diferem de povo para povo, os vocábulos expressivos são convencionais em cada comunidade lingüística e precisam, portanto, ser considerados no contexto do ensino/aprendizagem de segunda língua para estrangeiros por constituírem-se elementos importantes para a comunicação. Este trabalho apresenta, analisa e classifica, conforme critérios estilístico-funcionais, o uso em contexto de um conjunto de vocábulos expressivos onomatopaicos e não onomatopaicos observados no discurso cotidiano informal do eixo Rio-São Paulo durante o período compreendido entre o início do segundo semestre de dois mil e três e maio de dois mil e seis. Com base nas ocorrências que compõem o corpus do trabalho, verifica-se uma grande margem de variação funcional e semântica dos vocábulos expressivos, reflexo da habilidade do brasileiro em lidar com o contexto em um nível elevado de abstração. Verifica-se ainda que esses vocábulos são elementos reveladores de inúmeros aspectos da cultura subjetiva do brasileiro. / [en] Expressive words are marks of cultural identity as they differ among people. They are conventional in each linguistic community and therefore need to be considered in the context of teaching/learning of a second language for foreigners as they constitute important elements of communication. This paper presents, analyses and classifies according to stylistic and functional criteria the contextual use of a set of onomatopoeic and non-onomatopoeic expressive words observed in the daily informal speech of the Rio-São Paulo axis within the period between August, 2003 and May, 2006. From the occurrences that constitute the corpus described in the paper, one can notice a wide range of functional and semantic variation of expressive words reflecting the ability of Brazilian people to cope with context in a high level of abstraction. One can also observe that these words reveal uncountable aspects of the Brazilian subjective culture.

This study examines how the meanings of onomatopoeic phrasal verbs are created and in which register these verbs are most frequently used. Through the study of previous research on the subject qualities of onomatopoeia and phrasal verbs are identified. Based on this a framework for identifying phrasal verbs and categorizing the meanings of onomatopoeic verbs and particles was created. Using the Corpus of Contemporary American English (COCA), a study of concordance lines and frequency in different registers was carried out on 50 onomatopoeic phrasal verbs. These verbs were constructed from ten mono-syllabic onomatopoeic verbs and three opposite pairs of spatial adverbs. The study found that several metaphorical meanings of the onomatopoeic verbs examined were not listed in the Oxford English Dictionary (OED). The meanings of the particles were strongly linked to metaphorical structures.The conclusion of this study was that onomatopoeic verbs possess a flexibility that allows them to create a variety of different meanings. Furthermore, the types of meaning can be categorized after a pattern, although this pattern is often not found in the dictionary. The onomatopoeic phrasal verbs studied were most frequent in the fiction register, more so than other phrasal verbs. Understanding of the metaphorical nature of particles such as up and down is imperative to understand how the meaning of a phrasal verb is created. This should be taken into consideration when teaching English as a second language or creating a dictionary.

The diploma thesis deals with the violin and its usage in teaching music at the elementary school level. The theoretical part presents the history of the violin: from its invention, construction, and subsequent development. The first part also introduces well-known violinists, various techniques employed in playing the violin, and lastly, the violin's connection with folk music. The practical part presents methodological material focused on incorporating the violin into music education at the elementary school level. Methodical material is divided into individual topics. KEYWORDS origin of violin, development of violin, folk music, playing the violin, onomatopoeia, methodology of music education

L’onomatopée et l’interjection qui ont été étudiées de manière approfondie dans le domaine français dès le XVIIIe siècle n’ont fait l’objet que de quelques allusions dans la théorie grammaticale arabe traditionnelle. C’est ce vide que la présente thèse se propose de combler. Il s’agit d’une étude lexicale qui s’insère dans les recherches développant la théorie des matrices et des étymons (TME). Elle comprend deux grandes parties. La première se compose de deux chapitres. Le premier est consacré aux interjections (34 cas) et le second aux onomatopées proprement dites (18 cas). Dans ces deux chapitres, on procède à la manière de Guiraud (1967, chapitre III, « Structures onomatopéiques », ex. la racine T. K.). On extrait de l’interjection ou de l’onomatopée les deux consonnes qui les composent et on les considère comme un étymon dont on suit les diverses réalisations dans le lexique, en veillant toujours à la corrélation phono-sémantique. Il ressort de cette première partie que les racines (au sens traditionnel du terme) émanant d’étymons onomatopéiques sont près de neuf cents.Comme nous avons observé la présence du trait [+strident] dans un bon nombre de ces étymons, nous avons consacré la seconde partie à l’étude d’une nouvelle matrice qui se compose des traits [+strident] et [coronal], corrélés l’invariant notionnel « son, voix, bruit » et ses conséquences ,incluant la peur, le mouvement et ses diverses caractérisations. Cette matrice se réalise dans 69 étymons qui sont disposés par ordre alphabétique. Les réalisations de chaque étymon sont disposées en trois colonnes : le radical où l’étymon se réalise, la référence dans le tableau de l’organisation de l’invariant notionnel, le sens (tel qu’il est donné dans le Kazimirski).Il ressort de cette double étude qu’un immense pan du lexique de l’arabe est motivé, pourvu que l’on situe l’analyse au niveau des traits, la corrélation s’établissant entre le bruit et la définition même du trait de stridence, les sons stridents « se caractérisant acoustiquement par une plus grande quantité de bruit que leurs correspondants non-stridents » (Chomsky et Halle, 1968, p. 166). / Although onomatopoeia and interjections in French have been studied in depth since the 18th century, they have only been alluded to in traditional Arabic grammatical theory. This thesis is intended to remedy this situation with a lexical study applying the Theory of Matrices and Etymons (TME). The thesis is divided into two major sections, the first of which comprises two chapters. The first chapter deals with 34 interjections and the second 18 onomatopoeia. The approach adopted in these first two chapters is that of Guiraud (1967, chapter III devoted to onomatopoeic structures, e.g. the T. K. root). The interjections and onomatopoeia are extracted from the consonants which compose them; these consonants are considered as an etymon the various realisations of which are pursued in the lexicon with constant attention to the phono-semantic correlation. This first part shows that there are nearly nine hundred roots (in the traditional meaning of the term) arising out of the onomatopoeic etymons. Given the presence of the [+strident] feature in a large number of these etymons, the second part of this thesis is devoted to a new matrix comprising the correlated [+strident] and [coronal] features, the notional invariant "sound, voice, noise" and its consequences including fear, movement and its various characteristics. This matrix is realised in 69 etymons ordered alphabetically. The realisations of each etymon are given in three columns: the radical in which the etymon is realised; the reference in the organisational table of the notional invariant; the meaning (as given in Kazimirski).This double study reveals that - provided that the analysis is established at the phonetic feature level - an immense area of the Arabic lexicon is motivated, the correlation between the noise and the very definition of the feature of stridence and strident sounds: "Strident sounds are marked acoustically by greater noisiness than their nonstrident counterparts" (Chomsky et Halle, 1968, p. 329).

Denna uppsats består av en översättning av Abe Kōbōs korta novell Den magiska kritan (魔法のチョーク) från japanska till svenska och en översättningskommentar som främst fokuserar på tre olika kategorier ord eller uttryck som kan vara problematiska vid översättning från japanska. Dessa kategorier är kulturspecifika referenser, onomatopoetiska ord och västerländska lånord. Eftersom Abe Kōbō är en prisbelönt och internationellt erkänd författare och de rådande översättningsnormerna stipulerar att sådana författare bör översättas källtroget har jag valt att försöka arbeta utifrån en adekvansinriktad (källtrogen) översättningsstrategi. Detta innebär bland annat att jag i möjligaste mån försökt överföra författarens stil och hålla mig så nära källtextens betydelse som möjligt utan att måltextens språkbruk blir onaturligt. / This essay consists of a translation from Japanese to Swedish of the short story The Magic Chalk (魔法のチョーク) by Abe Kōbō and an accompanying commentary focusing on three categories of words or expressions that might pose a problem to translators of Japanese. These categories are cultural specific concepts, onomatopoeia and western loanwords. Since Abe Kōbō is an award-winning, internationally acclaimed author and the norm when translating such authors is to be source text oriented, I have chosen to translate using a adequacy-oriented strategy. In other words, I have tried to keep the original author's style and stay true to the source text as much as possible without making the target text sound unnatural.

Den här magisteruppsatsen består av en partiell översättning från japanska till svenska av IMAMURA Natsukos bok Kvinnan i den lila kjolen samt en översättningskommentar med fokus på kulturspecifika kategorier uttryckt i det japanska språket som egocentriciteten och andra kulturspecifika element i den japanska texten, de beskrivande onomatope (onomatopoetiska och mimetiska uttryck), och de västerländska låneordens förskjutningar (shifts) i en översättning. Dessa kategorier kan upplevas som svåra att översätta mellan två språk som ligger långt ifrån varandra. De teoretiska ramarna för uppsatsen lägger tyngdpunkten på riktningsekvivalens (directional equivalence), ett begrepp myntat av Anthony Pym, med fokus på likhet (similarities) i översättningen (Chesterman 1996), tillsammans med den etiska utgångspunkten representationell rättvisa (representational justice), beskrivet av Liu Yameng (2007). De utgör basen för översättningsmetoden och blir ledljus i översättningsval för översättning mellan språk i periferin av varandra. / This essay consists of a partial translation of IMAMURA Natsuko’s book The Woman In The Purple Skirt from Japanese to Swedish, together with a translation commentary focusing on egocentricity and other culture-specific concepts in Japanese texts, the descriptive onomatope (onomatopoetic and mimetic expressions) and the shifts in loanwords from western languages when translated. These categories are prone to cause issues when translating between languages so far removed from each other. The theoretical framework in this essay concentrates on directional equivalence, an expression coined by Anthony Pym, focusing on similarities in translations (Chesterman 1996) together with the ethical starting point representational justice as described by Liu Yameng (2007). These form the base for the translation method and serve as guiding lights in the choices made when translating between languages peripheral to each other.