This mixed-method study investigated the correlation of sound symbolic associations with age and gender by analyzing data from a national survey of 292 American English speakers. Subjects used 10 semantic differential scales to rate six artificial brand names that targeted five phonemes. Subjects also described the potential products they imagined these artificial brand names to represent. Quantitative analysis alone provided insufficient evidence to conclude that age or gender affect sound symbolism in American English. While 26 out of 60 scales showed a monotonic shift among the means of the three age groups, only three were statistically significant. The evidence of differences between genders was similarly weak; only five scales out of 60 showed a statistically significant difference when comparing genders. Analysis of the qualitative data, however, suggested both monotonic generational shifts as well as generational blips in sound-symbolic associations. Of particular interest is the possible influence of pop culture, fashions, and fads, and society's shifting focus from broadcast to narrowcast media. The implications of this research are relevant for both theory (empirical evidence for iconicity in language) and application (e.g., devising brand names that communicate particular attributes to specific demographics).

No description available.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 340-373).

Bakgrund: Vikten av att välja ett varumärkesnamn är stor. I marknadsföringslitteraturen finns det riktlinjer kring hur ett bra namn ska vara. Trots detta finns det ingen klarhet i hur riktlinjerna bör användas eller hur ett varumärkesnamnförslag faktiskt genereras. Problemformulering: Hur genereras ett meningsfullt och minnesvärt varumärkesnamn? Syfte: Att öka förståelsen för hur ett meningsfullt och minnesvärt varumärkesnamn kan genereras, genom att en namngenereringsmodell presenteras och utvärderas. Avgränsning: Rapporten avgränsas från teori som handlar om att sammankoppla flera varumärken som exempelvis teorier kring varumärkesutvidgning och varumärkesportfölj behandlar.   Metod: En deduktivforskningsdesign grundad på teorier kopplat till namngivning, vilka hämtades från både marknadsföringslitteratur och språkvetenskapslitteratur, och sedan samanställdes i en egen skapad modell. För att kunna testa teorin gjordes kvalitativa intervjuer med fyra respondenter som alla hade utfört varumärkesnamngivning, varav två med titeln namngivningskonsult. Slutsats: Modellen kan summeras vid att det finns två sträckor att ta sig över, den första ger fokus vid generering av betydelsefulla begrepp. På mitten av första sträckan finns delen semantisk mening innehållande en mängd underpunkter som kan användas för att generera betydelsefulla ord. Den andra sträckan ger fokus vid att modifiera begreppen för att skapa ett särskiljande namnförslag. På mitten av den andra sträckan finns delarna ljudsymbolism och minnesvärdhet, vilka innehåller sina egna underpunkter, som kan användas för att modifiera betydelseorden till förslag på varumärkesnamn på ett meningsfullt och minnesvärt sätt. De flesta punkterna inom delarna kan bekräftas men det finns vissa tveksamheter och kritiska punkter. / Background: The choice of a brand name is important. In the marketing literature there are guidelines to follow when creating a name, but it’s not clear how they shall be used.  Research question: How can a meaningful and memorable brand name be created? Purpose: To increase the understanding of how a meaningful and memorable brand name can be generated, by presentation and evaluation of a model for brand name creation.  Delimitations: The report does not take theories that involve linking brand names together, such as brand extension and brand portfolio, into account. Methodology: A deductive research design were an own brand name generation model, which was created and combined by theories from marketing literature and linguistics literature, was tested. Qualitative interviews were conducted with four respondents which all had experience from naming brands, which of two were naming consultants. The model was then tested against the data. Conclusion: The model can be summed up with two sections to cross, the first focuses on generating meaningful concepts. In the middle of the first section there is a step called semantic meaning, which contains a list of points that can be used to generate significant words. The second section provides focus on modifying concepts to generate distinctive name suggestions. In the middle of this second section there are two different steps, which are sound symbolism and memorability, with each have there own list with points which can be used to modify the meaningful concepts to brand name proposals. Most points can be confirmed in the test, but there are also some critical steps and points.

No description available.

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1998. / Abstract and vita. Includes bibliographical references (leaves 225-239).

Thesis--Lund. / Extra t.p. with thesis statement inserted. Includes bibliographical references (p. 218-227) and index.

This dissertation consists of a novel, The Buddha on Page 13 and a dissertation of limited extent, "Buddhist symbolism and metaphoric, and the perception of sin, guilt and punishment in The Buddha on Page 13." In the dissertation of limited extent the role that guilt plays in the motivation of an individual's actions is investigated. The Christian and Buddhist views of sin are compared, and the conclusion is made that neither Christianity nor Buddhism can explain why mankind experiences the feeling of guilt. The central character, Toit Brink, finally accepts this "so-ness" of things: "thathatha". The dissertation explains how the style of the text wishes to be neutral, and how this neutrality is harnessed for Buddhist reasons. The Buddhist element in the novel's symbolism and metaphoric is illuminated, as well as the apparent contradiction of some of the metaphors. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

D. Litt. et Phil. (German) / Conrad Ferdinand Meyer is, on the grounds of his stories, counted among the Realists in German literature, whilst many have also discovered symbolistic elements in his poetry. The questions upon which this thesis is based are, firstly, on how far the apparently merely realistic events and descriptions in Meyer's stories (most of which are based on historic facts) are of a metaphoric or symbolistic nature and, secondly, what can, as a result of this, be said about Meyer’s view of life and the human condition. In the Introduction certain aspects of the wide field of research on the concept of the ‘symbol’ , are raised, as well as the differences between 'metaphors' and ‘symbols’ pointed out. The larger part of this work is concerned with the detailed analysis of metaphors and symbols in three of Meyer's stories, "Das Amulett", "Der Heilige" and “Angela Borgia”. As the three stories comprise the whole of the poet’s creative life, possible variations and developments in his use of metaphors and symbols can be pointed out. By analysing them within the context of the individual story, the danger of destroying the unity of the work is avoided. The careful analysis of the stories showed that despite their richness and variety, there are certain spheres from which the poet time and again takes his metaphors. The most important of these are: nature, colours, art, mythology and Christian symbolism. Many of these metaphors are used mainly for the characterization of people, or to emphasize or relate certain events and situations, but the majority can be called symbols, as they show certain aspects of Meyer's view of life as a whole: the idea of the world as a stage, the conflict of reality and pretence, the basic ambiguity of all things, the close relation of life and death, the aspect of hunters and hunted and the depiction of the world mainly as an inner and outer hell in which paradise has but a very small room. The metaphoric richness in "Angela Borgia" compared to “Das Amulett” has increased largely, but nevertheless one cannot speak of a gradual increase throughout Meyer's creative life. In conclusion, certain aspects of Meyer's position within his own time have been outlined. In contrast to Romantic works in German literature one does not find unrealistic descriptions in Meyer's prose works - for this he can be called a 'Realist'. Yet the metaphoric and symbolic qualities of his work may be stronger than in that of the other Realists, although he has little in common with either the Naturalists or the Symbolists or the l'art pour l'art movement. 'Realistic' art is to Meyer the depiction of the ambiguity and suffering which characterize human life, but he still sees an ideal in humane behaviour and compassion which can bring about a certain redemption in a basically Christian sense.

Sigurd Agrell published six volumes of melancholic and highly stylised poetry between 1903 and 1912, and has since then been largely ignored in 20th century Swedish literary history. His writing shows influences from decadence and symbolism, and his frequent use of the sonnet, as well as other metrical devices, also connects him to an older tradition. In this essay I examine what tradition he belongs to, and in what ways his verse fits in with other writers of the turn of the last century. I analyse poems by Sigurd Agrell in order to identify what themes, motifs and literary techniques he shares with contemopary poets, and in what ways he differs from them. We will see that while Agrell shares many traits with the symbolist movement, he also stands out in certain important respects.