dc.contributor.author | Gwóźdź, Maja | |
dc.date.accessioned | 2017-06-30T06:06:04Z | |
dc.date.available | 2017-06-30T06:06:04Z | |
dc.date.issued | 2014 | |
dc.identifier.issn | 2353-6098 | |
dc.identifier.uri | http://hdl.handle.net/11089/22045 | |
dc.description.abstract | The article offers a phonosemantic analysis of Angela Carter’s “The Bloody Chamber.” The
phonosemantic investigation has been based on the corpus of nineteen relevant sound-related
descriptions of the sea. Although most excerpts identified contain aural metaphors and are
not phonologically iconic per se, there seem to exist at least three fragments which are
particularly interesting from a phonosemantic point of view. Most notably, phonaesthemes
/gl/, /l/, /r/ have been found to carry substantial meaning contributing to the overall
interpretation of the story in question. Accounting for the inevitable subjectivity concerning
iconicity, and in this case phonological iconicity, a few theories are presented in order to
support the author’s reading of each phonaestheme’s contextual significance. The paper
briefly reviews the chronological development of the field of phonosemantics and then
combines the aural images theory (proposed by Richard Rhodes) with the “aural semiotic
process” theory (the term coined by the author). Each analysis is further supplemented with
scholarly views on respective phonaesthemes. On the whole, the paper does not aim to
polemicize with the well-established definition of a phoneme and its generally accepted
arbitrariness. Nevertheless, it has been observed that a speculative phonosemantic analysis of
a literary work may yield noteworthy results. | pl_PL |
dc.language.iso | en | pl_PL |
dc.publisher | Department of Studies in Drama and Pre-1800 English Literature, University of Łódź | pl_PL |
dc.relation.ispartofseries | Analyses/Rereadings/Theories Journal;2 | |
dc.rights | Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0/pl/ | * |
dc.subject | Angela Carter | pl_PL |
dc.subject | iconicity | pl_PL |
dc.subject | phonaesthemes | pl_PL |
dc.subject | phonosemantics | pl_PL |
dc.subject | “The Bloody Chamber” | pl_PL |
dc.title | Phonaesthetic Phonological Iconicity in Literary Analysis Illustrated by Angela Carter’s “The Bloody Chamber” | pl_PL |
dc.type | Article | pl_PL |
dc.rights.holder | Maja Gwóźdź | pl_PL |
dc.page.number | 1-12 | pl_PL |
dc.contributor.authorAffiliation | Jagiellonian University | pl_PL |
dc.contributor.authorBiographicalnote | Maja Gwóźdź is a BA student at the Jagiellonian University, Cracow. Her academic interests
include mainly diachronic paremiology, phraseology, logico-semiotics, and theoretical linguistics.
Lately, her research (supervised by Prof. Grzegorz Szpila) has also encompassed the role of
music in contemporary literature, paremiostylistics in Martin Amis’s London Fields and the
analysis of the relationship between masculinity and pornography in the aforementioned novel. | pl_PL |
dc.references | Alderson, Simon J. “Iconicity in Literature: Eighteenth- and Nineteenth-Century Prose Writing.” Form Miming Meaning: Iconicity in Language and Literature. Ed. Max Nänny and Olga Fischer. Amsterdam: John Benjamins, 1999. Print. 109-20. | pl_PL |
dc.references | Bacchilega, Cristina. “Sex Slaves and Saints? Resisting Masochism in Angela Carter’s ‘The Bloody Chamber.’” Across the Oceans: Studies from East to West in Honor of Richard K. Seymour. Ed. Irmengard Rauch and Cornelia Niekus Moore. Honolulu: U of Hawaii P, 1995. 77-86. | pl_PL |
dc.references | Berlioz, Hector. “De l’Imitation Musicale.” Revue et Gazette Musicale de Paris 4.1 (1837): 9-11. | pl_PL |
dc.references | Berlioz, Hector. “De l’Imitation Musicale.” Revue et Gazette Musicale de Paris 4.2 (1837): 15-17. | pl_PL |
dc.references | Bloomfield, Leonard. “Semasiological Differentiation in Germanic Secondary Ablaut.” Modern Philology 7.2 (1909): 245-88. | pl_PL |
dc.references | Bolinger, Dwight L. “The Sign Is Not Arbitrary.” Boletín del Instituto Caro y Cuervo. 5 (1949): 52-62. Centro Virtual Cervantes. Web. 2 Sept. 2014. | pl_PL |
dc.references | Carter, Angela, perf. “Angela Carter’s Curious Room.” Omnibus, dir. Kim Evans. BBC Television, 1992. DVD. | pl_PL |
dc.references | Carter, Angela. “The Bloody Chamber.” The Bloody Chamber and Other Stories. 1979. London: Vintage Books, 2006. Print. | pl_PL |
dc.references | Colapietro, Vincent. “Literary Practices and Imaginative Possibilities: Toward a Pragmatic Understanding of Iconicity.” Jac Conradie et al. Signergy. Amsterdam: John Benjamins, 2010. Print. 23-45. | pl_PL |
dc.references | De Cuypere, Ludovic. Limiting the Iconic: From the Metatheoretical Foundations to the Creative Possibilities of Iconicity in Language. Amsterdam: John Benjamins, 2008. Print. | pl_PL |
dc.references | Elleström, Lars. “Iconicity as Meaning Miming Meaning and Meaning Miming Form.” Jac Conradie et al. Signergy. Amsterdam: John Benjamins, 2010. Print. 73-100. | pl_PL |
dc.references | Fischer, Andreas. “What, if Anything, is Phonological Iconicity?” Form Miming Meaning: Iconicity in Language and Literature. Ed. Max Nänny and Olga Fischer. Amsterdam: John Benjamins, 1999. Print. 123-34. | pl_PL |
dc.references | Anderson, Earl R. “Old English Poetic Texts and Their Latin Sources: Iconicity in Cædmon’s Hymn and The Phoenix.” The Motivated Sign. Ed. Olga Fischer and Max Nänny. Amsterdam: John Benjamins, 2001. Print. 109-32. | pl_PL |
dc.references | Fischer, Olga and Max Nänny. “Introduction: Iconicity as a Creative Force in Language Use.” Form Miming Meaning: Iconicity in Language and Literature. Ed. Max Nänny and Olga Fischer. Amsterdam: John Benjamins, 1999. Print. xv-xxxvi. | pl_PL |
dc.references | Fischer, Olga and Max Nänny, eds. The Motivated Sign: Iconicity in Language and Literature 2. Amsterdam/ Philadelphia: John Benjamins, 2001. Print. | pl_PL |
dc.references | Hinton, Leanne, Johanna Nichols, and John L. Ohala, eds. Sound Symbolism. Cambridge: Cambridge UP, 1994. Print. | pl_PL |
dc.references | Hinton, Leanne, Johanna Nichols, and John L. Ohala. “Introduction: Sound-Symbolic Processes.” Sound Symbolism. Ed. Leanne Hinton, Johanna Nichols, and John L. Ohala. Cambridge: Cambridge UP, 1994. Print. 1-14. | pl_PL |
dc.references | Jakobson, Roman. Six Lectures on Sound and Meaning. Trans. John Mepham. London: The MIT Press, 1978. Print. | pl_PL |
dc.references | Lawler, John M. “Women, Men, and Bristly Things: The Phonosemantics of the BR- Assonance in English.” Michigan Working Papers in Linguistics. 1.1 (1990): 27-43. Print. | pl_PL |
dc.references | Ljungberg, Christina. “Iconic Dimensions in Margaret Atwood’s Poetry and Prose.” The Motivated Sign. Ed. Olga Fischer and Max Nänny. Amsterdam: John Benjamins, 2001. Print. 351-66. | pl_PL |
dc.references | Magnus, Margaret H. What’s in a Word? Studies in Phonosemantics. Diss. Kirksville: Truman State UP, 2001. E-book. | pl_PL |
dc.references | Manley, Kathleen E.B. “The Woman in Process in Angela Carter’s ‘The Bloody Chamber.’” Marvels&Tales 12.1 (1998): 71-81. JSTOR. Web. 2 Sept. 2014. | pl_PL |
dc.references | Miller, D. Gary. “Sound Symbolism.” English Lexicogenesis. Oxford: OUP, 2014. 154-72. Ebook. | pl_PL |
dc.references | Nänny, Max and Olga Fischer, eds. Form Miming Meaning: Iconicity in Language and Literature. Amsterdam: John Benjamins, 1999. Print. | pl_PL |
dc.references | Nöth, Winfred. “Icon and Iconicity.” Handbook of Semiotics. Bloomington: Indiana UP, 1995. 121-27. Print. | pl_PL |
dc.references | Nöth, Winfred. “Semiotic Foundations of Iconicity in Language and Literature.” The Motivated Sign. Ed. Olga Fischer and Max Nänny. Amsterdam: John Benjamins, 2001. Print. 17-28. | pl_PL |
dc.references | Pope, Alexander. An Essay on Criticism. London: W. Lewis, 1711. Project Gutenberg. Web. 5 Sept. 2014. | pl_PL |
dc.references | Rhodes, Richard. “Aural Images.” Sound Symbolism. Ed. Leanne Hinton, Johanna Nichols, and John L. Ohala. Cambridge: Cambridge UP, 1994. Print. 276-92. | pl_PL |
dc.references | Rhodes, Richard and John M. Lawler. “Athematic Metaphors.” Papers from the 17th Regional Meeting of the Chicago Linguistic Society. Ed. R Hendrick et al. Chicago: Chicago Linguistic Society, 1981. 318-42. Print. | pl_PL |
dc.references | Sadowski, Piotr. “The Sound as an Echo to the Sense: The Iconicity of English gl- Words.” The Motivated Sign. Ed. Olga Fischer and Max Nänny. Amsterdam: John Benjamins, 2001. Print. 69-88. | pl_PL |
dc.references | Smith, Imogen. “False Names, Demonstratives and the Refutation of Linguistic Naturalism in Plato’s ‘Cratylus’ 427d1-431c3.” Phronesis 53.2 (2008): 125-51. Academic Search Premier. Web. 1 Sept. 2014. | pl_PL |
dc.references | Waugh, Linda R. “Degrees of Iconicity in the Lexicon.” Journal of Pragmatics 22 (1994): 55-70. Print. | pl_PL |
dc.references | Webster, Michael. “‘singing is silence’: Being and Nothing in the Visual Poetry of E. E. Cummings.” Form Miming Meaning: Iconicity in Language and Literature. Ed. Max Nänny and Olga Fischer. Amsterdam: John Benjamins, 1999. Print. 199-214. | pl_PL |
dc.references | White, John J. “On Semiotic Interplay: Forms of Creative Interaction Between Iconicity and Indexicality in Twentieth-Century Literature.” Form Miming Meaning: Iconicity in Language and Literature. Ed. Max Nänny and Olga Fischer. Amsterdam: John Benjamins, 1999. Print. 83-108. | pl_PL |
dc.references | Bergen, Benjamin K. “The Psychological Reality of Phonaesthemes.” Language. 80.2 (2004): 290-311. Project Muse. Web. 2 Sept. 2014. | pl_PL |
dc.relation.volume | 2 | pl_PL |