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N 'ҩC5|W>yqҽRH-)6au\ Vv7F}wP4I,j"kcJtY{έb4L~Л.X/_q:~v[.[ޙ7v1k{Aܛѓh]Y>4߯7>:zAs nh1"b^~a1buQFkh{X^z7U/{R6Ȼ|8oNAdIm%V_+~b&tIENDB`n T҉ܗRPNG  IHDR$abKGD#2 cmPPJCmp0712OmbIDAThڽn6p!Fz0%Qm$[!Ch(rG{淸mq#NK2_:\Mo1WaDկ"-<-fYjנ;Wl) kM܎6Pn ,$c{V}1KRkyF#%lÆ>,̰35#f,RrVv]5+Ka XP!3F,ˠKV=)6anbe'ڹڱl%æF] ^?U<>aQqY܎tXk)Υ2=B8<_*JI/!*x^\Q`Jʊ8/ qqz,qVf 3p .FUSFysѬ~):CWcfނ+V,+]0{"13hJv[L,leE2(]fB {2C>;}{if+ica6U^\kcu<#^Twtf/fn_lO/n+lWت EA +fi٧؃MٗكyՇjd߭͢29f<#X=,̉6(jۢS--c܅35EqEޢm]9󪬾P%Wg˴م~42,4/T_X /  :в4An95N1Ak*O5ac1A9lu;muE2蹴e1V6 jXӇkE9oŰep zmVP22$ {O;tN{aig'(hڑM}?j7 'v߿Κnwqڻ^t{uҸ&ˎ/;ۤY~=>ghcΰe|=$++uHIENDB`f|( 1/ 0DArial0<ȷȷԳ0 0DTimes New RomanȷȷԳ0 0 DWingdingsRomanȷȷԳ0 0   @n?" dd@  @@`` 7&      !"' &%?b$zS)ք ד@b$*R t8}#b$ T҉ܗR: 0AA 3@g4OdOd 0r 2ppp@  <4BdBdȷȷ<4!d!dȷȷg4;d;d 0Bp@ pp80___PPT10 ?  %O =8u+'=Applying Concepts from Cognitive Linguistics to Your Conlang>>6 Overview  tWhat this presentation will cover Why you should know about cognitive linguistics Specific concepts with implications for conlanging: What this presentation will not cover Detailed introduction to cognitive linguistics theory Aspects of cognitive linguistics not immediately applicable to conlanging History & Basic Premises of Cognitive Linguistics available in handout"d&G"c &       G ,z  I Why You Should Know About It:Obtain deeper understanding of sub-conscious and semi-conscious structures of language Better ability to avoid inadvertently creating language structures which covertly parallel English (or your native language s) structures Opens up a whole new level of creativity in conlang design  Spatial Conceptualization3yThrough sensory perception, bodily movement, and tactile interaction, infants learn to understand spatial relationships This pre-linguistic, fundamental knowledge of space, motion, and the senses becomes the foundation for structuring and understanding more abstract conceptual domains Spatial relationships are understood in terms of landmarks, trajectors, and image schemasrzZQ  \  Spatial Conceptualization3Landmark: entity with respect to which some other entity moves Trajector: entity that moves with respect to a (relatively) stationary landmark Image Schema:  a recurring, dynamic pattern of our perceptual interactions and motor programs (Mark Johnson, 1987) i.e., an image schema is a generalized, primitive mental abstraction used in reasoning to associate percepts with conceptsv 4 D P{@ 9  Landmarks and Trajectors3 {English prepositions dependent on landmark vs. trajector distinction 1a) I put my foot in(to) the stirrup. 1b) ?? I put my finger in(to) the ring. 2a) ?? I put the stirrup on my foot. 2b) I put the ring on my finger. 3a) I screwed the bulb into the socket. 3b) ?? I screwed the jar into the lid. 4a) ?? I screwed the socket onto the bulb. 4b) I screwed the lid onto the jar.,E7!E7>/  &  Image Schemas3bCommon image schemas: CONTAINER BALANCE COMPULSION BLOCKAGE COUNTERFORCE RESTRAINT REMOVAL ENABLEMENT ATTRACTION MASS-COUNT PATH LINK CYCLE NEAR-FAR CENTER-PERIPHERY SCALE PART-WHOLE MERGING SPLITTING FULL-EMPTY MATCHING ITERATION CONTACT SUPERIMPOSITION PROCESS SURFACE OBJECT COLLECTION SOURCE GOAL The above schemas  map in various combinatory ways to specific prepositions, phrases, and other words in a language, e.g., English  in = CONTAINER + CENTER-PERIPHERY (+ FULL-EMPTY);  on = SURFACE+CONTACT (+ CENTER-PERIPHERY)+COUNTERFORCEbZ+!8ZZ-5  Image Schemas3\Help to explain seemingly contradictory or counter-intuitive usages of prepositions and particles, e.g.,  out : 1a) The sun is out. The sun came out. 1b) The light is out. The fire went out. 2a) Tom filled in the form. 2b) Tom filled out the form. 3a) The student dropped in this afternoon. 3b) The student dropped out this afternoon. 4a) A big crowd turned up for the rally. 4b) A big crowd turned out for the rally. ~p?!p #    *Image Schemas:  out 3 *Image Schemas:  out 3Examples similar to  the sun is/came out : The news is out. The secret is out. She spoke out. It turned out OK. I ve sorted it out.*,Y,YImage Schemas & Conlanging3 Seemingly arbitrary usages of prepositions and particles now explicable 5a) Tom filled in the form. [CONTAINER schema] ( = form seen as set of containers being filled) 5b) Tom filled out the form. [ADDITIVE schema] ( = form seen as growing in size by adding information) H!H  2   8Image Schemas & Conlanging3 So, should my conlang s speakers say: fill  in a form (CONTAINER + FULL/EMPTY schema), or fill  out a form (ADDITIVE schema) or some other schema(s) entirely? Spots  on or  in a vase? How about  of a vase? Wrinkles  on or  in her skin? How about  at her skin? Bubbles  on or  at the surface? How about  in ? Pictures hanging  on or  from the wall?  Off the wall? Determine what schema combinations can apply to various spatial and motion contexts, and how they map to your spatial-temporal lexemes t(]$ 3  , xvImage Schemas & Conlanging3 Representing schemas morphologically: While image schemas are cognitively universal, the mapping to morphemes/lexemes or morpho-syntactic constructions is language-specific. The resulting morphological constructions and/or lexemes are then extended to apply to non-spatial, even abstract concepts. What limitations or rules should you allow for such extensions? E.g.,  on time ,  in agony,  that milk is off ,  my skills are at a new level How about being  under love ,  against agony or  with time ?&&N   y|&"Image Schemas & Conlanging3 Consider (con-)cultural influences e.g., the CONTAINER schema Baskets, the standard container observed by Zapotec infants, are used equally to cover things up as they are to put things in. Zapotec speakers equate semantic containment with both  in and  under lexico-morphology. For alien, non-humanoid conlangs/concultures: Different sensory array/organs, different bodily symmetry/appendages entail totally different image schemas Beware of Terran schemas!#0#$  Q : /l      bjLA&| Construal: IconicityDifferent word order = different construals Distance Iconicity, e.g. ditransitive versus complement construction for indirect objects distinguishes recipient from directional goal Resultative iconicity: 10a) Sam painted the white fence. 10b) Sam painted the fence white. Sequential order iconicity, e.g., 11a) Eye it, try it, buy it. 11b) Buy it, eye it, try it. 12a) Jane got married and had a baby. 12b) Jane had a baby and got married.,F!"@!N,v            >!  c -)Construal: Iconicity$Application to Conlanging& Examine your syntax! Have you inadvertently borrowed English (or your native language s) iconicity patterns? Consider to what extent these patterns are universal and may be applied anyway Consider morphology-based substitutes (e.g., resultative case or recipient-vs.-goal marking) Consider substituting different word-order patterns or different pitch/tone/prosodic features&xx,   Construal: PerspectiveSame situation described from two different perspectives = different meanings, e.g., 13a) The path descends steeply into the valley. 13b) The path climbs steeply out of the valley. 14a) John bought the car from Mary. 14b) Mary sold the car to John. 15a) The pen is on the table. 15b) ??The table is under the pen. Sentence 15b implies pragmatic experience impacts semantic acceptability despite syntactical acceptabilityUV!U))o.*Construal: Perspective0Application to Conlanging& Consider how/whether to formally represent perspective morpho-syntactically Different verbal voice?  Perspectivizer affixes or particles? Prosodic changes? Lexicon? Remember how perspective can work with image schemas and spatial conceptualization, e.g., The sun is out versus The fire is out Alien conlangs: why stop at binary perspective? Why not let tables be under pens? N~VP 9)FConceptual MetaphorLakoff & Johnson (1980): Metaphors We Live By Human beings structure their understanding of their experiences in the world via  conceptual metaphors derived from basic sensorimotor and spatial concepts learned during infancy and early childhood. Learned via interaction with external environment. The process is largely subconscious. These simpler, more basic concepts are used as a framework for conceptualizing more abstract experiences and situations. Examples in Handout2/$ )Conceptual MetaphorSBased on body symmetry/orientation, sensorimotor interaction, proprioception and emotional experience, we come to metaphorically conceive of ourselves and others as more UP than DOWN more FRONT than BACK more ACTIVE than PASSIVE more GOOD than BAD more HERE than THERE more NOW than THEN Implications for non-humanoid con-cultures/ langs<|2|2>$ Conceptual MetaphoruMost conceptual metaphors are specific instances of more general metaphors: STATES ARE LOCATIONS CHANGES ARE MOVEMENTS CAUSES ARE FORCES ACTIONS ARE SELF-PROPELLED MOVEMENTS PURPOSES ARE DESTINATIONS ACTION IS DIRECTED MOTION Conceptual metaphor not only impacts speech but also how we think about situations. They are a powerful rhetorical device for social manipulation.:LL Conceptual Metaphor & Conlanging!!( BWhen translating, find the English conceptual metaphors. Decide whether to adopt, substitute, or avoid them entirely. Any domain of experience which can be cognitively mapped onto another logically is fair game. Don t violate pre-linguistic bodily-based metaphors arbitrarily (UP, FRONT, ACTIVE, GOOD, HERE, NOW). On the other hand, if your speakers are non-humanoid, you should rethink your bodily-based metaphors.0"i0+ Conceptual Metaphor & Conlanging!!( Think up metaphors whose underlying conceptual logic matches your con-culture or the psyche of your speakers, e.g., LOVE IS DANCING LOVE IS DEFUSING A BOMB MEMORIES ARE DISEASES GOD IS THE SEA THE FAMILY IS A JUNGLE LOVE IS A SCHOOL THE FUTURE IS A JESTER LIFE IS MUSIC A PROJECT IS A PREGNANCY LIFE IS WAR SEX IS ART EMOTIONS ARE ZOO ANIMALS SEX IS WEATHER THE MIND IS A LIVING BODY SEEING IS EATING COMMERCE IS SEDUCTION CRIME IS A CIRCUS ANGER IS A HOSPITALBvd!s dCategorization & PrototypesHuman categorization schemes are arbitrary Human categorization criteria based on  fuzzy logic, not classical set theory Categorization schemes utilize  prototypes  membership is relative to a  best example Radial categories: No single prototype; no single member contains all attributes of the set, e.g., Wittgenstein s  spiel (game) Examples:  furniture ,  fruit,  tall vs.  short @F4Categorization & Prototypes Categorization & PrototypesImplications for Conlangers What will be the semantic range of a particular morphological category? E.g., should my DIMINUTIVE cover the areas of size, endearment, scale, intensity, temporal brevity, and bodily impact as in Romance languages? What about a different semantic range? E.g.,  speak + DIMINUTIVE =  to speak inanities or  speak + DIMINUTIVE =  to lie; tell a falsehood fX    h"Categorization & PrototypesImplications for Conlangers Consider whether the particular worldview or psychology of your con-culture warrants different categorization boundaries/constraints Go beyond mere differences in common semantic areas (e.g., color categorization); consider realms such as: Verb tenses or aspects (e.g., circular time, phases) Lexical classes (e.g., gender, declensions, etc.) Syntactic relations / semantic roles / noun cases Lexico-semantic taxonomies L, $!Frame Semantics3The subconscious  meaning of a given word goes well beyond its dictionary definition Most words are associated with a culture-specific frame, an archetypical context or default mental  model that provides immediate access to/recognition of pre-ordained related concepts and lexemes, e.g.,  EAT subconsciously entails food, silverware, kitchens, cooking utensils, ovens, cups and plates, packages, jars and cans, restaurants, menus, desserts, even abstract concepts such as hunger, famine, nutrition, etc. The subconscious frame helps determine semantic acceptability, e.g. *The rock ate the candy bar.l^{!K'#Frame Semantics3Frames demonstrate that meanings of words are not feature-based, e.g., are the following persons bachelors? = [+MALE] [+ADULT][-MARRIED] The Pope Tarzan A man living with his longtime girlfriend A gay man living with his longtime boyfriend Frames connote an entire network of cultural information  excellent opportunity for integration with your concultureJhvnhv^ ($Frame Semantics3Frames involve interactional properties not inherent within the word itself, e.g.  fake +  gun Must look like a real gun (you can t use a dish-towel as a  fake gun ), i.e.,  fake preserves a perceptual property Purpose must allow it to be handled like a real gun (e.g., as threat), i.e.  fake preserves a motor-activity property Must serve some purposes of a real gun (e.g., threat, for display), i.e.  fake preserves a purposive property It can t shoot bullets, i.e.,  fake negates the primary functional property It cannot have once been real (a broken gun is not a  fake gun ), i.e., it negates a historical propertya  6a if C _   V)%Frame Semantics3XThese interactional properties  emerge from the juxtaposition of  fake +  gun These five properties (perceptual, motor-activity, purposive, functional, and historical) operate as an experiential gestalt Another example:  KILLING entails& CAUSE OF DEATH, INSTRUMENT, METHOD, PERPETRATOR, VICTIM, DEGREE, MANNER, PLACE, PURPOSE, REASON, RESULT Frames for English listed on FrameNet website http://framenet.icsi.berkeley.edu/iQh2  g.#> f*&Frame Semantics & Conlanging3 Determine scope of each word s frame Should it parallel English? 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