Ideophones,*gaze,*&*facial*expression�

NINJAL&Int’l&Symposium&2016:&Mimetics&in&Japanese&&&Other&Languages&of&the&World&12/18/2016�

Kimi&Akita&(ĩ�Ńĝ)&Nagoya&U&(Ïćç�®)/NINJAL�

!A*preliminary*report*from*Japanese" �[ksiq�Ăö�°Ô���ĉ(OCæð�ÄÝ�

RQ�

•  Is&ideophone&utterance&correlated&with&the&speaker’s&gaze*behavior&&&facial*expression?&How?&(Irit&Meir,&p.c.)&([ksiq�ÁDÁ�C64M,.>¬�4Q(�)&

#&•  Quantitative&analysis&using&a&multimodal&corpus&of&spoken&Japanese&(��ĉ6><_�ncANQĐ�ÍÜ)&

��

(ÍÜČÃ) �Ideophones&&&faces �

•  “…&many&speakers&cannot&find&exact&paraphrases&and&prefer&to&repeat&the&ideophone&with&a&more&distinct&elocution,&accompanied&by&facial*expressions*and&body&gestures&if&appropriate.”&(Diffloth&1972:&441)&([ksiqC¶ĬTą 15Q>��3[ksiqTNPD:*P>27Á2�=ŋPÿ2�,.MāġPT;-Q)&

•  “In&Kisi&the&ideophone&kpiini%kpiini&‘stinky’&is&accompanied&by&a*crinkling*of*the*nose,&as&is&the&Venda&ideophone&thuu&‘smelling&horribly’”&(Childs&1994:&196)&(�ů$�T¶Ĭ4Q[ksiqT�4QÎ�C�D�;��) �

•  “From&the&sequential&context,&the&gestures,&and&the&facial*expression*of&the&storyteller&it&appears&that&walayayayaya&depicts&the&dramatic&scene&of&the&boiling&water&pouring&down&on&the&protagonist[’]s&skin,&…”&(Dingemanse&2011:&332)&(âŮ�āġP�ĉP�C,.(O2<�walayayayaya>$%aYĉC[ksiqD�ŴŬ27ÂT�CũŲAĈ,ţ�@�ÛTŧĖ4QN%)&

��(emphasis&added)�

([ksiq>ł) �

Road&map �

•  §1: &Previous&studies&(Ì�ĎĠ)&•  §2:&Methods&(�¢)&•  §3:&Results&&&discussion&(Ðá�Ùĥ)&•  §4:&Conclusions&(Ðî) �

��

(¦Ø) �

1.*PREVIOUS*STUDIES �

Ì�ĎĠ�nyÇĉéŝ�

��

Depiction&model�

•  2&modes&of&representation/signification&��

(cf.&Diffloth&1972;&Clark&&&Gerrig&1990;&Kita&1997;&Güldemann&2008:&Ch.&4)�

•  Demonstration&•  Performance�•  Mimesis&•  (Re)enactment& (ŧĖuh{) �

(2;C¶Ĭu�j) �

Depiction*(B8)*•  Pictures&(Ţ)&•  Iconic&gestures&(ŅŜ�āġP)&•  Reported&discourse&(¿«)&•  Ideophones&([ksiq)&&&$  Imagistic&(Xt�b�)&$  Gradient&markings&(ª¼�)&$  Basically&iconic&(ķŜ�)&$  “Imagine”&to&interpret&(ĔŜ�) �

Description*(/:)*•  Prosaic&words&(�ņĉ)&&&&&&$  Propositional&(ĕÃ�)&$  Discrete&symbols&(īŎ�)&$  Basically&arbitrary&(Ÿ¶�)&$  “Decode”&to&interpret&(Óő�) �

A&cloud&is&hiding&the&sun.&(ēŒ)ŤAŞR<$Q) �

�

(Dingemanse&2011,&2015) �

Paralinguistic&features&accompanying&ideophones�

% �levtevA�

% �j�~>�

•  Intonational&foregrounding�

•  Phonational&foregrounding�

•  Iconic&gesture �•  Gaze �

•  Facial&expression�

�

Accepted & to appear in Journal of Linguistics

9

breathy voice, stiff voice, falsetto, voicelessness, or whisper. Thus in (3a), pa:t-to   is  pronounced  as   [pḁ:t:o],  with  voiceless  phonation. In (3b), gu:t-to   is  pronounced  as   [gu̬:t:o],  with stiff voice, i.e., with the glottal opening narrower than normal.

(3) a. Mo: bik:ɯɾi-ʃi-te haʃit-te waŋko-no kɯsaɾi-o hodoi-te just IDPH-do-CONJ run-CONJ doggie-GEN chain-ACC untie-CONJ ‘O-ie-jo’ -t:e waŋko-ni it-taɾa pa:t-to [pḁ:t:o] POL-house-SFP-QUOT doggie-DAT say-when IDPH.VL.VOICELESS-QUOT hait-te. enter-CONJ

‘[I]  was  astonished  and  ran,  untying  the  doggie’s  chain  and  saying  to  the  doggie,  “House,  boy,”  and  then  [it]  entered  [the  house]  with a rush.’  (D0007010008)

b. … mo: akiɾaka-ni nagaɾe-ga gɯ:t-to [gɯ̬:t:o] mata just obviously flow-NOM IDPH.VL.STIFF-QUOT again kotʃ:i-no ho:-ni hiɾogat-te  … over.here-GEN direction-DAT spread-CONJ

‘…  obviously,  the  flow  spread  far and wide over  here  again,  and  …’   (D0007010092)

Expressive morphology refers to special morphological processes applying commonly to

ideophones and rarely to ordinary words, such as reduplication and lengthening (Zwicky and Pullum 1987).3 Languages differ in the types of expressive morphology they make available. In Japanese, we find various types of stem repetition, partial multiplication, emphatic mora augmentation, vowel lengthening, and gemination (Hamano 1998; Nasu 2002; Akita 2009). For instance, the ideophone don ‘bam’   can   undergo   various   processes   of   expressive  morphology, from vowel lengthening (do:n) to partial multiplication (dododon) to stem repetition (don-don-don) (Akita 2009:36).

The following excerpt from the corpus contains expressivised forms of the ideophones jɯk:ɯɾi ‘slow’  and  gat(-to) ‘rattling’.  The  former  illustrates  vowel  lengthening,  and  the  latter  illustrates partial multiplication.4 Full stem repetition is shown in (2a) above.

3 Zwicky and Pullum (1987) have used the special behaviour of ideophones to argue that expressive morphology   “constitutes  a  phenomenon   that   is  not  within   the  province  of  grammar  as  ordinarily  understood”  (1987:338). Here, we aim to show that while ideophones are sometimes grammatically peripheral, they nonetheless partake in the morphosyntactic structure of utterances; and it is precisely the fact that they do so to varying degrees that allows us to investigate the inverse relation between expressiveness and grammatical integration. 4 Additionally, gagagagagagagat-to is pronounced at a distinctly slower speech rate than the surrounding words, suggesting another possible type of prosodic foregrounding. Though we do not consider speech rate in a systematic way here, it may be another sign of the depictive use of speech (Childs 1994).

([ksiqAŗ%nyÇĉéŝ) �

(ʼnŦANQ�Ā¨) �

(�ý¢ANQ�Ā¨) �

(ŅŜ�āġP) �

(baan%te&‘bang’)�

(Ăö) �

(°Ô) �

(hatyametya%ni&‘topsynturvy’)�

(doon%to&‘bang’)�

Expressive/depictive*features*(Dingemanse*&*Akita*2016)*(,%�B81A) �

m�~<�

Expressiveness/depiction&×&morphosyntactic&integration�

•  & a. &Į)�[G!�#�#��!]*>�:<…&& &Hune%ga &�guruguruut�%to& &mawat%te&& &shipnNOM&&&&&&IDPH & & &nQUOT &spinnCONJ&& &‘The&ship&spun&[G*around)and)around]…’&

(nonRpredicative;&D0007010180)&&b. &…ÆCĴPT�#�#<7O…&& &…&Ie%no& & & &mawari%o& &guruguru*si%te%tara…&& & &housenGEN &aroundnACC &IDPHndonCONJnwhen&& &‘…when&[I]&was&walking)around)the&house…’&

(predicative;&D0007010150) �

��(Dingemanse*&*Akita*2016;&Dingemanse&2011,&2017;&see&also&Kunene&1965;&Samarin&1971;&Childs&1994;&Nuckolls&1996;&Kita&1997;&Son&2010;&Dingemanse&2013) �

(°�¹�ŧĖ¹>ęúõĉ�õ�¹) �Facial&expression! �

•  Indexical&(Éı±ß)&–  “The&face&is&the&key&to&understanding&emotion,&and&

emotion&is&the&key&to&understanding&the&face.”&(Russell&&&FernándeznDols&1997:&3;&<&Darwin&1872;&Ekman&1977,&etc.)&(łDêÔTÓ+ű�êÔDłTÓ+ű)&

•  Demonstrative&(§Ł±ß)&=*depictive*(B8-)*–  Facial&displays&in&dialogue&demonstrate/mimic&the&

emotional&experience&at&issue.&(Bavelas&&&Chovil&1997:&337;&see&Clark&&&Gerrig&1990;&cf.&Sidnell&2006&for&a&related&discussion&of&gaze)&(�ÁA'-Q°ÔDêÔ­ďC§Ł�ĦĖ)&

•  Interactional&(¬ř�ń±ß)&–  Preserving&mutual&affiliation&(Wilkinson&&&Kitzinger&2006;&

Ruusuvuori&&&Peräkylä&2009)&(ªIJêT©Å)&��

(°Ô) �

Speaker&gaze!�•  To&the&recipient&(eye&contact)&(VX_~d]i)&–  Terminating&a&turn&(Kendon&1967)&(d�~CäÐ)&%&No&

(Torres&et&al.&1997&cited&in&Rossano&2013)&–  Showing&aggression&or&intimacy/affiliation&(Argyle&&&Dean&

1965;&EiblnEibesfeldt&1989)&(ĸħ¹�ğŐ¹C° )&–  Signaling&the&intended&recipient&of&the&utterance&(Sacks&

et&al.&1974)&(�ÁCÀ-�CÉ�)&–  Soliciting&a&response&(Bavelas&et&al.&2002);&mobilizing&

recipient&response&(Stivers&&&Rossano&2010)&(ÿĭCµÖ)&

•  Away&from&the&recipient&(eye&release)&(VXzz�c)&–  Signaling&renenactments&(Sidnell&2006;&cf.&Stec&et&al.&2016)&

(Þ»=#Q/>C�Ĩ)&≈*depictive*mode*(B8"��)* �

(ĉP�CĂöC±ß) �Summary&of&previous&studies�

•  The&speaker’s&facial&expression&&&gaze&(ĉP�C°Ô>Ăö)&– Primarily&characterized&by&their&interactional&functions&(´>2<*@&=�C±ß(Oéŝã-OR<$QN%)&

– Also&associated&w/&some&depictive&properties&(B8�é¹LÉĶ1R<$Q)&

– May&shed&a&new&light&on&the&pragmatics&of&ideophones&([ksiqCĉ«îA�7@ė�) �

���

(Ì�ĎĠCI>K) �

2.*METHODS��¢�

���

Earthquake&Corpus �

•  214&edited&interviews&(5n15&min)&w/&victims&&&rescuers&in&East&Japan&Great&Earthquake&in&2011&(Dingemanse&&&Akita&2016)&(����ŕŇĆŇ��ŊĘ�GCĿëÈJX~dow�214�)&

•  Transcripts&&&videos&(à*ø/2�+0)&•  10,413&sentences&(10,413â)&•  500&ideophones&&&179&quasinideophonic&words&

([ksiq500ĉ�æ[ksiq179ĉ)*•  Full&of&emotional&speech&(2.(@�Á)įċ)&

http://www9.nhk.or.jp/311shogen/new/� ���

(ŕŇ_�nc) �

���

Coding �•  Coded&for&ideophones&&&quasinideophones&([ksiq>æ[ksiqC�Á>Cåø)&–  Obvious&facial&change&( O(@°ÔCì¨)&

–  Speaker&gaze&(ĉP�CĂöCì¨)&

•  Reliability&check&for&10%&of&the&data&(thanks&to&Nahyun&Kwon)&(h�dC10%T¾Ļ¹eZf])&–  Facial&change: & &85.71%,&κ&=&.742,&p&<&.001&–  Eye&contact: & &72.86%,&κ&=&.571,&p&<&.001� ���

% �levtevA�

% �j�~>�

(_�hW~^) �

(hatyametya%ni&‘topsynturvy’)�

(doon%to&‘bang’)�

Quasinideophonic&words�

•  “Deideophonized”&words,&often&adverbial,&that&morphologically&look&like&ideophones&but&are&distinctly&frequent&due&to&their&prosaicnlike,&eventngeneral&meaning&(see&Tamori&1980)&([ksiq>�ĞCęúTÅ9;;L�é��ă>ÐE;(@$�ņľŭ�@¶ĬC7KA�ų£@�?��!��)�27ĉ)&

•  e.g.,&dondon&‘one&after&another’,&sukkari&‘completely’,&zut%to&‘all&the&time’�

��

(æ[ksiq) �Predictions�

•  Frequency&of&facial&change,&eye&contact,&&&eye&release&(°Ôì¨�VX_~d]i�VXzz�c>Cåøų£)&A. *Ideophonicity*(��!��-)*•  Idph&([ksiq)&>&Quasinidph&(æ[ksiq)&

B. *Integration*(9537(3'-)*• Nonnpredicative&(Ĺģĉ«¢)&>&Predicative&(ģĉ«¢)&

��

(ËŌ) �

3.*RESULTS*&*DISCUSSION�Ðá�Ùĥ�

���

Iconic&gesture&&&eye&contact �•  eyf>ŘT�7O�µ4QAĺ$Â)jf>�:<*7U=4��'I&ŏ.S�:<Ç:7U=4�ĜD�L%ū¦8(O�'�Dŏ.S�:<Ç:7U=4�62<6C�ŏ.S�>Ç:7>*A��)�[G��$�]*ò9<*7U=4B�&Tirat%to&niwa%o&mi%tara,&yoosuruni&kuro%i&mizu%ga&dot%to&hait%te&ki%ta%n%des%u.&“Omae&nige%ro”%tte&it%ta%n%des%u.&Watasi%wa&“Moo&dame%dakara,&omae%wa&nige%ro”%tte&it%ta%n%des%u.&Sosite&sono&“Nige%ro”%to&it%ta%toki%ni,&ue%ga&[G*doon*to]&oti%te&ki%ta%n%des%u%ne.&‘When&I&took&a&glance&at&the&yard,&black&water&poured&in.&I&said&to&my&wife,&“I&can’t&make&it.&Run&away&without&me!”&And&when&I&said,&“Run&away,”&the&roof&fell&on&us&with)a)bang.’&

(nonRpredicative;&D0007010005) ����

(ŅŜ�āġP�VX_~d]i) �

Facial&change&(1)�•  6C%9ĜC¥A¿:š(:<�6C¿:š(:<¯(R@$CB�Ś+<������ŰIR<�%U>ŰIR�đ>Ç:<$$U8(�(O@$,O$ļ2+<�ļ2+<ļ2+<�$Q%9¡£�óR<$:7C�ĵ)¿-<$:7C@�&Sonouti&watasi%no&karada%ni&hik%kakat%te.&Sono&hik%kakat%te&ugok%are%nai%no%ne.&Itaku%te.&Kitiit*to&hasam%are%te.&Unto&hasam%are,&nan%to&it%te&i%i%n%da%ka&wakar%ana%i%gurai&kurusiku%te.&Kurusiku%te&kurusiku%te.&I%ru%uti&kondo,&nagare%te&it%ta%no.&Nami%ga&hike%te&it%ta%no%na.&‘Before&long&the&debris&got&caught&on&my&body,&and&I&couldn’t&move&due&to&the&pain.&I&was&sandwiched&tightly&between&the&debris.&I&was&terribly&sandwiched&and&it&was&too&painful&for&words.&So&painful.&Then,&the&debris&flowed&away.&The&tsunami&wave&ebbed&away,&I&guess.’&

(nonRpredicative;&painful*%*extremely*painful;&D0007010036) �� �

(°ÔCì¨) �Facial&change&(2)�

•  �*(:7=4N�%U���$��&Ooki%kat%ta%des%u%yo.&Un.&Doon*to.&‘[It]&was&a&loud&[noise].&[It]&was&like,&baang.’&(nonRpredicative;&neutral/serious*%*smiling;&D0007010040)&

���

(°ÔCì¨) �

Facial&change&&&eye&contact�

•  b�pĊ9=ň�1U>í¤>�·=�=4(O�·A�¥12�13Ï,O$>ň�1U)�ōÒ0>>$%/>=�3Ï�4Ï,O$:<$%F%@ę=·A$I27B�=������B�HU>�&Ziipu%mati%de&kanzya%san%to&syokuin%to,&soto%de.&Desukara,&soto%ni&daitai&zyuuni%san%mei%gurai%to&kanzya%san%ga,&huton%goto%to%i%u%koto%de,&san%mei&yon%mei%gurai%tte%i%u%huu%na&katati%de&soto%ni&i%masi%ta%ne.&De,&bikkuri*des%u%ne,&honto.&‘[We]&were&waiting&for&the&rescue&jeeps&with&our&patients&and&colleagues&outside.&So,&there&were&about&12&or&13&people&and&3&or&4&patients&with&their&bedding.&And…surprising,&it&was.’&

(predicative;&neutral*%*smiling;&D0007010039)&���

(°ÔCì¨�VX_~d]i) �Iconic&gesture&&&eye&release �

•  78�³A�#C��²(O�):<*7Ģĵ8(O�…//I=�[G* �$�]*Å:</OR7-R?L�D�/Cİ=�)ŖI:7(O÷(:7:<$%ê3�&Tada&honto%ni,&anoo,&kawa%kara&agat%te&ki%ta&tunami%dakara…&Koko%made&[G*boon*to]*motteko%rare%ta%keredomo,&haa&kono%hen%de&tikara%ga&yowamat%ta%kara&yokat%ta%tte%i%u&kanzi.&‘Because&the&tsunami&rose&from&the&river,&[it]&took&me&up&here&with)a)bang&but&weakened&around&here,&and&[I]&got&relieved.’&

(nonRpredicative;&D0007010041)&���

(ŅŜ�āġP�VXzz�c) �Ideophonicity&×&paralanguage �

������ *����� * ******��� * *��*� * *��������n.s.�

([ksiq¹&×&nyÇĉ) �

ʼnŦ����ý¢���&&āġP���°Ô��VX_~d]i�VXzz�c�

345&

71&135&

9&

233&

31&42& 5&

81&11& 21& 9&

155&

108&365&

170&

170&

104&305& 102&

310&108& 370& 110&

0%&10%&20%&30%&40%&50%&60%&70%&80%&90%&100%&

idph

&

quasinidp

h&

idph

&

quasinidp

h&

idph

&

quasinidp

h&

idph

&

quasinidp

h&

idph

&

quasinidp

h&

idph

&

quasinidp

h&

Intonational&foregrounding&

Phonational&foregrounding&

Iconic&gesture& Facial&change& Eye&contact& Eye&release&

No&

Yes&

356&

19& 123&4&

231&

7& 35& 6& 60&15&

27& 2&

188&

51& 421&66&

199&

47& 312& 44& 335&37&

368& 50&

0%&

10%&

20%&

30%&

40%&

50%&

60%&

70%&

80%&

90%&

100%&

npred& +pred& npred& +pred& npred& +pred& npred& +pred& npred& +pred& npred& +pred&

Intonational&foregrounding&

Phonational&foregrounding&

Iconic&gesture& Facial&change& Eye&contact& Eye&release&

No&

Yes&

Integration&×&paralanguage �

������ *������� *������� * *n.s. * *����

Dingemanse*&*Akita*(2016) �([ksiqCõ�¹&×&nyÇĉ) �

ʼnŦ�����ý¢���āġP����°Ô��VX_~d]i��VXzz�c�n.s.)

(floor&effect?)�

Summary&of&the&results �

��

(ÐáCI>K) �

Prediction*A*(ideophonicity) �

Prediction*B*(integration) �

Intonational&foregrounding� Ż&idph&>&quasinidph� Ż&–pred&>&+pred�Phonational&foregrounding� Ż&idph&>&quasinidph� Ż&–pred&>&+pred�Iconic&gesture � Ż&idph&>&quasinidph� Ż&–pred&>&+pred�Facial&change � Ż&idph&>&quasinidph� ż&–pred&=&+pred�Eye&contact � Ż&idph&>&quasinidph� ż&–pred&<&+pred�Eye&release � ż&idph&=&quasinidph� ?&–pred&≥&+pred�

Accepted & to appear in Journal of Linguistics

9

breathy voice, stiff voice, falsetto, voicelessness, or whisper. Thus in (3a), pa:t-to   is  pronounced  as   [pḁ:t:o],  with  voiceless  phonation. In (3b), gu:t-to   is  pronounced  as   [gu̬:t:o],  with stiff voice, i.e., with the glottal opening narrower than normal.

(3) a. Mo: bik:ɯɾi-ʃi-te haʃit-te waŋko-no kɯsaɾi-o hodoi-te just IDPH-do-CONJ run-CONJ doggie-GEN chain-ACC untie-CONJ ‘O-ie-jo’ -t:e waŋko-ni it-taɾa pa:t-to [pḁ:t:o] POL-house-SFP-QUOT doggie-DAT say-when IDPH.VL.VOICELESS-QUOT hait-te. enter-CONJ

‘[I]  was  astonished  and  ran,  untying  the  doggie’s  chain  and  saying  to  the  doggie,  “House,  boy,”  and  then  [it]  entered  [the  house]  with a rush.’  (D0007010008)

b. … mo: akiɾaka-ni nagaɾe-ga gɯ:t-to [gɯ̬:t:o] mata just obviously flow-NOM IDPH.VL.STIFF-QUOT again kotʃ:i-no ho:-ni hiɾogat-te  … over.here-GEN direction-DAT spread-CONJ

‘…  obviously,  the  flow  spread  far and wide over  here  again,  and  …’   (D0007010092)

Expressive morphology refers to special morphological processes applying commonly to

ideophones and rarely to ordinary words, such as reduplication and lengthening (Zwicky and Pullum 1987).3 Languages differ in the types of expressive morphology they make available. In Japanese, we find various types of stem repetition, partial multiplication, emphatic mora augmentation, vowel lengthening, and gemination (Hamano 1998; Nasu 2002; Akita 2009). For instance, the ideophone don ‘bam’   can   undergo   various   processes   of   expressive  morphology, from vowel lengthening (do:n) to partial multiplication (dododon) to stem repetition (don-don-don) (Akita 2009:36).

The following excerpt from the corpus contains expressivised forms of the ideophones jɯk:ɯɾi ‘slow’  and  gat(-to) ‘rattling’.  The  former  illustrates  vowel  lengthening,  and  the  latter  illustrates partial multiplication.4 Full stem repetition is shown in (2a) above.

3 Zwicky and Pullum (1987) have used the special behaviour of ideophones to argue that expressive morphology   “constitutes  a  phenomenon   that   is  not  within   the  province  of  grammar  as  ordinarily  understood”  (1987:338). Here, we aim to show that while ideophones are sometimes grammatically peripheral, they nonetheless partake in the morphosyntactic structure of utterances; and it is precisely the fact that they do so to varying degrees that allows us to investigate the inverse relation between expressiveness and grammatical integration. 4 Additionally, gagagagagagagat-to is pronounced at a distinctly slower speech rate than the surrounding words, suggesting another possible type of prosodic foregrounding. Though we do not consider speech rate in a systematic way here, it may be another sign of the depictive use of speech (Childs 1994).

Depictive*nature*of*ideophones �

Multimodal*nature*of*ideophones+ �

4.*CONCLUSIONS�Ðî�

��

Summary �

•  Ideophone&utterance&is&correlated&w/&the&speaker’s&facial&expression&&&gaze&behavior.&([ksiq�ÁDĉP�C°ÔMĂö>¬���)&

•  The&correlations&are&somewhat&different&from&what&we’ve&observed&for&expressive/depictive&features&(i.e.,&prosodic&foregrounding,&iconic&gesture).&(°��ŧĖéŝ&[ Ŷœ��Ā¨�ŅŜ�āġP]&A�ORQC>DMMŀ@Q¬�)&! )Why?)

���

(I>K) �Future&direction �

•  Qualitative&analysis&of&interactional&data&(O’Reilly&2005;&Dingemanse&2011:&Ch.&11;&Szatrowski&2015;&Burch&&&Kasper&2016)&(�Áh�dCĄ��Š)&

•  Comparison&w/&reported&discourse&(Clark&&&Gerrig&1990;&Holt&2000;&Sidnell&2006;&Akita&2015;&Stec&et&al.&2016)&(¿«>CôŨ) �

•  Classification&of&facial&expressions&(e.g.,&tellingnfinal&smile)&(Ruusuvuori&&&Peräkylä&2009)&(°ÔC�ķ�ĉPüCŔł@?)&

���

(Ľº) �

Thank*you!�akita&dot&kimi&atsign&nagoya&hyphen&u&dot&jp&https://sites.google.com/site/akitambo/&

Special&thanks:&KLC&&&Nahyun&Kwon�

REFERENCES�ïÙâś�

���

See*also:*Bibliographies&of&sound&symbolic&phenomena&([ksiq✦ě):&https://sites.google.com/site/akitambo/Home/biblio�

•  Akita,&Kimi.&2015.&Ideophones&and&reported&discourse&as&depictive&signs.&Joint&project&on&language&&&culture&2014:&Theoretical&approaches&to&natural&language,&1n10.&Osaka&University.&

•  Akita,&Kimi.&2017a.&Grammatical&and&functional&properties&of&mimetics&in&Japanese.&In&Noriko&Iwasaki,&Peter&Sells,&and&Kimi&Akita&(eds.),&The&grammar&of&Japanese&mimetics:&Perspectives&from&structure,&acquisition&and&translation,&Ch.&2.&London:&Routledge.&

•  Akita,&Kimi.&2017b.&The&linguistic&integration&of&Japanese&ideophones&and&its&typological&implications.&Canadian&Journal&of&Linguistics.&

•  Akita,&Kimi,&and&Takeshi&Usuki.&2015.&A&constructional&account&of&the&“optional”&quotative&marking&on&Japanese&mimetics.&Journal&of&Linguistics&52(2):&245n275.&

•  Argyle,&Michael,&and&Janet&Dean.&1965.&Eyencontact,&distance&and&affiliation.&Sociometry&28(3):&289n304.&

•  Baba,&Junko.&2003.&Pragmatic&function&of&Japanese&mimetics&in&the&spoken&discourse&of&varying&emotive&intensity&levels.&Journal&of&Pragmatics&35:&1861n1889.&

•  Bavelas,&Janet&Beavin,&and&Nicole&Chovil.&1997.&Faces&in&dialogue.&In&James&A.&Russell&and&José&Miguel&FernándeznDols&(eds.),&The&psychology&of&facial&expression,&334n346.&New&York:&Cambridge&University&Press.&

•  Bavelas,&Janet&Beavin,&Linda&Coates,&and&Trudy&Johnson.&2002.&Listener&responses&as&a&collaborative&process:&The&role&of&gaze.&Journal&of&Communication&52:&566n580.& ���

•  Burch,&Alfred&Rue,&&&Gabriele&Kasper.&2016.&‘Like&Godzilla’:&Enactments&and&formulations&in&telling&a&disaster&story&in&Japanese.&In&Matthew&T.&Prior&&&Gabriele&Kasper&(eds.),&Emotion&in&multilingual&interaction,&57n85.&Amsterdam:&John&Benjamins. �

•  Childs,&G.&Tucker.&1994.&African&ideophones.&In&Leanne&Hinton,&Johanna&Nichols,&and&John&J.&Ohala&(eds.),&Sound&symbolism,&178n204.&Cambridge:&Cambridge&University&Press.&

•  Clark,&Herbert&H.,&and&Richard&J.&Gerrig.&1990.&Quotations&as&demonstrations.&Language&66(4):&764n805.&

•  Cohn,&Jeffrey&F.,&Zara&Ambadar,&and&Paul&Ekman.&2007.&Observernbased&measurement&of&facial&expression&with&the&Facial&Action&Coding&System.&In&James&A.&Coan&and&John&J.&B.&Allen&(eds.),&The&handbook&of&emotion&elicitation&and&assessment,&203n221.&New&York:&Oxford&University&Press.&

•  Darwin,&Charles&R.&1872.&The&expression&of&the&emotions&in&man&and&animals.&London:&John&Murray.&

•  Diffloth,&Gérard.&1972.&Notes&on&expressive&meaning.&Papers&from&the&Eighth&Regional&Meeting,&the&Chicago&Linguistic&Society,&440n447.&

•  Dingemanse,&Mark.&2011.&The&meaning&and&use&of&ideophones&in&Siwu.&Ph.D.&dissertation,&Max&Planck&Institute&for&Psycholinguistics/Radboud&University&Nijmegen.&

•  Dingemanse,&Mark.&2015.&Ideophones&and&reduplication:&Depiction,&description,&and&the&interpretation&of&repeated&talk&in&discourse.&Studies&in&Language&39(4):&946n970.& ���

•  Dingemanse,&Mark.&2017.&Expressiveness&and&system&integration:&On&the&typology&of&ideophones,&with&special&reference&to&Siwu.&STUF&–&Language&Typology&and&Universals.&

•  Dingemanse,&Mark,&and&Kimi&Akita.&2016.&An&inverse&relation&between&expressiveness&and&grammatical&integration:&On&the&morphosyntactic&typology&of&ideophones,&with&special&reference&to&Japanese.&Journal&of&Linguistics&(FirstView).&

•  EiblnEibesfeldt,&Irenäus.&1989.&Human&ethology.&New&York:&Aldine&de&Gruyter.&

•  Ekman,&Paul.&1977.&Facial&expression.&In&Aaron&W.&Siegman&and&Stanley&Feldstein&(eds.),&Nonverbal&communication&and&behavior,&97n126.&New&Jersey:&Lawrence&Erlbaum&Association.&

•  Ekman,&Paul,&and&Wallace&V.&Friesen.&1978.&Investigator’s&guide&to&the&Facial&Action&Coding&System,&Part&II.&Palo&Alto:&Consulting&Psychologists&Press.&

•  Ekman,&Paul,&Wallace&V.&Friesen,&and&Joseph&C.&Hager&(eds.).&2002.&Facial&action&coding&system.&Salt&Lake&City:&Research&Nexus.&

•  Goodwin,&Charles.&1986.&Audience&diversity,&participation&and&interpretation.&Text&6(3):&283n316.&

•  Holt,&Elizabeth.&2000.&Reporting&and&reacting:&Concurrent&responses&to&reported&speech.&Research&on&Language&and&Social&Interaction&33:&425n454.&&

•  Kendon,&Adam.&1967.&Some&functions&of&gaze&direction&in&social&interaction.&Acta&Psychologica&26:&22n63.& ���

•  Kita,&Sotaro.&1997.&Twondimensional&semantic&analysis&of&Japanese&mimetics.&Linguistics&35(2):&379n415.&

•  Nuckolls,&Janis&B.&1992.&Sound&symbolic&involvement.&Journal&of&Linguistic&Anthropology&2(1):&51n80.&

•  Nuckolls,&Janis&B.&1996.&Sounds&like&life:&Sound%symbolic&grammar,&performance,&and&cognition&in&Pastaza&Quechua.&Oxford:&Oxford&University&Press.&

•  O’Reilly,&Michelle.&2005.&‘Active&noising’:&The&use&of&noises&in&talk,&the&case&of&onomatopoeia,&abstract&sounds,&and&the&functions&they&serve&in&therapy.&Text&25:&745n762.&

•  Rossano,&Federico.&2013.&Gaze&in&conversation.&In&Jack&Sidnell&and&Tanya&Stivers&(eds.),&The&handbook&of&conversation&analysis,&308n329.&Malden:&Wiley&Blackwell.&

•  Russell,&James,&and&José&Miguel&FernándeznDols.&1997.&The&psychology&of&facial&expression.&Cambridge:&Cambridge&University&Press.&

•  Ruusuvuori,&Johanna,&and&Anssi&Peräkylä.&2009.&Facial&and&verbal&expression&in&assessing&stories&and&topics.&Research&on&Language&and&Social&Interaction&43(4):&377n394.&

���

•  Sacks,&Harvey,&Emanuel&A.&Schegloff,&and&Gail&Jefferson.&1974.&A&simplest&systematics&for&the&organization&of&turnntaking&for&conversation.&Language&50:&696n735.&

•  `iyYc\� rz�&(Szatrowski,&Polly).&2015.�ñĒ�A'-Q[ksiq&(Mimetics&in&taster&lunches)��x�}fn��ĉÚč&(JapanesenLanguage&Education&in&Europe)�19:&95n100.&

•  Sidnell,&Jack.&2006.&Coordinating&gesture,&talk,&and&gaze&in&reenactments.&Research&on&Language&and&Social&Interaction&39(4):&377n409.&

•  ŪŹź&(Son,&Youngsuk).&2010.&�ŵijĉ��ŵúĉ>āġP�g|oþûCs{ethWV�_�ncANQÊĐ��Š&(Onomatopoeias&and&gestures:&A&multimedia&corpusnbased&quantitative&study&of&Japanese&television&broadcasts)��ÊĐ�ĉ®&(Mathematical&Linguistics)�27(4):&131n153.&

•  Stec,&Kashmiri,&Mike&Huiskes,&&&Gisela&Redeker.&2016.&Multimodal&quotation:&Role&shift&practices&in&spoken&narratives.&Journal&of&Pragmatics&104:&1n17.&

•  Stivers,&Tanya,&and&Federico&Rossano.&2010.&Mobilizing&response.&Research&on&Language&and&Social&Interaction&43(1):&3n31.&

•  Tamori,&Ikuhiro.&1980.&Cooccurrence&restrictions&on&onomatopoeic&adverbs&and&particles.&Papers&in&Japanese&Linguistics&7:&151n171.&

��

•  Tannen,&Deborah.&1983.&“I&take&out&the&rock&–&DOK!”:&How&Greek&women&tell&about&being&molested&(and&create&involvement).&Anthropological&Linguistics&25:&359n374.&

•  Tannen,&Deborah.&1984/2005.&Conversational&style:&Analyzing&talk&among&friends.&Oxford:&OUP.&

•  Voeltz,&Friedrich&K.&Erhard,&and&Christa&KiliannHatz&(eds.).&2001.&Ideophones.&Amsterdam/Philadelphia:&John&Benjamins.&

•  Wilkinson,&Sue,&and&Celia&Kitzinger.&2006.&Surprise&as&an&interactional&achievement:&Reaction&tokens&in&conversation.&Social&Psychology&Quarterly&69(2):&150n182.&

•  Zwicky,&Arnold&M.,&and&Geoffrey&K.&Pullum.&1987.&Plain&morphology&and&expressive&morphology.&Proceedings&of&the&Thirteenth&Annual&Meeting&of&the&Berkeley&Linguistics&Society,&330n339.&

��

APPENDICES�ãě�

���

4&major&ideophone&constructions&in&Jpn�&a. &Quotativenadverbial:&& &ŷ)�#�#�ş:7&& &Unagi%ga &nurunuru*to &subet%ta.&& &eelnNOM &IDPHnQUOT &slipnPST&& &‘An&eel&slipped&slipperily.’&&b. &Collocational:&& &ŷ)�#�#ş:7&& &Unagi%ga &nurunuru& &subet%ta.&& &eelnNOM &IDPHnQUOT &slipnPST&& &‘An&eel&slipped&slipperily.’&&c. &‘Do’nverbal&(pred):&& &/CŷD�#�#�Q&& &Kono&&unagi%wa &nurunuru*su%ru.&& &this &&&eelnTOP & &IDPHndonNPST&& &‘This&eel&feels&slippery.’&&d. &Nominalnadjectival&(pred):&& &/CŷD�#�# *& &Kono&unagi%wa &nurunuru*da.&& &this &&&eelnTOP & &IDPHnCOP.NPST&& &‘This&eel&is&slippery.’& ���

(Dingemanse&&&Akita&2016;&Akita&2017a,&b)�

Quot&(297)&59%&

Colloc&(70)&14%&

'Do'npred&(58)&12%&

NAnpred&(12)&2%& other&

(63)&13%&

(Earthquake&Corpus) �

Previously&proposed&pragmatic&functions&of&ideophones�

•  “Soundnsymbolic&involvement”&(Nuckolls&1992,&1996;&Tannen&1983)&(�ù)&"&independence?&(Ě�)&

•  “Emotive&intensity”&(Baba&2003)&(êÔC¸1)&•  “Epistemic&authority”&(cf.&reported&speech;&Dingemanse&2011;&O’Reilly&2005;&Burch&&&Kasper&2016)&(ÕĪ�½ť)&

•  “Expressiveness”&(Childs&1994;&Dingemanse&&&Akita&2016,&etc.)&(°�¹)&

•  “Dramatizing&the&climax”&(O’Reilly&2005;&Szatrowski&2015;&Burch&&&Kasper&2016)&(�ÁC]yXsf]cCţ¨) �

� �

([ksiqC±ßA�4QèĤC×Ñ) �

Detailed&results:&obligatoriness�

���

39& 8&

346& 51&

0%&

20%&

40%&

60%&

80%&

100%&

Optional& Obligatory&

70& 18&

366& 45&

0%&

20%&

40%&

60%&

80%&

100%&

Optional& Obligatory&

(Fisher’s&exact&test:&p&=&.49&(n.s.)) �(Fisher’s&exact&test:&p&<&.05)�

Facial&change �Eye&contact �

(cf.&Dingemanse&&&Akita&2016)�

Detailed&results:&predicate&integration�

���

28& 7& 6&

220& 92& 44&

0%&

20%&

40%&

60%&

80%&

100%&

Q& C& V/N&

46& 14&15&

243& 92&37&

0%&

20%&

40%&

60%&

80%&

100%&

Q& C& V/N&

(χ2(2)&=&6.54,&p&<&.05)�

* �

(χ2(2)&=&1.53,&p&=&.46&(n.s.)) �

Facial&change �Eye&contact �

(cf.&Dingemanse&&&Akita&2016)�

cf.&70&prosaic&verbs&(eye&contact)�

���

80&11& 8&

311&108& 43&

0%&

10%&

20%&

30%&

40%&

50%&

60%&

70%&

80%&

90%&

100%&

Ideophonic& Quasinideophonic& V&

(χ2(2)&=&8.05,&p&<&.05)�

** �

** �

cf.&70&prosaic&verbs&(facial&change)�

���

42&5& 2&

305&102& 44&

0%&

10%&

20%&

30%&

40%&

50%&

60%&

70%&

80%&

90%&

100%&

Ideophonic& Quasinideophonic& V&

(χ2(2)&=&6.81,&p&<&.05) �

** �

* �