This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us with (...) opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

Understanding positive emotions' shared and differentiating features can yield valuable insight into the structure of positive emotion space and identify emotion states, or aspects of emotion states, that are most relevant for particular psychological processes and outcomes. We report two studies that examined core relational themes (Study 1) and expressive displays (Study 2) for eight positive emotion constructs—amusement, awe, contentment, gratitude, interest, joy, love, and pride. Across studies, all eight emotions shared one quality: high positive valence. Distinctive core relational theme (...) and expressive display patterns were found for four emotions—amusement, awe, interest, and pride. Gratitude was associated with a distinct core relational theme but not an expressive display. Joy and love were each associated with a distinct expressive display but their core relational themes also characterised pride and gratitude, respectively. Contentment was associated with a distinct expressive display but not a core relational theme. The implications of this work for the study of positive emotion are discussed. (shrink)

Emotions are viewed as having evolved through their adaptive value in dealing with fundamental life-tasks. Each emotion has unique features: signal, physiology, and antecedent events. Each emotion also has characteristics in common with other emotions: rapid onset, short duration, unbidden occurrence, automatic appraisal, and coherence among responses. These shared and unique characteristics are the product of our evolution, and distinguish emotions from other affective phenomena.

(1) The induced colours led to perceptual grouping and pop-out, (2) a grapheme rendered invisible through ‘crowding’ or lateral masking induced synaesthetic colours — a form of blindsight — and (3) peripherally presented graphemes did not induce colours even when they were clearly visible. Taken collectively, these and other experiments prove conclusively that synaesthesia is a genuine percep- tual phenomenon, not an effect based on memory associations from childhood or on vague metaphorical speech. We identify different subtypes of number–colour synaesthesia (...) and propose that they are caused by hyperconnectivity between col- our and number areas at different stages in processing; lower synaesthetes may have cross-wiring (or cross-activation) within the fusiform gyrus, whereas higher synaesthetes may have cross-activation in the angular gyrus. This hyperconnec- tivity might be caused by a genetic mutation that causes defective pruning of con- nections between brain maps. The mutation may further be expressed selectively (due to transcription factors) in the fusiform or angular gyri, and this may explain the existence of different forms of synaesthesia. If expressed very diffusely, there may be extensive cross-wiring between brain regions that represent abstract concepts, which would explain the link between creativity, metaphor and synaesthesia (and the higher incidence of synaesthesia among artists and poets). Also, hyperconnectivity between the sensory cortex and amygdala would explain the heightened aversion synaesthetes experience when seeing numbers printed in the ‘wrong’ colour. Lastly, kindling (induced hyperconnectivity in the temporal lobes of temporal lobe epilepsy [TLE] patients) may explain the purported higher incidence of synaesthesia in these patients. We conclude with a synaesthesia-based theory. (shrink)

ABSTRACTOne prestudy based on a corpus analysis and four experiments in which participants had to invent novel names for persons or objects investigated how the valence of a face or an object affects the phonological characteristics of the respective novel name. Based on the articulatory feedback hypothesis, we predicted that /i:/ is included more frequently in fictional names for faces or objects with a positive valence than for those with a negative valence. For /o:/, the pattern should reverse. An analysis (...) of the Berlin Affective Word List – Reloaded yielded a higher number of occurrences of /o:/ in German words with negative valence than in words with positive valence; with /i:/ the situation is less clear. In Experiments 1 and 2, participants named persons showing a positive or a negative facial expression. Names for smiling persons included more /i:/s and fewer /o:/s than names for persons with a negative facial expression. In Experiments 3 and 4, participant... (shrink)

An adequate understanding of ‘the self’ and/or ‘primary-process consciousness’ should allow us to explain how affective experiences are created within the brain. Primitive emotional feelings appear to lie at the core of our beings, and the neural mechanisms that generate such states may constitute an essential foundation process for the evolution of higher, more rational, forms of consciousness. At present, abundant evidence indicates that affective states arise from the intrinsic neurodynamics of primitive self-centred emotional and motivational systems situated in subcortical (...) regions of the brain. Accordingly, a neural understanding of ‘the self’ may arise from a study of how various biological value-coding systems converge and interact with coherent brainstem representations of the body and nearby attentional/waking systems of the brain. Affective feelings may be caused by the neurodynamics of basic emotional circuits interacting with the neural schema of bodily action plans. One key brain area where such interactions occur is found within centromedial diencephalic midbrain areas such as the periventricular and periaqueductal gray and nearby tectal and tegmental zones. Here I will envision that a Simple Ego-type Life Form is instantiated in those circuits The ability of this ’primal SELF’ to resonate with primitive emotional values may help yield the raw subjectively experienced feelings of pleasure, lust, anger, hunger, desire, fear, loneliness and so forth. A study of such systems is a reasonable starting point for the neurological analysis of affective feelings, which may lie at the periconscious core of all other forms of animal consciousness. If such a neurodynamic process was an essential neural preadaptation for the emergence of higher levels of consciousness, it may help us close the explanatory gap between brain circuit states and the psychological nature of affective feelings. Thereby, it may also help us conceptualize the nature of psychological binding within higher forms of consciousness in new ways. (shrink)

During much of the past century, it was widely believed that phonemes--the human speech sounds that constitute words--have no inherent semantic meaning, and that the relationship between a combination of phonemes (a word) and its referent is simply arbitrary. Although recent work has challenged this picture by revealing psychological associations between certain phonemes and particular semantic contents, the precise mechanisms underlying these associations have not been fully elucidated. Here we provide novel evidence that certain phonemes have an inherent, non-arbitrary emotional (...) quality. Moreover, we show that the perceived emotional valence of certain phoneme combinations depends on a specific acoustic feature--namely, the dynamic shift within the phonemes' first two frequency components. These data suggest a phoneme-relevant acoustic property influencing the communication of emotion in humans, and provide further evidence against previously held assumptions regarding the structure of human language. This finding has potential applications for a variety of social, educational, clinical, and marketing contexts. (shrink)

Investigations of iconicity in language, whereby interactants coordinate meaningful bodily actions to create resemblances, are prevalent across the human communication sciences. However, when it comes to analysing and comparing iconicity across different interactions and modes of communication, it is not always clear we are looking at the same thing. For example, tokens of spoken ideophones and manual depicting actions may both be analysed as iconic forms. Yet spoken ideophones may signal depictive and descriptive qualities via speech, while manual actions may (...) signal depictive, descriptive, and indexical qualities via the shape, movement, and placement of the hands in space. Furthermore, each may co-occur with other semiotics articulated with the face, hands, and body within composite utterances. The paradigm of iconicity as a single property is too broad and coarse for comparative semiotics, as important details necessary for understanding the range of human communicative potentialities may be masked. Here, we draw on semiotic approaches to language and communication, including the model of language as signalled via describing, indicating and/or depicting and the notion of non-referential indexicality, to illustrate the multidimensionality of iconicity in co-present interactions. This builds on our earlier proposal for analysing how different methods of semiotic signalling are combined in multimodal language use. We discuss some implications for the language and communication sciences and explain how this approach may inform a theory of biosemiotics. (shrink)

Some spoken words are iconic, exhibiting a resemblance between form and meaning. We used native speaker ratings to assess the iconicity of 3001 English words, analyzing their iconicity in relation to part-of-speech differences and differences between the sensory domain they relate to. First, we replicated previous findings showing that onomatopoeia and interjections were highest in iconicity, followed by verbs and adjectives, and then nouns and grammatical words. We further show that words with meanings related to the senses are more iconic (...) than words with abstract meanings. Moreover, iconicity is not distributed equally across sensory modalities: Auditory and tactile words tend to be more iconic than words denoting concepts related to taste, smell and sight. Last, we examined the relationship between iconicity and systematicity. We find that iconicity in English words is more strongly related to sensory meanings than systematicity. Altogether, our results shed light on the extent and distribution of iconicity in modern English. (shrink)

Sound-symbolism is the nonarbitrary link between the sound and meaning of a word. Japanese-speaking children performed better in a verb generalization task when they were taught novel sound-symbolic verbs, created based on existing Japanese sound-symbolic words, than novel nonsound-symbolic verbs (Imai, Kita, Nagumo, & Okada, 2008). A question remained as to whether the Japanese children had picked up regularities in the Japanese sound-symbolic lexicon or were sensitive to universal sound-symbolism. The present study aimed to provide support for the latter. In (...) a verb generalization task, English-speaking 3-year-olds were taught novel sound-symbolic verbs, created based on Japanese sound-symbolism, or novel nonsound-symbolic verbs. English-speaking children performed better with the sound-symbolic verbs, just like Japanese-speaking children. We concluded that children are sensitive to universal sound-symbolism and can utilize it in word learning and generalization, regardless of their native language. (shrink)

Some spoken words are iconic, exhibiting a resemblance between form and meaning. We used native speaker ratings to assess the iconicity of 3001 English words, analyzing their iconicity in relation to part-of-speech differences and differences between the sensory domain they relate to. First, we replicated previous findings showing that onomatopoeia and interjections were highest in iconicity, followed by verbs and adjectives, and then nouns and grammatical words. We further show that words with meanings related to the senses are more iconic (...) than words with abstract meanings. Moreover, iconicity is not distributed equally across sensory modalities: Auditory and tactile words tend to be more iconic than words denoting concepts related to taste, smell and sight. Last, we examined the relationship between iconicity and systematicity. We find that iconicity in English words is more strongly related to sensory meanings than systematicity. Altogether, our results shed light on the extent and distribution of iconicity in modern English. (shrink)

Conveying emotions in spoken poetry may be based on a poem’s semantic content and/or on emotional prosody, i.e. on acoustic features above single speech sounds. However, hypotheses of more direct sound–emotion relations in poetry, such as those based on the frequency of occurrence of certain phonemes, have not withstood empirical (re)testing. Therefore, we investigated sound–emotion associations based on prosodic features as a potential alternative route for the, at least partially, non-semantic expression and perception of emotions in poetry. We first conducted (...) a pre-study designed to validate relevant parameters of joy- and sadness-supporting prosody in the recitation, i.e. acoustic production, of poetry. The parameters obtained thereof guided the experimental modification of recordings of German joyful and sad poems such that for each poem, three prosodic variants were constructed: one with a joy-supporting prosody, one with a sadness-supporting prosody, and a neutral variant. In the subsequent experiment, native German speakers and participants with no command of German rated the joyfulness and sadness of these three variants. This design allowed us to investigate the role of emotional prosody, operationalized in terms of sound-emotion parameters, both in combination with and dissociated from semantic access to the emotional content of the poems. The findings from our pre-study showed that the emotional content of poems (based on pre-classifications into joyful and sad) indeed predicted the prosodic features pitch and articulation rate. The subsequent perception experiment revealed that cues provided by joyful and sad prosody specifically affect non-German-speaking listeners’ emotion ratings of the poems. Thus, the present investigation lends support to the hypothesis of prosody-based iconic relations between perceived emotion and sound qualia. At the same time, our findings also highlight that semantic access substantially decreases the role of cross-language sound–emotion associations and indicate that non-German-speaking participants may also use phonetic and prosodic cues other than the ones that were targeted and manipulated here. (shrink)