Zooming on Iconicity
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Zooming on iconicity Shadows, mirrors, and smoke screens: zooming on iconicity By Christina Ljungberg Iconicity is one of the semiotic concepts introduced by Charles Sanders Peirce that has recently attracted much attention across the disciplines. In neuroscience, the discovery of mirror neurons, brain cells that fire both when the organism acts itself and when it perceives the same action being performed by another organism, has raised much interest in iconicity and seems to offer explanations for theories of communication and speech development. Could behavior such as empathy and imitation have neurological roots? Could the Mirror System Hypothesis perhaps explain the evolution of speech by linking language to this theory of mind (cf. Arbib 2004)? The cognitive sciences have for a long time had much interest in the role of the iconic in concept formation and in communication, which has only increased with the current development in complex multimedia techniques and sophisticated methods of visualization of scientific processes. For quite some time, the focus has been on the importance of mental images in cognitive processes, not only for the way we orient ourselves in the physical world we live in but also for how we outline problems by “mapping them,” describe processes or make decisions by using maps, schemata, and diagrams. Cognition involves iconicity because mental images are icons, and icons can lead to new insights and to the discovery of relations not recognized without their iconic representation. Iconicity then becomes a precondition for communication and mutual understanding. This has recently been pointed out by Winfried Nöth (2008) who stresses that it is above all the diagrammatic icon structuring discourse and reasoning that makes texts and arguments clearer and more transparent since diagrams lay bare the path of the argument: “Diagrams in language are both cognitively necessary and rhetorically efficient since icons are superior to other signs when clearness of representation and coherence of argumentation is concerned.” The importance of diagrammatic iconicity to cognition also accounts for the new interest in analogy. Analogies are mental diagrams with the effect of the parallel mapping of the structures of two conceptual domains. Analogies are important to linguistic theorizing and modelling and they are important factors of language change, language evolution, and language acquisition, as the studies by Douglas Hofstadter (1995), Terrence Deacon (1997), Esa Itkonen (2005), Dieter Wanner (2006), Olga Fischer (2007) and others have shown who have given evidence that the basic mechanism of learning is analogy. Frederik Stjernfelt is on a similar track in his recent Diagrammatology (2007), but he attempts to chart the importance of diagrams by looking at their philosophical implications (diagnosing similarities between Peircean semiotics and early Husserlian phenomenology) as well as exploring what a diagrammatic approach can bring to areas as different as biosemiotics, picture analysis, and the theory of literature. The increased interest in iconicity has also been prompted by the current focus on intermediality. Intermediality is not only of concern to the way modalities such as genres, narrative modes and styles change in the transfer process from one medium to another but also to the extent to which an ‘original’ medium
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Transcript of Zooming on Iconicity
Zooming on iconicity
Shadows, mirrors, and smoke screens: zooming on iconicity
By Christina Ljungberg
Iconicity is one of the semiotic concepts introduced by Charles Sanders Peirce that has recently attracted much attention across the disciplines. In neuroscience, the discovery of mirror neurons, brain cells that fire both when the organism acts itself and when it perceives the same action being performed by another organism, has raised much interest in iconicity and seems to offer explanations for theories of communication and speech development. Could behavior such as empathy and imitation have neurological roots? Could the Mirror System Hypothesis perhaps explain the evolution of speech by linking language to this theory of mind (cf. Arbib 2004)? The cognitive sciences have for a long time had much interest in the role of the iconic in concept formation and in communication, which has only increased with the current development in complex multimedia techniques and sophisticated methods of visualization of scientific processes. For quite some time, the focus has been on the importance of mental images in cognitive processes, not only for the way we orient ourselves in the physical world we live in but also for how we outline problems by “mapping them,” describe processes or make decisions by using maps, schemata, and diagrams. Cognition involves iconicity because mental images are icons, and icons can lead to new insights and to the discovery of relations not recognized without their iconic representation.
Iconicity then becomes a precondition for communication and mutual understanding. This has recently been pointed out by Winfried Nöth (2008) who stresses that it is above all the diagrammatic icon structuring discourse and reasoning that makes texts and arguments clearer and more transparent since diagrams lay bare the path of the argument: “Diagrams in language are both cognitively necessary and rhetorically efficient since icons are superior to other signs when clearness of representation and coherence of argumentation is concerned.” The importance of diagrammatic iconicity to cognition also accounts for the new interest in analogy. Analogies are mental diagrams with the effect of the parallel mapping of the structures of two conceptual domains. Analogies are important to linguistic theorizing and modelling and they are important factors of language change, language evolution, and language acquisition, as the studies by Douglas Hofstadter (1995), Terrence Deacon (1997), Esa Itkonen (2005), Dieter Wanner (2006), Olga Fischer (2007) and others have shown who have given evidence that the basic mechanism of learning is analogy. Frederik Stjernfelt is on a similar track in his recent Diagrammatology (2007), but he attempts to chart the importance of diagrams by looking at their philosophical implications (diagnosing similarities between Peircean semiotics and early Husserlian phenomenology) as well as exploring what a diagrammatic approach can bring to areas as different as biosemiotics, picture analysis, and the theory of literature.
The increased interest in iconicity has also been prompted by the current focus on intermediality. Intermediality is not only of concern to the way modalities such as genres, narrative modes and styles change in the transfer process from one medium to another but also to the extent to which an ‘original’ medium dialogues with other media and thus receives impulses in return. An example here is how literature has been influenced both by painting and film, attracting and absorbing techniques and ideas, which then flow back to these two media again, inspiring, in turn, literary texts anew. Not only are there interrelations and constant interactions between the visual, verbal, and oral media, and, as W.J.T. Mitchell has repeatedly claimed, all media are mixed media, but the intersemiotic translations and transformations taking place have a mainly iconic character as they involve the mapping of structures and self-reflexivity. As a result, the combinations of, and the switching among, the various media in multimedia works of art direct our attention to the specificity of the media and make us aware of the various sensory modalities addressed and the semiotic register of sign functions involved.
These topics and the iconicity in written texts and spoken discourse in general are some of the issues that will be discussed at the upcoming Seventh Symposium on Iconicity in Language and Literature, which will take place at Victoria College in Toronto during 9-14 June in 2009. Further topics of this conference are iconicity in visual texts, in signed and gestural languages, visual and auditory signing, cognitive science, reader-oriented approaches and music interacting with language as well as film and multimedia performance. It will also feature a workshop on Cognitive Poetics with distinguished speakers such as Margaret Freeman (Myrifield), Reuven Tsur (Tel Aviv), David Herman (Ohio), Zoltan Kovecses (Budapest), Adam Kendon (London), Mark Changizi (New York). It is therefore with excitement that we watch the June Symposium take shape. For further information, please visit
the conference website. Iconicity: a definitionIconicity as a semiotic notion refers to a natural resemblance or analogy between the form of a sign (‘the signifier’, be it a letter or sound, a word, a structure of words, or even the absence of a sign) and the object or concept (‘the signified’) it refers to in the world or rather in our perception of the world. The similarity between sign and object may be due to common features inherent in both: by direct inspection of the iconic sign we may glean true information about its object. In this case we speak of ‘imagic’ iconicity (as in a portrait or in onomatopoeia, e.g. ‘cuckoo’) and the sign is called an ‘iconic image.’
When we have a plurality of signs, the analogy may be more abstract: we then have to do with diagrammatic iconicity which is based on a relationship between signs that mirrors a similar relation between objects or actions (e.g. a temporal sequence of actions is reflected in the sequence of the three verbs in Caesar’s dictum “veni, vidi, vici”): in this instance, the sign (here the syntactic structure of three verbs) is an ‘iconic diagram.’ Obviously, it is primarily diagrammatic iconicity that is of great relevance to language and literary texts.
Both imagic and diagrammatic iconicity are not clean-cut categories but form a continuum on which the iconic instances run from almost perfect mirroring (i.e. a semiotic relationship that is virtually independent of any individual language) to a relationship that becomes more and more suggestive and also more and more language-dependent.
A similar continuum informs the categories of what has been termed primary diagrammatic iconicity and second degree diagrammatic iconicity. In the first there is still some language independent (semiotic) relation present, e.g. temporal order — as in the “veni, vidi, vici”-example. In the second category, the semiotic relation has become marginal and it is the linguistic relation between the forms used that suggests a similar relation between the concepts it refer to. Thus in the “veni, vidi, vici”-example above, the formal similarity of the three verbs iconically also reflects a similarity of the three actions referred to. For this formal concordance additionally emphasises the ease with which Caesar’s conquest took place: each verb consists of two syllables, each syllable (formed by a consonant and vowel) is of the same length and each starts with the same consonant (v). This type of second-degree iconicity plays a role in folk etymology, in word formation, in sound-symbolism, and it is used to great effect in poetry.
Contrary to the Saussurean idea that language is fundamentally if not exclusively arbitrary (or in semiotic terms, ‘symbolic’), considerable linguistic research in the twentieth century has shown that iconicity operates at every level of language (phonology, morphology,
syntax) and in practically every known language. Recent literary criticism has confirmed that iconicity is also pervasive in the literary text, from its prosody and rhyme, its lineation, stanzaic ordering, its textual and narrative structure to its typographic layout on the page.
Quite generally, it is important to realise that the perception of iconicity in language and literary texts is semantically motivated. Hence, the interpretative process usually moves from meaning to form, but form may also influence the meaning of a sign occasionally. The reason for this is that the perception of iconic features in language and literature always depends on an interpreter who is capable of connecting meaning with its formal expression. What is true of all signs is also true of an iconic sign: it is not self-explanatory.
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Amsterdam - Zürich Iconicity Research ProjectSince 1997 the Iconicity Research Project (initially based on a co-operation between the Universities of Amsterdam and Zurich) has organised international and interdisciplinary
symposia every two years to provide increasing evidence for the extensive presence of iconicity (i.e. form miming meaning and form miming form) in language and in literature. By means of detailed case studies (at first the main focus was on English but the interest has widened to other Indo-European and non-Indo-European languages) the symposia have, on the one hand, concentrated on iconicity as a driving force in language (in both spoken and signed languages) and on all possible levels (i.e. the phonetic, morphological, syntactic, lexical and discourse levels); in language acquisition (children's use of language); and in language change (grammaticalisation; developments in pidgins and creoles). On the other hand, the symposia have addressed the various mimetic uses of more concrete and creative iconic images and/or more abstract iconic diagrams at all levels of the literary text, both in narrative and poetic form, and in all varieties of discourse (literary texts, historical texts, political texts, advertising, language and music, literature and music, etc). So far, there have been five international and interdisciplinary conferences on iconicity in language and literature: 1997 in Zurich, 1999 in Amsterdam, 2001 in Jena, 2003 in Louvain-la-Neuve, and 2005 in Cracow (The sixth symposium will take place in in 2007.) Past keynote speakers in this series of conferences include: Sylvia Adamson (Manchester), Paul Bouissac (Toronto),Wolfgang Dressler (Vienna), Ivan Fónagy (Paris), John Haiman (St. Paul MN), Jørgen Dines Johansen (Odense), Jean-Jacques Lecercle (Nanterre), Winfried Nöth (Kassel), Ralph Norrman† (Tampere), Wilhelm Pötters (Würzburg), Dan Slobin (Berkeley), John white. The most interesting and relevant papers given at those conferences have been collected in four publications (all published by Benjamins, Amsterdam): Form Miming Meaning. Iconicity in Language and Literature (1999), The Motivated Sign. Iconicity in Language and Literature 2 (2001), From Sign to Signing. Iconicity in Language and Literature 3 (2003), and Iconicity Inside-Out. Iconicity in Language and Literature 4 (forthcoming). A further series of papers that were presented at the 1999 Amsterdam conference was published in the special number Iconicity of the European Journal of English Studies (EJES 5) in 2001.
New Iconicity Research Project at the University of Amsterdam(from March 1, 2006):
Title: Iconicity in language use, language learning, and language change
Coordinator: Prof. Dr. Olga Fischer
Members of the research group within ACLC: Prof. Dr. Olga Fischer
Non-ACLC Researchers:
PD Dr. Christina Ljungberg (University of Zürich)Prof. Dr Paul Bouissac (University of Toronto)Prof. Dr William Herlofsky (Nagoya Gakuin University) Dr. Piotr Sadowski (Trinity/American College, Dublin)Prof. Dr Elżbieta Tabakowska (University of Krakow)Dr. Klaas Willems (University of Ghent)Ludovic De Cuypere, PhD project (University of Ghent)Hendrik de Smet, PhD project (University of Leuven)
DescriptionIconicity as a semiotic notion refers to a natural resemblance or analogy between the form of a sign (‘the signifier’), and the object or concept (‘the signified’) it refers to in the world or rather in our perception of the world. The similarity between sign and object may be due to common features inherent in both; in this case we speak of ‘imagic’ iconicity (as e.g. in onomatopoeia, some signs in signed language) and the sign is called an ‘iconic image’. In spoken languages, the analogy or similarity is usually more abstract: we then have to do with diagrammatic iconicity which is based on a relationship between signs that mirrors a similar relation between objects or actions. Both imagic and diagrammatic iconicity are not clean-cut categories but form a continuum on which the iconic instances run from almost perfect mirroring (i.e. a semiotic relationship that is virtually independent of any individual language) to a relationship that becomes more and more suggestive and also more and more language-dependent.Contrary to the structuralist idea that language is fundamentally arbitrary (or in semiotic terms, ‘symbolic’), considerable linguistic research in the twentieth century has shown that iconicity operates at every level of language (spelling, phonology, morphology, syntax) and in practically every known language. The process referred to as grammaticalization can also be seen to be related to iconicity, e.g. via the iconic principles of quantity and proximity as shown i.a. by John Haiman and Talmy Givón. Iconicity and grammaticalization also form part of the grammaticalization cycle, whereby new, exploratory iconic forms replace grammaticalized structures (cf. Plank 1979, Fischer 1997). Recent literary criticism has confirmed that iconicity is also pervasive in literary texts, from its prosody and rhyme, its lineation, stanzaic ordering, its textual and narrative structure to its typographic layout on the page.
HistorySince 1997 the Iconicity Research Project (initially based on a co-operation between the Universities of Amsterdam and Zürich) has organised international and interdisciplinary symposia biannually to provide increasing evidence for the extensive presence of iconicity in language (including literary texts). By means of detailed case studies the symposia have concentrated on iconicity as a driving force in language (in both spoken and signed languages) on all possible levels (i.e. the typographic, phonetic, morphological, syntactic, lexical and discourse levels); in language acquisition (children's use of language); and in language change (grammaticalisation; developments in pidgins and creoles).
The program involves a long-term research project. It was started in 1996 and has developed a webpage (http://home.hum.uva.nl/iconicity/), which is maintained by the Amsterdam and Zürich coordinators. Olga Fischer and Christina Ljungberg will continue to organize the biannual symposia in cooperation with local organizers. They are also, from February 2006, onwards the general editors of the Iconicity Series for Benjamins. Olga Fischer is on the editorial board of the electronic journal Iconicity in language (http://www.trismegistos.com/IconicityInLanguage/) and both Christina Ljungberg and Olga Fischer are involved in The Public Journal of Semiotics started by Paul Bouissac in Toronto (http://semiotics.ca/) and on the advisory board of the Semiotics Encyclopedia (http://www.chass.utoronto.ca/epc/srb/dse/index.html)
Possibilities exist for both internal and external PhD projects (more information follows at a later date)
Iconicity in Literature: Bibliography(June 2003)
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