Abstract

This paper explores the global reception and development of the artistic expression of onomatopoeia and mimetic words in modern and contemporary Japanese literary texts adopting the method of comparative literature. By analyzing sound-symbolic words and their translations in modern Japanese poetry and contemporary comics, the intercultural dialogues of these texts are examined and the emergence of hybrid onomatopoeia in global comic works is illuminated. The Japanese language is often noted for its richness of sound-symbolic words. In the literary world, modern poetry adopted and elaborated the use of these words from the late 19th century in its quest for a new style of poetry. In the early 20th century, poets developed the artistic expression of sound-symbolic words and succeeded in giving musicality to the "new-style poem". However, the translation of Japanese sound-symbolic words has always been problematic. Experimental uses of these words in modern poems were often untranslatable, making the translations incomprehensible or dull. Nevertheless, graphic narratives and their worldwide distribution changed that situation. Japanese comics (manga) has particularly developed the artistic expression of sound-symbolic words. Usually placed outside speech balloons, these words are elaborately depicted and are important elements of the panel/page layout. Notably, the global popularity of the genre developed a new phase of intercultural dialogue. As not every word has an equivalent or is translatable in the target language, translators have left sound-symbolic words untouched in the translated versions, putting translation aside. Thus, the combination of Japanese and the target language seems to influence the visual comprehension of sound effects among the readers. Through the examinations of some cases, this paper brings to light the emergence of some hybrid onomatopoeia and reveals that the "Third Space" formed by the translation and hybridization of manga is a dynamic field that creates a new culture.

Highlights

  • Onomatopoeia and mimetic words have always colored our languages and literature

  • Adopting this point of view, this paper examines the intercultural dialogues of modern Japanese poetry and contemporary comics analyzing soundsymbolic words in these texts through translation, and argues for the emergence of some hybrid onomatopoeias in global comic works

  • Yukio Mishima denounced the use of onomatopoeia as a “childish technique” in the 1950s, modern Japanese texts have persistently developed the utilization of sound-symbolic words

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Summary

Introduction

Onomatopoeia and mimetic words have always colored our languages and literature. The Japanese language is often noted for its richness of these sound-symbolic words, and has around 4,500 of them (Ono, 2007). Sound-symbolic words are usually classified into three or five groups (Iwasaki, 2013: 69; Kindaichi, 1978: 5–8; Shibatani, 2006: 154) as follows: 1. ➢ Animate phonomime (giseigo) voice-mimicking words: words that mimic sounds made by living things. ➢ Inanimate phonomime (giongo) sound-mimicking words: words that mimic sounds made by inanimate objects

Psychomimes
Preservation of the original expression and putting translation aside
Conclusion
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