Japanese Sound-symbolic Words Research Articles

Japanese Sound-Symbolic Words for Representing the Hardness of an Object Are Judged Similarly by Japanese and English Speakers.

Contrary to the assumption of arbitrariness in modern linguistics, sound symbolism, which is the non-arbitrary relationship between sounds and meanings, exists. Sound symbolism, including the “Bouba–Kiki” effect, implies the universality of such relationships; individuals from different cultural and linguistic backgrounds can similarly relate sound-symbolic words to referents, although the extent of these similarities remains to be fully understood. Here, we examined if subjects from different countries could similarly infer the surface texture properties from words that sound-symbolically represent hardness in Japanese. We prepared Japanese sound-symbolic words of which novelty was manipulated by a genetic algorithm (GA). Japanese speakers in Japan and English speakers in both Singapore and the United States rated these words based on surface texture properties (hardness, warmness, and roughness), as well as familiarity. The results show that hardness-related words were rated as harder and rougher than softness-related words, regardless of novelty and countries. Multivariate analyses of the ratings classified the hardness-related words along the hardness-softness dimension at over 80% accuracy, regardless of country. Multiple regression analyses revealed that the number of speech sounds /g/ and /k/ predicted the ratings of the surface texture properties in non-Japanese countries, suggesting a systematic relationship between phonetic features of a word and perceptual quality represented by the word across culturally and linguistically diverse samples.

Japanese sound-symbolic words in global contexts: from translation to hybridization.

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.

Japanese sound-symbolic words in global contexts: from translation to hybridization

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.

Japanese sound-symbolic words in global contexts: from translation to hybridization.

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.

Computer Vision System for Expressing Texture Using Sound-Symbolic Words.

The major goals of texture research in computer vision are to understand, model, and process texture and ultimately simulate human visual information processing using computer technologies. The field of computer vision has witnessed remarkable advancements in material recognition using deep convolutional neural networks (DCNNs), which have enabled various computer vision applications, such as self-driving cars, facial and gesture recognition, and automatic number plate recognition. However, for computer vision to “express” texture like human beings is still difficult because texture description has no correct or incorrect answer and is ambiguous. In this paper, we develop a computer vision method using DCNN that expresses texture of materials. To achieve this goal, we focus on Japanese “sound-symbolic” words, which can describe differences in texture sensation at a fine resolution and are known to have strong and systematic sensory-sound associations. Because the phonemes of Japanese sound-symbolic words characterize categories of texture sensations, we develop a computer vision method to generate the phonemes and structure comprising sound-symbolic words that probabilistically correspond to the input images. It was confirmed that the sound-symbolic words output by our system had about 80% accuracy rate in our evaluation.

Vowel Length Expands Perceptual and Emotional Evaluations in Written Japanese Sound-Symbolic Words.

In this study, we examined whether vowel length affected the perceptual and emotional evaluations of Japanese sound-symbolic words. The perceptual and emotional features of Japanese sound-symbolic words, which included short and long vowels, were evaluated by 209 native Japanese speakers. The results showed that subjective evaluations of familiarity, visual imageability, auditory imageability, tactile imageability, emotional valence, arousal, and length were significantly higher for sound-symbolic words with long vowels compared to those with short vowels. Additionally, a subjective evaluation of speed was significantly higher for written Japanese sound-symbolic words with short vowels than for those with long vowels. The current findings suggest that vowel length in written Japanese sound-symbolic words increases the perceptually and emotionally subjective evaluations of Japanese sound-symbolic words.

The Relationships Between Initial Consonants in Japanese Sound Symbolic Words and Familiarity, Multi-Sensory Imageability, Emotional Valence, and Arousal.

Sound symbolic words consist of inevitable associations between sounds and meanings. We aimed to identify differences in familiarity, visual imageability, auditory imageability, tactile imageability, emotional valence, and arousal between Japanese sound symbolic words with voiced initial consonants (VCs; dakuon in Japanese; e.g., biribiri) and Japanese sound symbolic words with semi-voiced initial consonants (SVCs; handakuon in Japanese; e.g., piripiri), and between VCs (e.g., daradara) and Japanese sound symbolic words with voiceless initial consonants (VLCs; seion in Japanese; e.g., taratara). First, auditory imageability and arousal were significantly higher in VCs than SVCs, whereas familiarity, tactile imageability, and positive emotion (emotional valence) were significantly higher in SVCs than VCs. Second, visual imageability was higher in VCs than VLCs, while familiarity and positive emotion were higher in VLCs than VCs. Initial consonants in Japanese sound symbolic words could be associated with specific subjective evaluations such as familiarity, visual imageability, auditory imageability, tactile imageability, emotional valence, and arousal.

Holistic Processing Affects Surface Texture Perception: Approach from Japanese Sound Symbolic Words

The human visual system is able to perceive not only the macrostructure (form and shape) of a surface, but also its microstructure (texture). Some evidence suggests that microstructural characteristics are processed independently of macrostructural features. However, the human visual system can interpret a variety of information about the physical world, enabling the recognition and semantic categorization of complex visual scenes at a glance. This remarkable perceptual ability relies heavily on holistic processing, which is achieved by estimating the global statistical summary of an image. On the other hand, texture is an important source of information for distinguishing between artificial and naturally occurring surfaces in images. In addition, it is reported that Japanese sound symbolic words are useful to express fine differences in texture and synesthetic characteristics. However, there is no evidence comparing the characteristics of surface texture perception between whole- and part-based images using sound symbolic words. The objective of the present study was to examine whether sound symbolic words for describing the surface texture perception differs between whole-based images related to the holistic processing and part-based images. In Experiment 1, we examined the effect of wholebased images in surface texture perception using sound symbolic words. In Experiment 2, we examined the effect of part-based images in surface texture perception using sound symbolic words. The results revealed that the sensory and symbolic descriptors differed in texture perceptions between whole-based and part-based image processing. These findings suggest that sound symbolic words can describe differences in surface texture between whole-based and part-based images at a fine resolution.

Exploring Tactile Perceptual Dimensions Using Materials Associated with Sensory Vocabulary.

Considering tactile sensation when designing products is important because the decision to purchase often depends on how products feel. Numerous psychophysical studies have attempted to identify important factors that describe tactile perceptions. However, the numbers and types of major tactile dimensions reported in previous studies have varied because of differences in materials used across experiments. To obtain a more complete picture of perceptual space with regard to touch, our study focuses on using vocabulary that expresses tactile sensations as a guiding principle for collecting material samples because these types of words are expected to cover all the basic categories within tactile perceptual space. We collected 120 materials based on a variety of Japanese sound-symbolic words for tactile sensations, and used the materials to examine tactile perceptual dimensions and their associations with affective evaluations. Analysis revealed six major dimensions: “Affective evaluation and Friction,” “Compliance,” “Surface,” “Volume,” “Temperature,” and “Naturalness.” These dimensions include four factors that previous studies have regarded as fundamental, as well as two new factors: “Volume” and “Naturalness.” Additionally, we showed that “Affective evaluation” is more closely related to the “Friction” component (slipperiness and dryness) than to other tactile perceptual features. Our study demonstrates that using vocabulary could be an effective method for selecting material samples to explore tactile perceptual space.

Word Forms of Modern Japanese Sound Symbolic Words Not Listed in Dictionaries

Word Forms of Modern Japanese Sound Symbolic Words Not Listed in Dictionaries

Cross-Modal Associations between Sounds and Drink Tastes/Textures: A Study with Spontaneous Production of Sound-Symbolic Words.

Many languages have a word class whose speech sounds are linked to sensory experiences. Several recent studies have demonstrated cross-modal associations (or correspondences) between sounds and gustatory sensations by asking participants to match predefined sound-symbolic words (e.g., "maluma/takete") with the taste/texture of foods. Here, we further explore cross-modal associations using the spontaneous production of words and semantic ratings of sensations. In the experiment, after drinking liquids, participants were asked to express their taste/texture using Japanese sound-symbolic words, and at the same time, to evaluate it in terms of criteria expressed by adjectives. Because the Japanese language has a large vocabulary of sound-symbolic words, and Japanese people frequently use them to describe taste/texture, analyzing a variety of Japanese sound-symbolic words spontaneously produced to express taste/textures might enable us to explore the mechanism of taste/texture categorization. A hierarchical cluster analysis based on the relationship between linguistic sounds and taste/texture evaluations revealed the structure of sensation categories. The results indicate that an emotional evaluation like pleasant/unpleasant is the primary cluster in gustation.