The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani
The semantic field of musical instruments, unlike ethnobotanical and ethnozoological nomenclature, still represents an underexplored area in ethnolinguistic studies. The present work is based on the analysis of three primary lexemes; mbaraka, angu’a and mimby, which origin...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
| Publicado: |
Facultad de Filosofía y Letras, Universidad de Buenos Aires
2020
|
| Materias: | |
| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8040 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=8040_oai |
| Aporte de: |
| id |
I28-R145-8040_oai |
|---|---|
| record_format |
dspace |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-145 |
| collection |
Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
| orig_language_str_mv |
spa |
| topic |
guaraní; etnomusicología; léxico; contacto lingüístico; etnolingüística Guarani; etnomusicologia; léxico; contato linguístico; etnolinguística Guarani; ethnomusicology; lexicon; linguistic contact; ethnolinguistics |
| spellingShingle |
guaraní; etnomusicología; léxico; contacto lingüístico; etnolingüística Guarani; etnomusicologia; léxico; contato linguístico; etnolinguística Guarani; ethnomusicology; lexicon; linguistic contact; ethnolinguistics Baranger, Estefanía The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani |
| topic_facet |
guaraní; etnomusicología; léxico; contacto lingüístico; etnolingüística Guarani; etnomusicologia; léxico; contato linguístico; etnolinguística Guarani; ethnomusicology; lexicon; linguistic contact; ethnolinguistics |
| description |
The semantic field of musical instruments, unlike ethnobotanical and ethnozoological nomenclature, still represents an underexplored area in ethnolinguistic studies. The present work is based on the analysis of three primary lexemes; mbaraka, angu’a and mimby, which originally in Mbya Guarani designated musical instruments of indigenous origin and, later, in Old Guarani and Modern Guarani, were either re-semantisized or included in nominal compounds in order to designate instruments introduced by the population of European origin. Each source, then, represents a different degree of contact with the creole culture, a fact that is reflected in the hyponymy and hypernymy relations between these primary lexemes and the more recent incorporations or developments. Furthermore, this linguistic analysis reveals word-formation strategies in this field result in morphologically complex names motivated by metaphorical or analogical relations with other elements of the world, as well as instances of sound symbolism, phenomena which are usually associated with biological nomenclature. |
| format |
Artículo publishedVersion |
| author |
Baranger, Estefanía |
| author_facet |
Baranger, Estefanía |
| author_sort |
Baranger, Estefanía |
| title |
The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani |
| title_short |
The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani |
| title_full |
The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani |
| title_fullStr |
The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani |
| title_full_unstemmed |
The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani |
| title_sort |
harp, a waterfall: metaphor and sound symbolism as word-formation strategies in the musical instrument lexicon in guarani |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2020 |
| url |
https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8040 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=8040_oai |
| work_keys_str_mv |
AT barangerestefania theharpawaterfallmetaphorandsoundsymbolismaswordformationstrategiesinthemusicalinstrumentlexiconinguarani AT barangerestefania elarpaaguaquecaemetaforaysimbolismosonorocomoestrategiasdeformaciondepalabrasenellexicodeinstrumentosmusicalesenguarani AT barangerestefania aharpaaguaquecaimetaforaesimbolismosonorocomoestrategiasdeformacaodepalavrasnolexicodeinstrumentosmusicaisemguarani AT barangerestefania harpawaterfallmetaphorandsoundsymbolismaswordformationstrategiesinthemusicalinstrumentlexiconinguarani |
| _version_ |
1851374445599391744 |
| spelling |
I28-R145-8040_oai2025-11-17 Baranger, Estefanía 2020-08-06 The semantic field of musical instruments, unlike ethnobotanical and ethnozoological nomenclature, still represents an underexplored area in ethnolinguistic studies. The present work is based on the analysis of three primary lexemes; mbaraka, angu’a and mimby, which originally in Mbya Guarani designated musical instruments of indigenous origin and, later, in Old Guarani and Modern Guarani, were either re-semantisized or included in nominal compounds in order to designate instruments introduced by the population of European origin. Each source, then, represents a different degree of contact with the creole culture, a fact that is reflected in the hyponymy and hypernymy relations between these primary lexemes and the more recent incorporations or developments. Furthermore, this linguistic analysis reveals word-formation strategies in this field result in morphologically complex names motivated by metaphorical or analogical relations with other elements of the world, as well as instances of sound symbolism, phenomena which are usually associated with biological nomenclature. El campo semántico de los instrumentos musicales, a diferencia de la nomenclatura etnobotánica y etnozoológica, representa un área aún poco explorada por los estudios etnolingüísticos. El presente trabajo parte del análisis de tres lexemas primarios; mbaraka, angu’a y mimby, que originalmente en mbya guaraní designaban instrumentos musicales de origen indígena y, posteriormente, en guaraní antiguo y guaraní moderno, o bien fueron re-semantizados o incluidos en compuestos para designar instrumentos introducidos por la población de origen europeo. Cada fuente consultada, entonces, representa un distinto grado de contacto con la cultura envolvente, factor que se refleja en las relaciones de hiperonimia e hiponimia entre los lexemas primarios y las incorporaciones o desarrollos más recientes. El análisis lingüístico asimismo revela que las estrategias de formación de palabras en este campo resultan en nombres morfológicamente complejos que encuentran su motivación en relaciones de base analógica o metafórica con otros elementos del mundo, así como instancias de simbolismo sonoro, fenómenos usualmente asociados a la nomenclatura biológica. O campo semântico dos instrumentos musicais, diferentemente da nomenclatura etnobotânica e etnozoológica, representa uma área ainda pouco explorada pelos estudos etnolinguísticos. O presente trabalho baseia-se na análise de três lexemas primários; mbaraka, angu’a e mimby, que originalmente no Guarani Mbya designavam instrumentos musicais de origem indígena e, posteriormente, no Guarani Antigo e Guarani Moderno, foram ressemantizados ou incluídos em palavras compostas para designar instrumentos introduzidos pela população de origem europeia. Cada fonte consultada, portanto, representa um grau diferente de contato com a cultura circundante, fator que se reflete nas relações de hiperonímia e hiponímia entre os lexemas primários e suas mais recentes incorporações ou desenvolvimentos. A análise linguística também revela que as estratégias de formação de palavras nesse campo resultam em nomes morfologicamente complexos que encontram a sua motivação em relações de base analógica ou metafórica com outros elementos presentes no mundo, assim como instâncias de simbolismo sonoro, fenômenos geralmente associados à nomenclatura biológica. application/pdf text/html https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8040 10.34096/oidopensante.v8n2.8040 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8040/7376 https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8040/7511 Derechos de autor 2020 El oído pensante El oído pensante; Vol. 8 No. 2 (2020): Agosto 2020 - Enero 2021 El oído pensante; Vol. 8 Núm. 2 (2020): Agosto 2020 - Enero 2021 El oído pensante; v. 8 n. 2 (2020): Agosto 2020 - Enero 2021 2250-7116 guaraní; etnomusicología; léxico; contacto lingüístico; etnolingüística Guarani; etnomusicologia; léxico; contato linguístico; etnolinguística Guarani; ethnomusicology; lexicon; linguistic contact; ethnolinguistics The Harp, a Waterfall: Metaphor and Sound Symbolism as Word-formation Strategies in the Musical Instrument Lexicon in Guarani El arpa, agua que cae: metáfora y simbolismo sonoro como estrategias de formación de palabras en el léxico de instrumentos musicales en guaraní A harpa, água que cai: metáfora e simbolismo sonoro como estratégias de formação de palavras no léxico de instrumentos musicais em Guarani info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=8040_oai |