Summary

Ideophones, also termed mimetics or expressives, are marked words that depict sensory imagery. They are found in many of the world’s languages, and sizable lexical classes of ideophones are particularly well-documented in the languages of Asia, Africa, and the Americas. Ideophones are not limited to onomatopoeia like meow and smack but cover a wide range of sensory domains, such as manner of motion (e.g., plisti plasta ‘splish-splash’ in Basque), texture (e.g., tsaklii ‘rough’ in Ewe), and psychological states (e.g., wakuwaku ‘excited’ in Japanese). Across languages, ideophones stand out as marked words due to special phonotactics, expressive morphology including certain types of reduplication, and relative syntactic independence, in addition to production features like prosodic foregrounding and common co-occurrence with iconic gestures.

Three intertwined issues have been repeatedly debated in the century-long literature on ideophones. (a) Definition: Isolated descriptive traditions and cross-linguistic variation have sometimes obscured a typologically unified view of ideophones, but recent advances show the promise of a prototype definition of ideophones as conventionalized depictions in speech, with room for language-specific nuances. (b) Integration: The variable integration of ideophones across linguistic levels reveals an interaction between expressiveness and grammatical integration, and has important implications for how to conceive of dependencies between linguistic systems. (c) Iconicity: Ideophones form a natural laboratory for the study of iconic form-meaning associations in natural languages, and converging evidence from corpus and experimental studies suggests important developmental, evolutionary, and communicative advantages of ideophones.