Blocking can be defined as the non-occurrence of some linguistic form, whose existence could be expected on general grounds, due to the existence of a rival form. *Oxes, for example, is blocked by oxen, *stealer by thief. Although blocking is closely associated with morphology, in reality the competing “forms” can not only be morphemes or words, but can also be syntactic units. In German, for example, the compound Rotwein ‘red wine’ blocks the phrasal unit *roter Wein (in the relevant sense), just as the phrasal unit rote Rübe ‘beetroot; lit. red beet’ blocks the compound *Rotrübe. In these examples, one crucial factor determining blocking is synonymy; speakers apparently have a deep-rooted presumption against synonyms. Whether homonymy can also lead to a similar avoidance strategy, is still controversial. But even if homonymy blocking exists, it certainly is much less systematic than synonymy blocking.
In all the examples mentioned above, it is a word stored in the mental lexicon that blocks a rival formation. However, besides such cases of lexical blocking, one can observe blocking among productive patterns. Dutch has three suffixes for deriving agent nouns from verbal bases, -er, -der, and -aar. Of these three suffixes, the first one is the default choice, while -der and -aar are chosen in very specific phonological environments: as Geert Booij describes in The Morphology of Dutch (2002), “the suffix -aar occurs after stems ending in a coronal sonorant consonant preceded by schwa, and -der occurs after stems ending in /r/” (p. 122). Contrary to lexical blocking, the effect of this kind of pattern blocking does not depend on words stored in the mental lexicon and their token frequency but on abstract features (in the case at hand, phonological features).
Blocking was first recognized by the Indian grammarian Pāṇini in the 5th or 4th century
Irit Meir and Oksana Tkachman
Iconicity is a relationship of resemblance or similarity between the two aspects of a sign: its form and its meaning. An iconic sign is one whose form resembles its meaning in some way. The opposite of iconicity is arbitrariness. In an arbitrary sign, the association between form and meaning is based solely on convention; there is nothing in the form of the sign that resembles aspects of its meaning. The Hindu-Arabic numerals 1, 2, 3 are arbitrary, because their current form does not correlate to any aspect of their meaning. In contrast, the Roman numerals I, II, III are iconic, because the number of occurrences of the sign I correlates with the quantity that the numerals represent. Because iconicity has to do with the properties of signs in general and not only those of linguistic signs, it plays an important role in the field of semiotics—the study of signs and signaling. However, language is the most pervasive symbolic communicative system used by humans, and the notion of iconicity plays an important role in characterizing the linguistic sign and linguistic systems. Iconicity is also central to the study of literary uses of language, such as prose and poetry.
There are various types of iconicity: the form of a sign may resemble aspects of its meaning in several ways: it may create a mental image of the concept (imagic iconicity), or its structure and the arrangement of its elements may resemble the structural relationship between components of the concept represented (diagrammatic iconicity). An example of the first type is the word cuckoo, whose sounds resemble the call of the bird, or a sign such as RABBIT in Israeli Sign Language, whose form—the hands representing the rabbit's long ears—resembles a visual property of that animal. An example of diagrammatic iconicity is vēnī, vīdī, vīcī, where the order of clauses in a discourse is understood as reflecting the sequence of events in the world.
Iconicity is found on all linguistic levels: phonology, morphology, syntax, semantics, and discourse. It is found both in spoken languages and in sign languages. However, sign languages, because of the visual-gestural modality through which they are transmitted, are much richer in iconic devices, and therefore offer a rich array of topics and perspectives for investigating iconicity, and the interaction between iconicity and language structure.