Ever since the fundamental studies carried out by the great German Romanist Max Leopold Wagner (b. 1880–d. 1962), the acknowledged founder of scientific research on Sardinian, the lexicon has been, and still is, one of the most investigated and best-known areas of the Sardinian language. Several substrate components stand out in the Sardinian lexicon around a fundamental layer which has a clear Latin lexical background. The so-called Paleo-Sardinian layer is particularly intriguing. This is a conventional label for the linguistic varieties spoken in the prehistoric and protohistoric ages in Sardinia. Indeed, the relatively large amount of words (toponyms in particular) which can be traced back to this substrate clearly distinguishes the Sardinian lexicon within the panorama of the Romance languages. As for the other Pre-Latin substrata, the Phoenician-Punic presence mainly (although not exclusively) affected southern and western Sardinia, where we find the highest concentration of Phoenician-Punic loanwords. On the other hand, recent studies have shown that the Latinization of Sardinia was more complex than once thought. In particular, the alleged archaic nature of some features of Sardinian has been questioned. Moreover, research carried out in recent decades has underlined the importance of the Greek Byzantine superstrate, which has actually left far more evident lexical traces than previously thought. Finally, from the late Middle Ages onward, the contributions from the early Italian, Catalan, and Spanish superstrates, as well as from modern and contemporary Italian, have substantially reshaped the modern-day profile of the Sardinian lexicon. In these cases too, more recent research has shown a deeper impact of these components on the Sardinian lexicon, especially as regards the influence of Italian.
A lexical item is described as “playful” or “ludic” when it shows evidence of manipulation of the relation that inheres between its form (signifier) and its meaning (signified). The playful lexicon of any given language, therefore, is the sum total of its lexical items that show signs of such manipulation. Linguists have long recognized that the only necessary link between a word’s form and its meaning is the arbitrary social convention that binds them. However, nothing prevents speakers from creating additional, unnecessary and therefore essentially “playful” links, associating forms with meanings in a symbolic, hence non-arbitrary way. This semantic effect is most evident in the case of onomatopoeia, through which the phonetic form of words that designate sounds is designed to be conventionally imitative of the sound. A second group of playful words combines repeated sequences of sounds with meanings that are themselves suggestive of repetition or related concepts such as collectivity, continuity, or actions in sequence, as well as repeated, back-and-forth, or uncontrolled movements, or even, more abstractly, intensity and hesitation. The playfulness of truncated forms such as clips and blends is based on a still more abstract connection between forms and meanings. In the case of clipping, the truncation of the full form of a word triggers a corresponding connotative truncation or diminution of the meaning, that is, a suggestion that the referent is small—either endearingly, humorously, or contemptuously so. In blending, truncation is often accompanied by overlapping, which symbolically highlights the interrelatedness or juxtaposition of the constituents’ individual meanings. Prosodic templates do not constitute a separate category per se; instead, they may play a part in the formation or alteration of words in any of the other categories discussed here.
Dalmatian is an extinct group of Romance varieties spoken on the eastern Adriatic seaboard, best known from its Vegliote variety, spoken on the island of Krk (also called Veglia). Vegliote is principally represented by the linguistic testimony of its last speaker, Tuone Udaina, who died at the end of the 19th century. By the time Udaina’s Vegliote could be explored by linguists (principally by Matteo Bartoli), it seems that he had no longer actively spoken the language for decades, and his linguistic testimony is imperfect, in that it is influenced for example by the Venetan dialect that he habitually spoke. Nonetheless, his Vegliote reveals various distinctive and recurrent linguistic traits, notably in the domain of phonology (for example, pervasive and complex patterns of vowel diphthongization) and morphology (notably a general collapse of the general Romance inflexional system of tense and mood morphology, but also an unusual type of synthetic future form).