Ištiktukų priebalsių fonosemantika (vienanariai pradžios junginiai)

LITHUANIAN LINGUISTICAL QUESTIONS XXXV (1995) LITHUANIAN LEXICOLOGICAL STUDIES Jolanta ZABARSKAITĖ PHONOSEMANTICS OF EXPRESSIVE WORDS (SINGULAR INITIAL CONJUNCTIONS) The answers to questions in the field of phonosemantics are sought in a specific group of expressive Lithuanian lexicon —expressive words, i.e., words that do not name, but denote an impression caused by sound, image, feeling or experience. The main object of the study is chosen as the least problematic area of expressive lexicon. Other layers of expressive vocabulary are used when it is necessary to justify the conclusions obtained. For phonosemantic conclusions, ideographs (adjectives that imitate the image of an action or experience), mimes (adjectives that imitate typical mimicry when expressing a feeling), and occasionally onomatopoeia (adjectives that imitate a sound) are examined. The problem of phonosemantics is related to the fields of phonetics and phonology, semantics and lexicology. Their terms and methods are used. The letters are transliterated into standard Lithuanian. The sentences illustrating the examples are presented as they are in the dictionaries, i.e. from the "Lietuvių kalbos žodynas" — untranscribed, from DūnŽ — the transcription used by it. Abbreviations of geographical references of words — as in "Lithuanian language dictionary". Meanings are presented as in dictionaries. The universality of perception of articulatory and acoustic features of sounds is limited by the individuality of the phonetic system of language and the syntactic relations of sounds of language. The sounds of the sounds in the phonosemantic system are constant and unchangeable. It has the property of being potential, to be expressed in the text. As the most dynamic words in terms of their syntactic-semantic function, which ignore some of the phonetic laws of Lithuanian dialects, outliers are part of the Lithuanian language lexical system and obey the laws of its phonotactics. They do not have a phonetic structure that changes during the speech act, approaching the border of paralinguistic communication systems (gestures, mimicry), which means that the phonosemantics of sounds is not a field of psychoacoustics and psychophysiology, but a linguistically described systemic feature of language. Ištiktukai gali prasidėti visais lietuvių kalbos priebalsiais, taip pat kalbos periferijai priklausančiais /ch/, /h/, /f/. The most common type is with a T consonant. We will discuss it first. The T-type consonant beginner compounds. The articulation of the /k/ is characterized by the passage of air through the closure. This is also the auditory "clearness" of the /k/ acoustic character "compact", which gives the impression of a willful, forceful action directed outward. /k/ sound begins a lot of consonants, meaning punch, fist, tapping, pushing, cutting, hitting: /ktpšt/"to punch, tap", /klimšt/"for a light push, to show hitting", /k'é.lkst| "hard", /Klėkšt/"takš", /kakšt/"kekšt", /kapst/"kapt; /kd.uk/"the sound of a punch", /kum.pt/"the sound of a punch", /kūč/"the sound of a punch", /kūokš/"the sound of a punch"; /kūokt/ "to knock, to hurt". There 187 is a kind of "conversional" group of apostrophes next to this group of apostrophes, denoting grabbing, weighing: /kapt/"to mark weighing"; /kūpt/"grab- "; /kūopt/"capt". (The sound /k/ is also common in other dialects, such as the Ossetic kaepp, the Turkish kap, the Semitic kapp, and the Chuvashi kap.) There are outliers that create the image of a sudden movement, a jump: /k'ūkt/ "strikt, striuok, striuokt"; /ké-st/ "to signify dance". The image of jumping, rising upwards is intended to be revealed by the consonant /k/ and the low-tone variants of the compound or the elevated tone. /k/ immoral — /k'/ — decimal ki: pt "kilst" khi-kst ‘liuokt’ ki-st "kiust" from khi "shast" ki pt "ūžt, siubt” khi-rt "to jump" kuist "strikt" coockt Tremor, shaking, whistling is represented by the semantic group: /k'ir/ "tremble from cold"; /kp/"loss"; /k'ép/”to denote a buckling, a twisting”; /k'ūs/ "to describe tremor"; /k'ūst/ "to describe a tremor." The largest group of distortions consists of CpV type distortions, denoting the sound that occurs when touching the surface (ppr. solid). G. Kornilov describes this type of outliers in the scheme: action of the will impulse — movement — contact (Kornilov 1984: 112). In his observation, T-type consonants in many languages tend to imitate this scheme, consonant o /p/ is "absolutely suitable for the creation of action-movement- -contact" (Kornilov 1984: 113). Su A semantic group of CkV-type verbs, meaning rise, jump, etc. correlate CpV outliers: /piirst/"to describe flight (about quail)"; /pūrp /pūrp/"to describe a sudden flattening- ". Semantically related: (Sighs) "blowing"; (Blows) "to describe the rise of smoke, dust". How ir In the case of CkV, the compound is low tone. Paradoxically, the idea of the carpet į top is described in a low tone. ti This is apparently related su the impression of "difficult detachment from the ground", especially since the verb purpteléti means "flying in an uneven trajectory, constantly rising and ir falling down." The lexical semantic valency of this verb is limited: you can't say that it is spraying. In the text we have: /finger pe.tpele puo eš kūojo pa'sekon'u/ / DūnŽ. Compound /pu/ more ir powerful /pu/ in Lithuanian vocabulary often gives the impression of difficulty: pundza "pampla"; Puffins “hard to go”; Puzzini “slowly go”; Sprinkle "pedestrian"; purséti “lazy, puffed up sitting”; Puzrinti "hard to go." /p/ articulation characteristics, suddenly erupting increased air pressure in the mouth during the pronunciation may have an effect on the side impression of air, porosity, e.g.: spray to make soft, putrefy, thicken, rot, rot”; Puziéti "1. 2. 3. 188 r "rygti, kilti (apie duona)"; pūrti "a pile"; pufpti "1. to blow up, to blow up, to splash; 2. tinni, bliurkti’; ‘braided hair’; puff "v.k. cradle" and so on. This would explain the background semantics of /pūrkš /pur.k3/, a suffix for "tearing" and /pus/, a kind of transitive imitation for "puffing, puffing up". E.g., pušatd "who is puffed up, irritable", putūkšlis "puffed up", pušeti "to be angry, puffed up". A semantic group associated with the energy generated by the pronunciation of /p/ denotes the suddenness, unexpectedness of the action: /p'ist/, /pūkšt/, /p'i-st/, /pi-kst/, /p'ikt/, Jpūrkt/, /p'i.kt/, /p'ėkšt/ The low-tone muffled explosive /p/net, with its articulatory name, signals the sound of contact with the surface, resulting from the force of varying intensity. The articulatory and acoustic signs of the /p/ sound are most suitable for creating the auditory impression. The most common type of CtV are the consonants that produce the image-sound of a stroke: /tak/, /tan/, /takšt/, /ta.ukšt/, /tapt/tap/, /tei.kšt/, /tėk/. The textual material shows that the sound /t/ has a function of signaling the image of action, but also reveals that the sound of contact between a moving object and a surface is high, e.g. : Just shattered all pot on the ground and broke, sour cream spilled LKZ(LT IV 258); Doctor on the sturplį with the hand to teit — gurgt and swallowed horse salietrą LKZ(Trk); Tractor stalled, head tak in cab and screwed LKZ(SIk); That Jurgis's got an ear! LKŽ(Slm); Man came, Germans and become him lopeta in forehead —and bury LKŽ (Krn); I'm going to throw an axe at him, I'm going to throw a bird at my forehead LKZ (Ob); The ruble was withdrawn, as if on a torch LKZ(Erz). The upper /t/ signals a weaker action, so the CtV type has an abundance of the discussed onomatopoeia — an imitative semantic subset, denoting barking, scratching, weak bellowing, clapping, etc. It is usually used in combination with PGP. : Martha will be Jon's shoulder —that's what stopped LKZ(Kal); Taks taks, peeping at the tabokinycia with fingers LKZ(J); In the night ans already barking tar tar tar tar tar tar, tar tar tar, to release LKŽ(Varn); If you don't listen, it will flow through your ass LKŽ (Vrn); T-type mutes contrast in the following minimal pairs: /tar.št/:/kar.št/, /ta.ušt/:/ka.ušt/, Ak'ēkšt/:/tēkšt/, /kapšt/:/tapšt/. The consonants of one class of phonemes /k/:/t/ are distinguished by the characteristic compact: diffuse, which corresponds to the conditional auditory characteristics "clear" —*"unclear". The opposite of the prepositional opposition occurs in the verbs of the past tense: kapšodti: tapšoti. The clear /k/ (it seems lower than /t/), apparently, signals greater energy, willingness, more directed action. This is confirmed by the texts: He only kékst me through the nails LKZ(Kair): /té-kst /té-ks /t/ tucks lisa into a-ki/DūnŽ. With the end of something over the head, chicken winks LKŽ(Rm): /linda ta kst par snū.ke./DunZ. The mouth is rounded, slightly slightly rounded, and not very long. /ˈdʒuː/ or /ˈdʒuː/. For the sake of curiosity, we can compare ¢iuvasy sounds: kop "the effect of a blow to a football” and tup-tupke "the sound of beating”. There are pairs in which /p/:/t/ contrast, e.g.: /p'ikšt/:/- t'ikš/, /p'ėkšt/. 189 :/tėkš(t)/, /pakšt/:/takšt/, /par./:/tar./, /pūk/:tūk/. [p/:/k/ contrast are two unreliable pairs: /pum.pt/:/- kum.pt/(noun origin?), /pi-kst/: /kŭšt/(e.g.?). Turime ternarinę opoziciją: /paf.kšt/:/tar.kšt/:/kar.kšt/, /pa.ukšt/:/ta.ukšt/:/ka.ukšt/. The /p/:/t/:/k/ contrasting tendency is increasing. Outlaws tend to form /p/:/t/ ir /t/:/k/ pairs. Oppositions /p/:/t/ differential sign is the tone, i.e. /p/ sound — of low tone, /t/—high tone. Tone — one of the most connotative acoustic features — is considered by some researchers to be the most universal, fundamental (Jakobson, Waugh 1979: 130). However, in the case under consideration, the lip /p/ articulation, a kind of gesture copying, i.e. imitation of contact between surface and object with the lips, also has an independent influence. The semantic analysis of the text does not deny the idea that the low-tone shell explosive /p/ more closely imitates the sound of contact, ja /t/—closer to the imitation of movement: He got his hands wet, squeezed, squeezed, glued a bun of bread LKŽ(Všk): /tė:kšt /tė-kš(t) tioks laša" 1 a-ki/DunZ. He was killed in the battle by his own son, and his sons were killed in the battle by his own sons. /pd-kst vi'na zanda/pd-kst kita/ i i DunZ: /li-nda / td-kst par snil.ke/ DinZ. The obtained results allow to arrange the binary opposition principle of the triad: /paikst /pagaliv//- gal ezgéndite/DunZ. Parks and pariedéjo imperiol in aslg LKZ(Dr). I'm gonna take a bottle of wine. /tarkst/ tarkst / puo kapé.ika/ DunZ. © /i k.kta with sumc'u k.kšt/DunZ. Karks su dagger a į stone LKZ(Sts). /p/ contrasts su /t/ ir /k/, as an ideograph of auditory impressions by the su ideographs of visual impressions, functions at jo the third dimension of the generalized semantic-semantic scheme. Lowland /k/ contrasts su /t/ as an ideograph of more intense, more directed action as an intense su ne ideograph of action. Į binary oppositions triad in phonology is combined by the same principle (Girdenis 1981: 178). The main function of T phonosemantiné type consonants is — to simulate the paralinguistic — situation of — action movement contact. The choice of grease depends on acoustic characterisjo tics (tone, compactness), but may be affected by articulatory sound ir characteristics (this is particularly typical of the consonant /p/). Fats have other, both ir bright ne connotative meanings. The consonant has the greatest phonosemantic load /p/, lowest — /k/. The group of CgV-type punch, fist, knocking outlaws in abundance is much lower than the outlaws beginning with the dull opposition member: (Gasps) "stukt, kumšt", /gi-kt/ "stuff", /stuff / gun.stuff/ "Knock, knock." Comparing CgV-type outliers with su muffled variants of the same semantics seem to In the case of a consonant, the object of the imitation is the text actor or the text subject, cf. : į Go back to the o backpack with the LKŽ(J) stick. I'm the milk soup soup 190 soup, my grandmother LKŽ (Bdr) gûkt gûkt. Get in your backpack! LKŽ(Šts). The geese are just whistling with a rod —and ready LKZ(Vj). With a knife something over the head, chicken winks LKZ(Rm). "Višta samo kafkt gosiukui nugaron LKŽ(Slm)". "Kylie Minogue's Baby Boy Is Born" (in German). "Kaukš — davė pipe į stalą" (in Lithuanian). The action directed at the subject is also shown by the adjectives denoting the image of pouring water — the sound, where the second component is imitated by the implosive group of consonants of the compound, cf. : Just put a bucket of water on the head of LKŽ(J). The CgV type pronouns in question have a semantic connection with the verb gūnkti “to bump into a hump” and the nouns gunga, gungra “hump”. In general, a great deal of vocabulary is found that begins with /g/ and denotes an action that the actor directs to himself, or with the sound /g/ begins words that denotes the result of such an action: gomulti "to squeeze into lumps, wrap, wrap around"; gúroti "to wrap, to mutter"; gūrmulti "to rub, wrinkle", gapsndti "to grab"; gobti "1. bind, 2. shake, 3. rob, glemzti, 4. wed (women), 5. cling"; gost, "to desire, to strive"; gaūpti "to gather, accumulate, collect, take"; guobti "to snatch, grab"; gabiti 'to lure, to tempt'; plot "profit, benefit"; gdmbalas "straw-twisted bundle to finish the roof edge"; gargoyle "verpates pumputys"; gabana "bunch of hay, straw, etc." Variants of "couch": guzulas, gurgulas, gurgulė, gūbulas, gūgulas, gungulas; variants of "crumble": gurings, gurūkas, gurulditis, gūrulas; variants of "gabalo": gomulas, gomulijs, gūmulas, giabuzas, gabūžis, gabižalas, gabulis, gamūlžis, gamūzas, gamužas, gamalas, gamakas and so on Words that have emerged by way of lexical divergence: famous "body dirt, dirt, hockey"; gaburdalas "small ball"; gabe ‘galva, kvauke’; goge "laugh. head; ” gangozh "big dark cloud"; gargalnosas "someone with a big nose"; gongkramis "a man with a big head". There are also a number of character names that denote a self-oriented individual: gomura "multi-minded"; piece "greedy man"; greedy "etc. ", goth "who is strong at eating." There are adjectives of similar semantics: greedy, greedy, greedy, greedy. This rich vocabulary is presented as an argument for the opposition of CgV-type broken compounds with muffled equivalents, which have the opposite directional sign to the mimed action. The most abundant semantic subgroup of CbV is made up of phrases denoting a fall, which tend to imitate its image. They are more abundant than their muffled counterparts of the same semantics, e.g.: /btc /bc /bipt /b'ė.mpt /bénc / ba.nc /bac /bapt /ba'pt /ba-pt /būmpt /būmst /būrpt /bic /bic / bū'p /būrg /bui.c/bé-pt/. There are pores: /bapt: papt/, /bd-pt: pa'pt/, /būmpt: pūmpt/, bi pt: pūrpt/, [bic: pic/, /bui/. c: put. c/, /bé pt: pépt/. Pépt and LKZ(Aps); Just puff. such a bed as fucks soft LKZ(Mz3); When I jump over the reverb, just hit Sono and I fell! LKZ (Cairo); The apple fell from the tree LKZ(J); Pdpt breeze of bacon 3 skreitg LKZ (Krs); The small one was only bapt, and the larger one was already bopt LKZ(Ds); It is located at the top of a hill (Sk. Jonukas buic into the water and washed off LKŽ(Pp); Bapt ir 191 I lay in LKŽ(Dr). The car crashed into a tree. The CbV-type semantic group related to the idea of water or, lexicologically speaking, sema, p.g.: /bul./"to mark the water-drinking"; /buurk/ "climb"; /būrpt/"marking for liquid suburbulation"; /burk/ "to mark a splash"; /bui.pt/"for marking out of water". All consonants are joined by low-tone mixed doubles /ur/ (most often), /ul/ and the diphthong /ui/. The expressive vocabulary of the low explosive monosyllabic initial compound also has a fluid semisyllabic, e.g.: būkoti "klampoti"; the horn "terlius"; buzzing "to drink liquid"; bursting "loudly sweating"; burping "bunching"; burga "muck, dirt"; "wet bread? was a "ball"; so bat low binary implosive compound expressive verbs blaaūkti "without ceasing to flow", bliurgzti "flowing (about liquid mud)", higher tone monosyllabic compounds: bauzoti "rise, foam boiling", baptistas "cries", even higher: belžti "urine, teelzti" and so on. It may be assumed that the ideograph /b/ has the connotation of falling into water or other liquid. This is in opposition to the ideophonic /p/ connotation associated with air. Let's compare the phonosemantic opposition: Pūrpt and flew off on his own ways LKŽ(Grž) (ideophone of "air"): Nosis būrbt būrbt burbsi LKŽ(Š) (ideophone of "water"). CdV-type consonants can simulate a blow, the fall of small objects: /d'ūkt/, /d'imst/, /dun.kst/. The semantic subset of the CdV type, denoting a punch, suggests that the high-pitched /d/, like other pitchers of its phonological class, may denote a different, opposite direction than its muffled counterparts. These are phrases meaning punching with a sharp object, stripping, piercing pain, etc., cf. : Digt and bitten by a snake in the leg LKZ(J); He jumped out of the bed, the needle in his foot was LKZ (Plt). There are a number of outliers that mean internal tingling, plg. : I'm in my chest dilgsi dilg dilg LKŽ(J); /dikt /dikt /digul'ika par dun.ti/DunZ; /pamač'ė-u ti šašva:Ika /di-kt par sirds/DūnŽ; I'm afraid that this will be the case with LKŽ(J). There is a kind of figurative expression that means "the coming of thought into the head", cf. : Only I disappear in the head, that I have not yet fed the horses LKŽ (Jrb). All of them are directed at the narrator or the character of the text. The high tone of the initial compounds of adjectives meaning stripping, punching, striking (the diesic /d'/ is connected only with i-type vowels) signals the non-expansion and sharpness of the sensation, e.g. with the expressive noun dimba “what is very tall and thin” or with the figurative verb dybsdti “to stiffen, to stiff”. The imitations of trembling, beginning with the acute, denote the feeling experienced by the narrator, and the dull are used when telling about another's trembling, cf. : Only the hands tremble dild dild LKŽ(Dsn) (me, me): Trembling kir kir kir cramping he into the bellowing fire LKŽ(Vr) Kipšas kūst kūst caught to shake like a aspen leaf (ps.) LKZ(Mc) (jis, jam). CgV compounds contrast with CdV compounds (see opposition CkV: CtV). The CgV type imitates a stronger, more intense action, there is no sound imitation. CdV-type spark plugs simulate a weaker, less forceful action and refer to the relatively high sound 192 that results, cf. : I'm going to make the milk soup, my grandmother's going to make the soup LKŽ(Bdr); In the English language, there are three different types of consonants: /p/: /d/: /da: ba/, /dūkst: būkst/, /dlik: bik /-b'ikt/, Jdipt: bipt/, /dé pt: bd-pt/. Jd): Jg/: /b/ triad: /dūkt: gūkt: bukt/, /dur/. : us. : but./, /dakt: gakt: baked/. For example: Gur gur gur hurry old lady, runs, rowing LKZ(S). Duf two two wheels ride and ride LKZ(Arm). Buf will and suburbéjo all the devils river LKZ(Tvr). In addition to the discussed connotative differences in the phonosemantics of the action—movement—- contact of skardziyju consonants, the CgV type realizes adjectives denoting the suddenness, unexpectedness of the action. In the dull group, the outliers of this semantics were CpV and CtV types. We have two cases: /gé-kst/ "to mark a sudden, unexpected action"; /gakt/"to mark a sudden action". The first is a bridge, the second is a bridge, the third is a bridge, the fourth is a bridge. : Gošt father and entered the LKŽ(Tvr); We fled and met LKZ(Ds); As soon as the sun goes down, it goes up and generates LKZ(Pg). The fricative /bū/ is based on a labial articulation, meaning "tremor, shaking (about the back)": /bū bū bū i dré-bincu paki-pi/DunZ. This sound can be regarded as an imitation of an involuntary sound that occurs when the chin and lower lip are shaking, a mimic sound that does not belong to either imitative or onomatopoeia. The term "mime" is used for its lexical reference to mimicry. This consonant supplements the ideophone /b/ with the connotation of a labial sound, which is also evident in the semantic group discussed below, since, like the CpV type, its consonant counterpart has a semantic group of consonants denoting speaking or other sounds or actions related to labial articulation, ”¢epseing- ”, lip compression. The repeated onomatopoeia /bin./ denotes the sound of crying: One bin, another bin —and all the children fired the trumpet LKZ(Mrj). The onomatopoeia /b'tk/ is repeated— the sound of stuttering: That bik bik, and has nothing to say LKŽ(MI). There are also adjectives —imitativevy, denoting speech, but not having, compared to CpV-type adjectives, a contempt connotative component or having a very vague one: /bé.va so.ta'rta /nicks nie bo-rpt/DūnŽ. For comparison, a CpV type predikativ with a scornful connotation: /pé pė /papepiéje: /ir neblika/DunZ. Thus, the ideograph /b/ denotes the action of speaking or other action performed by the lips and has a very weak scornful connotation. The idea that the outliers beginning with sharp consonants tend to talk about human vital functions is pushed by the CdV-type semantic group, which denotes a sudden glance. The root vowel corrects the connotation of evil eye, unfriendliness: /d'ilpt /dirst/ "to mark a sudden glance", /d'é.lpt /d'é pt/ "to mark an angry, sudden glance". This type of outlaws G. Kornilov calls the outlaws of the internal chaos. The semantics of the name already shows the opposite direction than the imitation of dull equivalents. The semantic group Si is supplemented by the connotation of the ideograph /d/ as a glance, and by the previously observed connotation of suddenness (in the semantic subgroup denoting punching). The main phonosemantic function of the loud T-type consonants is to express the connotations of action—movement—contact, and they have a phonosemantic meaning of 193 opposite direction or internal action, which is typical of the loud ones only, and which usually distinguishes their phonosemantics from those of their muffled counterparts. In the phonosemantic opposition of the squeaky, the squeaky may still denote a weaker action, but this connotation is not very noticeable. Sometimes tin: The choice of a muffled consonant is determined by the acoustic impression of the sound being simulated. The most commonly pronounced consonant is /b/. The first single, "R-Type". We will start our analysis with a pair of nasal instruments (m, n). CmV-type pronouns related to water sema, whose low initial compound is apparently ideophonic, indicating the darkness of the depth, into which, overcoming the resistance of the surface (universal connotation of the labial articulation), the subject or object of the text falls, cf.: /mirkt and ikrita i /raisto/ū:- ki/DūnŽ; "I'm going to throw the water in the fire" (in Swedish). I'm just a little bit of a boat, a little bit of water, and I'm ready for LKŽ(Skr). Similar interpretation of the ideophone, meaning the collapsed boil (moving mass of water, probably dark). /mur muf kū/p/pėkla virs virs /žlugtas/DūnŽ. In dictionaries, the verb marti is recorded as "wet, soak, tease", in colloquial language the verb marmalyti is commonly used as "pour, plump". In addition, the word is used to indicate a stirring of the mouth, such as stir /ˈsɪdʒ/, stir /ˈsɪdʒ/, or stir /ˈsɪdʒ/. Here /m/ has a similar connotation — "slipping into the dark depths". And of the two imitations signifying a blow, one has a water semi, e.g.: /tūm vaik'ēkū" ma-kt/i: šūona/DunZ; "Hand in the Water" (feat. One imitative signals a sudden action: Throwing a nose and she put it in - LKZ(Ds). There is a consonant /m/. /(cf. mirineti "smiring, $mizinéti”, mickdti "mostagating”, micinti "whistling- "). /mlir./ — most likely §mir option. A separate group is made up of mimes related to the labio-nasal /m/ articulation: /m'ik/ "to indicate an interjection in speech", /m'ikt/ "to indicate uncertainty, not knowing what to say", /mūk/ "to indicate a mumble". The component of contempt, characteristic of the smooth /m/, is also shown by the verbs mekedti "to speak unclearly", mamėnti "t.p." In Lithuanian, there are many children's words made up of compounds with the initial /m/, but among the single-membered explosive compounds, such words were not found in the singulars. G. Kornilov interestingly interprets the sound /m/ connotation as a mime of the sucking action (Kornilov 1984: 80). This would allow us to say that the word “mother” is phonosemantically easy to interpret. The Latin name of the genus is Mammalia. There are quite a few CnV-type imitative, representing an external impact: /nukt / n"i-kt /nlickst /n'iést /n'6-kt /n'6-kt/. Two imitations have the meaning of inner smoking, a whistle: /nikt /n'ikt/. There is a diving into water consonant /n 'ūrkt/ (compare with CmV-type diving into water consonants). The direction to the side is represented by the consonant /n'tkst/. All of them have the connotation of suddenness, which is confirmed by /nd.pkt/, which has the meaning of sudden action: Nankt i 194 nuvirto, mirė LKŽ(J). The nasal articulation connotes the sub-abbreviated mime /n'uf./. The shorthand /n'ūšt/ indicates a shortcoming: It would be good if you were still in Vilnius, but work niušt LKŽ(Žem). ; The analysis of smooth (I, r) compounds will begin with the low /l/ initials. The connotative meaning of the forward-- backward movement is shown by a large group of repeated syllables, e.g.: /laks/: Finger cut off laks, laks, laks tintalino LKZ(Sts); ANūmpt/: Liūmpt, liūmpt liumpsi liūlys on the spring LKŽ(J); /lnkt/: Liūnkt liūnkt linguoja LKZ(Er); /l'¢k/: That I met the cow, my heart is racing, racing, racing, racing —and I can't do anything LKŽ(Plt); /lap/: Put on those sleeves — lap, lap, lap tear the LKŽ(Brb); /lap lap tava kaū:K/DūnŽ; /hi'p/: While Alexy was bitterly speaking, lip lip lip a mottled general to the tree LKŽ (Vaižg); /hiop/: Only the bird luob luob /with wings/, the neck of the bird giggles/it/ LKŽ(TDrIV 207). The /hiop/ is a reference to another ideophonic /l/ connotation. The consonants of blowing, hitting, falling are associated with the connotation of softness and partly heaviness, cf.: /liop/: Kultuvėlės gražios, mažiutės, luop luop luop luopsi ir velėja LKZ(TDr IV 238); /kimp/: Fox just limp into the pit LKŽ(Prng); /liopt/: Just loopt bag and fell from the top LKŽ(Grv). Connotations of softness and movement are shown by the singular /lur./: Lur lur porę, berna leżą, żeby im coś wkręcili, to smacznie zjadli LKŻ(Vad). Softness, heaviness probably determines the choice of these outliers in neutral texts: /lé-pc/: He lope me sometimes with a stick, Iēpe! LKŽ(rš); /lūt/: I went, my foot slipped, so I lūt and I lay LKŽ (Grv); /lé-pt/: /pasli-daru/lé pt un digna/DunZ. The connotation of the infrequent periodic movement back and forth (up and down), lingering is supported by the lexicon: lyliūoti "lingering- "; lekūoti "aluoti iškišęs liežuvį (apie šunį)", leketiioti "slowly wagging"; lazgurti "against the movement"; leafy "mop on the go"; flap "flapping wings"; to hang "in the air"; laskidti "to camouflage"; looggini "wisgini"; to squeal "ling"; "beating the culture in the washing machine"; lugsnoti "flutter (about the ears)"; liuzginti "hissing"; liupėti "to move under the feet (on soft ground)*; lopseti "plasnoti- ". This connotation explains many refrain with ideophone /1/, e.g. lado, laduto, ladu, etc. Softness connotation have expressive words: dolys "snuglys"; From eiva "tongue"; lébeda "spike"; start to “bump, clench”; lamza "who wears thick on a warm day”; larp "weak sitting"; liuliukkas "tongue"; lidzga "mollusk". Acoustic /1/ characteristics, as in the case of CmV compounds, link this ideophone to the water sema: /la/ "to describe the flow of liquids with sound"; /lūk/"to denote the sound of a greedy drink"; /lūkšt/"to mark a waterfall- "; /hi-kt/"to describe dancing into water". Note the low tone of the compounds. Water semu have the verbs ltūlti "flow"; "Spring" (feat. Repeated fricatives associated with the articulation of the tongue, meaning speaking — /lė/: /visa tucke pamalije/la la la geiklés palė: di: /DunZ; /lépt/” for pronunciation." The repeated /I'u./ "to denote bad pronunciation" suggests that the ideophone /1/ has a speaking connotation of contempt: č'ūkšt/DunZ. The Afrikaans /č/, compared to /t/ and /š/, is of greater phonosem195 antic informativeness, but its connotative meanings may coincide with the connotative meanings of the sound /t/ (in the case of a blow) and with the connotativeness of the sound /š/ (in the case of a silenced exclamation). The only characteristic of /č/ is the sound connotation of soft contact between two objects. Onomatopoeia, beginning with the sound /c/, imitate a softer, less sharp, weaker, rather high sound: Dziegorius ant sienos taip iš retų eina cak cak cak LKŽ(Jnšk); I listen only to cari can with bells and it sounded far away LKŽ(Ds); /cin-/cin. /i olympic target/DunZ; /ci-nkt/ci-- nkt/met kapé-ikas/- DanZ. The /c/ connotation of the Afrikaans is a gentle sound emitted by small objects. This is probably the effect of diffuse /s/, whose softness connotations were not seen in CsV-type monomers. In the ideographs this connotation is visible. The connotation of tenderness, closeness, embrace distinguishes the /capt/cūp/- co0'p/ci-pt/ "gripping" consonants from their non-africate analogues, e.g.: /kapt/, etc. This is the influence of the ideophonic /s/, because /t/— is the usual connotation of movement- —contact—- suddenness. The softness of the sound /s/ in the combination for silence means that /c41t/ctc/ is commonly used for silence in children. The Afrikaans /c/ connotation is a gentle sound emitted by small objects. In the case of non-onomatopoeia, it is a combination of ideophones /t/ and /s/, where /s/ has a previously unrevealed phonosemantic meaning of softness, tenderness, minority. " In closing the chapter on Afrikaans, it should be added that a priori it seems that the frequency and tendency of their use in dialects may be quite different than in the general language or in the generalized model of Lithuanian lexicon presented by LKŽ. I am not only referring to the dialectalization, which undoubtedly changes the phonosemantic volume of Afrikaans. It seems that the Žemaites tend to use more outliers with afrikatas than the representatives of other dialects, so their informativeness in dialects is different. This is, of course, a matter for discussion and investigation. The main phonosemantic differences of the prefix classes. All obstructive consonants of Lithuanian language have the connotation of the behavioral scheme action — movement — contact. It can also be a feeling – feeling – result – expression of a paralinguistic situation. This connotation differs from the smooth class's connotation of progress (periodic/- non-periodic movement in various directions). T-type consonants denote a unidirectional action with a clear beginning, the nature and direction of which is differentiated within the class by contrasting sounds. The signs of smoothness also depend on the individual characteristics of the sound. Consonants of the blowing class are epithets of action or sensation, indicating its smoothness, uniformity or unevenness, jumping nature. The acoustic features of the consonants are phonosemantic. The following acoustic features are phonosemantically significant within classes: a) compactness – gives the action or sensation willingness, energy, clear direction. 202 b) tone — the higher the tone of the consonant, the more subtle action, feeling, experience is to be imitated. The tone character is the basis of the connotations of water, air, darkness, paleness. c) phonological characteristic of deesis — the secondary, elevated tone of the sound reduces, softens the imited action, but does not have a decisive influence on phonosemantics. Obstructive consonants, contrasting according to the sign of dullness: sharpness, perform the same phonosemantic functions in the action—movement—contact situation, but the dull ones usually denote a stronger action. The dull can also have an additional connotation of self-directed action or differ from the dull in the direction of action. S-type muffled consonants—holders of the connotation of unevenness (action, sensation that is interrupted by pauses), S-type muffled consonants—holders of the connotation of evenness (action without pauses). The articulatory features of consonants are phonosemantic. Their distinction from acoustics is relative. The differentiation of the connotation of action—motion—contact is influenced by the pronunciation of obstacles when the air stream penetrates through the enclosure and overcomes the obstacle with energy. The nature of its overcoming- —the basis of the connotation, for example, when pronouncing /k/ the posterior part of the tongue abruptly retreats from the palate—actualizes the beginning of the action, when pronouncing /t/—the tongue presses against the anterior teeth, the obstacle is further from the pharynx, the blown air travels a longer distance, the sound usually has a connotation of movement. The lip barrier characteristic of /p/ gives this consonant the connotation of contact, the end of an action. Lupine articulation is highly potential from a phonosemantic point of view: all lupine sounds are associated with the imitation of human speech activity. Nasal pronunciation may indicate dissatisfaction. The phonosemantically significant articulation of closure—openness, characteristic of sonatas,—is the main cause of the connotation of the event. Constant penetration of the blown air stream through the opening —continuity: the cause of inconsistency. Examination of the phonosemantics of outliers is the first step into a very interesting field of connotative lexicon. There are more questions than answers. However, the prospects of this field for lexicology, poetry, psycholinguistics, sociolinguistics, and even language history are unquestionable. Choruses, spell words, the history of vowels from phonosemantic point of view, Lithuanian mitopoetic language and many other very interesting questions are awaiting research. LITTERACY AND SOURCES DūnŽ—Vitkauskas V. North-East mud dictionary, Vilnius, 1976. 1981. pp. 19. "Phonology- ". Jakobson R., Waugh L. 1979: The Saund Shape of Language, New York. Kornilov G. I. 1984: Imitatives in the Chukchi language, Cheboksary. LKZ —Lietuvių kalbos žodynas 3-16, Vilnius, 1956—1995; II ed. 1—2, 1968 —1969. Pakerys A.1986: Phonetics of the Lithuanian language, Vilnius. 203 Steponavičienė S. 1986: Dictionary of Lithuanian Vocabulary Associations, Vilnius. : PHONOSEMANTIC OF MONOMIAL EXPLOSIVE CONCONANTS IN ONOMATOPOEIC INTERJECTIONS Summary The presented work is looking for the answers to the questions rising in phonosemantic research by analysing one group of the specific expressive ik bk of the Lithuanian —onomatopoeic interjection. ; Therefore it was chosen the onomatopoeic interjections for the object of study as the least problematic area of the expressive vocabulary. The work is complex because the problem is linked to phonetic, phonology, semantic and lexicology. It is analysed the explosive monomial consonants in onomatopoeic interjections. The general theoretical provision is the foundation of the research: the connotative sinestetic language saunds function that is realised through the acoustic features with the universally comprehensive signals. The main phonosemantic function of the stops belonging to the T class is to imitate the paralinguistic situation of action —motion —contact. The choice of the consonant depends on its acoustic features (tone, compactness), but may be influenced by sound's articulate peculiarities (which is very characteristic of the consonant /p/). Consonant /p/carries the greatest phonosemantic weight, the most neutral one is /k/. The main phonosemantic function of the voiced T class consonants is to express the connotations of action —motion —contact and has the phonosemantic meaning of the opposite direction or inner action. The consonant /g/has the lowest phonosemantic mark, /b/ the higest one. — Sonorants are characterisd by the connotation of forward —backward (updown) movement. The sound /1/has the highest phonosemantic informativity. The phonosemantic of the fricatives has epithet nature, add the secondary motion characteristics of "evenness" (/s/), "unevenness" (/š/), "light" (/ž/). The sound /š/ the is mostly connotated. There is a separate group of the onomatopoeic interjections that begin with the consonants of the outlying nature. Our onomatopoeic interjection beginning with an alien sound demonstrate the “refinement” of the expression and the narrator’s wish distinquish himself to by "noble" style. The collocations with affricates are the intermediate link between monomial and binary collocations. - The examination of the phonosemantic of onomatopoeic interjections is the first step into the most interesting area of connotated vocabulary. 204