<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto"><div>David's post reminded me of something like that in Tagalog, where possibly any action word can be reduplicated with a particular tonal contour, LH HL to mean 'do a bit, do aimlessly', like <i>lakad lakad</i> 'take a stroll' (<i>lakad</i> 'walk, go'), <i>kain kain </i>'eat a bit'. <br><br>Randy<br>Sent from my iPhone</div><div><br>On 23 Oct 2017, at 9:51 AM, David Gil <<a href="mailto:gil@shh.mpg.de">gil@shh.mpg.de</a>> wrote:<br><br></div><blockquote type="cite"><div>
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Hi Laura, and everybody,<br>
<br>
One very widespread case that is akin to what you're asking for is
that of the ubiquitous utterance-final particles in languages of
Southeast Asia. In Malay/Indonesian, which is the language that I'm
most familiar with, every dialect has an inventory of (almost always
monosyllabic) utterance-final particles that crucially, can only
occur with a very specific and distinctive intonation contour, which
differs from one particle to another. (It's almost like an island
of tonality in an otherwise non-tonal language.) These particles
aren't traditionally considered to be ideophones; however, they
share many properties with ideophones, albeit not reduplication.
Most importantly, they seem to lie outside the regular grammatical
system of the language, belonging to a separate tier, as it were. <br>
<br>
A second, more specific case, involving both reduplication and a
distinctive intonation contour, is found in Malay/Indonesian; this
is what I would call "mocking reduplication". Prototypically
applied to a disyllabic name, though it can be applied to just about
any word, the name is reduplicated/repeated, e.g. <i>Budi Budi</i>,
with a very specific intonational pattern: L H: L L. Its use is
associated with gentle, often affectionate mocking or reproach.
(Oddly, I've heard what struck me as an almost identical intonation
contour but without the distinctive semantics of the
Malay/Indonesian construction at Barcelona airport, and it's
probably much more widespread than that, where public address
announcements begin with <i>atención atención</i>.)<br>
<br>
David<br>
<br>
<br>
<br>
<div class="moz-cite-prefix">On 23/10/2017 02:14, Laura McPherson
wrote:<br>
</div>
<blockquote cite="mid:CAMfvFfq4ribxvJNywOT+Ke2Tv0TWg2hfMKAsmor0=53nPY4b2Q@mail.gmail.com" type="cite">
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<div dir="ltr">Dear typology colleagues,
<div><br>
</div>
<div>I am thinking about writing about ideophones in Seenku
(Samogo, Northwestern Mande), and in particular about an
ideophonic intonation pattern that I have seen with many
different ideophones that I am calling "bouncing ball
intonation". Briefly, it is characterized by repetition of the
ideophonic stem/morpheme, slowly at first, then with
increasing speed, like a bouncing ball coming to a stop.</div>
<div><br>
</div>
<div>Ideophones are of course often characterized by repetition
(reduplication, retriplication) and by unusual prosody, but I
am interested in published sources or other cases you know of
where there is a larger fixed prosodic or intonational
template that different ideophones can be slotted into and
whether any meaning is associated with it.</div>
<div><br>
</div>
<div>Many thanks,</div>
<div>Laura</div>
<div><br>
</div>
<div><br>
</div>
<div>Laura McPherson</div>
<div>Assistant Professor of Linguistics</div>
<div>Dartmouth College</div>
<div><br>
</div>
</div>
<br>
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<br>
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</blockquote>
<br>
<pre class="moz-signature" cols="72">--
David Gil
Department of Linguistic and Cultural Evolution
Max Planck Institute for the Science of Human History
Kahlaische Strasse 10, 07745 Jena, Germany
Email: <a class="moz-txt-link-abbreviated" href="mailto:gil@shh.mpg.de">gil@shh.mpg.de</a>
Office Phone (Germany): +49-3641686834
Mobile Phone (Indonesia): +62-81281162816
</pre>
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