Chapter 4. Spanish basic colour categories are 11 or 12 depending on the dialect

2018 ◽  
pp. 59-82 ◽  
Author(s):  
Julio Lillo ◽  
Lilia R. Prado-León ◽  
Fernando Gonzalez Perilli ◽  
Anna Melnikova ◽  
Leticia Álvaro ◽  
...  
Keyword(s):  
Author(s):  
Elena Ryabina

[NOTE. This abstract contains diacritics that may not display correctly.]This article deals with a comparative study of loaned colour vocabulary in the closely related Komi-Zyrian and Komi-Permyak languages. Data were originally collected by using the field method suggested for establishing basic colour terms by Davies and Corbett (1994, 1995). Sixty-five coloured tiles were used as stimuli. The study explored and compared the psychological salience of recent Russian loan colour terms. It was found that loan colour words occurred more in the Komi-Permyak data. The most salient adopted colour term in the Komi-Permyak language is zeĺone̮j ‘green’. In the next stage of basic colour system evolution in Komi-Zyrian and Komi-Permyak, the loan colour terms korič́ńeve̮j ‘brown’, fioĺetove̮j ‘purple’ and oranževe̮j ‘orange’ may appear. At the present stage of colour category development, the Russian basic terms rozovyj ‘pink’ and goluboj ‘light-blue’ are not salient in either language.Elena Ryabina: Laenvärvinimedest komi keeltes. Artiklis võrreldakse vene laenvärvinimesid omavahel lähedalt suguluses olevas sürjakomi ja permikomi keeles. Andmed on kogutud Daviese ja Corbett’ (1995) välimeetodiga. Uurimuses on kasutatud 65 standardset Color-aid Corporationi värvitahvlit. Uurimuse eesmärk on laenvärvinimede psühholoogilise esilduvuse väljaarvutamine ja võrdlemine. Tulemused näitavad, et permikomi andmestik sisaldab rohkem laenvärvinimesid. Kognitiivse esiletuleku indeksi järgi on neist psühholoogiliselt esilduvaim zeĺone̮j ‘roheline’. Põhivärvinimede süsteemi arenedes võivad komi keeltes eeldatavasti leksikaliseeruda korič́ńeve̮j ‘pruun’, fioĺetove̮j ‘lilla’ ja oranževe̮j ‘oranž’, sest need on mõlemas komi keeles kodunenud. Laenvärvinimed rozovyj ‘roosa’ ja goluboj ‘helesinine’ ei ole praegusel põhivärvinimede arenguetapil psühholoogiliselt esiletulevad kummaski komi keeles.Märksõnad: laensõna, põhivärvinimi, psühholoogiline esilduvus, sürjakomi keel, permikomi keel


2021 ◽  
Vol 64 (2) ◽  
pp. 309-320
Author(s):  
Mihajlo P. Fejsa

In this paper, the author compares chromatic terms in Ruthenian and Serbian. He focuses on the basic colour terms according to Berlin and Kay: white, black, red, green, yellow, blue, brown, purple, pink, orange, and grey. They have equivalents in both languages: Ruthenian bila – Serbian bela, čarna – crna, červena – crvena, željena – zelena, žovta / žolta – žuta, belava – plava, braon – braon, lilova – ljubičasta, celova – roze, pomarančecova /poma- randžecova – narandžasta, šiva – siva. The criterion of one-morpheme word is not appli- cable to the terms lilova, celova, and pomarančecova /pomarandžecova in Ruthenian, and ljubičasta and narandžasta in Serbian. It is applicable to the terms bila, čarna, červena, željena, žovta / žolta, belava, braon, and šiva. With the exception of braon, all these terms are derived from the Proto-Slavic language (*bеlъ, *čьrnъ, *čьrvenъ, *zelenъ, *žltъ, *polvь, and *sivъ). As far as the Berlin–Kay’s universal of seven phases of colour formation is con- cerned, our study of chromatic terminology confirms it. In accordance with the supposed first stage of development, the Ruthenian language has bila and čarna; according to the second stage, Ruthenian has červena; in accordance with the third stage, Ruthenian has že- ljena or žovta / žolta; according to the fourth stage, Ruthenian has žovta / žolta or željena; in accordance with the fifth stage, Ruthenian has belava; according to the sixth stage, it has braon; and in accordance with the seventh stage (even if we leave aside the multi-mor- pheme terms lilova, celova, and pomarančecova /pomarandžecova), it has šiva. Generally speaking, the usage of the terms is identical in both investigated languages but there are several differences (e.g. cibulja – beli luk, željena pasulja – boranija). The most frequent suffixes are -asta and -ista in Ruthenian, and -asta in Serbian.Most of the chromatic terms are of Slavic origin but there are several borrowings used for nuance purposes in recent decades, e.g. azurna, teget, akvamarin, tirkizna, and others. Some borrowings remain unchanged, e.g. in both languages blond, braon, drap, krem, bež, and oker, and only in Serbian lila and roze. Hungarian was the official language until the first decades of the 20th century (until the collapse of the Austro-Hungarian Monarchy in 1918), during which Ruthenian–Hungarian bilingualism reigned. That is the reason why several Hungarian colour names are found, e.g. in surnames (the Ruthenian surname Barna comes from Hungarian barna ‘brown’, Fekete/Feketa is from fekete ‘black’, and Vereš is from vörös ‘red’) and in the names of domestic animals (the Ruthenian horse name pejka [Serbian riđan] comes from Hungarian pej ‘brown’ and šarga [Serbian žutalj] is from sár- ga ‘yellow’). The general name for ‘colour’ comes from the German language (Ruthenian farba is from German Farbe).


1997 ◽  
Vol 20 (2) ◽  
pp. 167-179 ◽  
Author(s):  
B. A. C. Saunders ◽  
J. van Brakel

In this target article the following hypotheses are discussed: (1) Colour is autonomous: a perceptuolinguistic and behavioural universal. (2) It is completely described by three independent attributes: hue, brightness, and saturation: (3) Phenomenologically and psychophysically there are four unique hues: red, green, blue, and yellow; (4) The unique hues are underpinned by two opponent psychophysical and/or neuronal channels: red/green, blue/yellow. The relevant literature is reviewed. We conclude: (i) Psychophysics and neurophysiology fail to set nontrivial constraints on colour categorization. (ii) Linguistic evidence provides no grounds for the universality of basic colour categories. (iii) Neither the opponent hues red/green, blue/yellow nor hue, brightness, and saturation are intrinsic to a universal concept of colour. (iv) Colour is not autonomous.


1993 ◽  
Vol 3 (1) ◽  
pp. 1-17 ◽  
Author(s):  
Gerry Morgan

AbstractAn experiment is described in which 74 French subjects were asked to list colour terms within a limited time period. Results are compared with those from a similar experiment with Russian subjects. The resulting data are used as a measure of psychological salience to establish which French colour terms are basic. Particular attention is paid to the two possible French terms for brown (marron and brun), and to beige ‘beige’, which may be emerging as an additional basic term. As Russian also has an additional term for blue, both languages are particularly interesting in the light of Berlin and Kay's 1969 model of basic colour term development.


2016 ◽  
Vol 20 (2) ◽  
pp. 159-177
Author(s):  
David Walker

The intention of this essay is to examine the intrinsic visual-spatial characteristics of the church of the Monastery of La Tourette, and understand their mechanisms, gestation and meaning.The context for the work is the prevailing insentience at the heart of architectural culture, the systemic denial of the intrinsic visual-spatial sphere and the lack of foundation skills to inform its appreciation.The fieldwork has consisted of observing and recording the La Tourette church, especially its lighting regimes, through all seasons, weather conditions and usages, and simulating key manifestations through spatial sculpture.Six characteristics of the church are identified, drawing on the yardstick of Le Corbusier's notion of poetic architecture as ‘plastic happenings’. Its essence is defined as constrained and specific light within penumbra, overlying dynamically juxtaposed heterogeneous spatial forms. The harmony of the church is fragile because it is vulnerable to injudicious lighting, resulting in a duality of transcendence and earthliness. The essay speculates on the cause of the transfiguration from harmony into discord, through analysis of the surviving photographs of the design models.The presentation is designed to infer enclosed space and minimise imagery, and consists of standard plans and sections including sun-paths, based on the author's measured and heliodon survey, amplified by a number of annotated thumbnail photo-sketches.The empirical judgements are distilled from the teaching of two masters of the past half century, both working within established traditions, Michael H. Chilton's discourse on basic colour and form, and Geoffrey H. Baker's schematic discourse on form in architecture.The work concludes that the meaning of the La Tourette church lies in a paradox of transcendent harmony and tragic discord.


1999 ◽  
Vol 3 (2) ◽  
Author(s):  
IAN R. L. DAVIES ◽  
TAT'JANA SOSENSKAJA ◽  
GREVILLE G. CORBETT
Keyword(s):  

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