What Is Grey, Brown, Pink, and Sometimes Purple: The Range of "Wild-Card" Color Terms

In this paper the theory of the evolution of basic color terms introduced by Berlin & Kay is applied to Mandarin Chinese. The data was collected using the fieldwork methods, color list and color-naming tasks. The rainbow order of colors does not affect the list task results. The results, i.e. basic color terms, are calculated according to the procedure in Davies & Corbett. There are nine basic color terms in Mandarin. Ranked according to the cognitive salience criterion they are the following: hóng ‘red’, huáng ‘yellow’, lu ‘green’, lán ‘blue’, hēi ‘black’, bái ‘white’, zǐ ‘purple’, fěn ‘pink’, and huī ‘gray’. Of the fully developed set of BCTs only the terms for ‘brown’ and ‘orange’ are absent. There are no real gender differences for the BCTs. Mandarin is a Stage VII basic color vocabulary language. The absence of the Stage VI term for ‘brown’ is explained using the wild-card theory. As a result Mandarin is not a counter-example to the theory of basic color terms. We suggest that the term chéng ‘orange’ is the next candidate for basic status in Mandarin. There are two competing terms for basic ‘brown’ zōng and hè. If one competing term for ‘brown’ (with high probability the term zōng) becomes basic, Mandarin Chinese will have a full set (eleven) of basic color terms.

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Color terms in the Uralic and Altaic languages of Siberia

Proceedings of The 2nd International Conference on Modern Research in Social Sciences ◽

10.33422/2nd.icmrss.2019.09.612 ◽

2019 ◽

Author(s):

Natalia Victorovna Dubrovskaya

Keyword(s):

Color Terms

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Linguistics Features of Three British Female Beauty Youtubers

Vivid Journal of Language and Literature ◽

10.25077/vj.7.1.22-34.2018 ◽

2019 ◽

Vol 7 (1) ◽

pp. 22

Author(s):

Rahma Aulia Indra ◽

Rina Marnita ◽

Ayumi Ayumi

Keyword(s):

Specific Function ◽

Linguistic Features ◽

Color Terms ◽

Female Beauty ◽

Tag Questions

This article concerns with the characteristics of the language of three British female Youtubers. It is aimed in particular to find out women's linguistic features in their language based on Lakoff's theory (1975) and the functions of each features according to Holme's theory (2013). The result of the study reveals seven women's linguistic features in the youtubers' language. They are (1) lexical hedges or fillers, (2) tag questions, (3) „empty‟ adjectives, (4) precise color terms, (5) intensifiers, (6) „superpolite‟ forms, and (7) emphatic stress. Among these features, the intensifiers. appears as the dominant one. The study also shows that each feature has specific function.

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Color terms in the nomination of plants in the Southern Serbian, Western Bulgarian and Macedonian dialects

Славяноведение ◽

10.31857/s0869544x0006214-8 ◽

2019 ◽

pp. 95-103

Author(s):

A. Chivarzina ◽

Keyword(s):

Color Terms

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Amphibious Operations: The Operational Wild Card

10.21236/ada234004 ◽

1990 ◽

Author(s):

Anthony S. Lieto

Keyword(s):

Wild Card

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Sylvia Plath and White Ignorance

Janus Head ◽

10.5840/jh20071019 ◽

2007 ◽

Vol 10 (1) ◽

pp. 137-155

Author(s):

Ellen M. Miller ◽

Keyword(s):

Middle Class ◽

White Woman ◽

White Women ◽

Phenomenological Study ◽

Sylvia Plath ◽

Color Terms ◽

Women Writing ◽

White Ignorance

Sylvia Plath wrote in the midst of growing racial tensions in 1950s and 1960s America. Her work demonstrates ambivalence towards her role as a middle-class white woman. In this paper, I examine the racial implications in Plath's color terms. I disagree with Renee Curry's reading in White Women Writing White that Plath only considers her whiteness insofar as it affects herself. Through a phenomenological study of how whiteness shifts meaning in this poem, I hope to show that Curry's negative estimation is only partly right. I suggest that embodiment is a problem for Plath in general, and this contributes to her inability to fully examine other bodies.

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The Historical Change in the Role of the Two Hungarian Words for Red (Piros and Vörös) and Their Visual Semantics

Acta Ethnographica Hungarica ◽

10.1556/022.2020.00011 ◽

2020 ◽

Vol 65 (1) ◽

pp. 285-302

Author(s):

Beáta Bálizs

Keyword(s):

Research Methods ◽

International Research ◽

Historical Change ◽

Color Terms ◽

Color Term ◽

Linguistic Research ◽

Red Color ◽

History Of ◽

Hungarian Language

The present study summarizes the key findings of a multi-year interdisciplinary investigation, performed using specific (ethnographic, anthropological, and linguistic) research methods, into the two color terms mentioned in the title. Originally intended as empirical research involving all Hungarian color terms and individual community-dependent relationships with colors, it was eventually supplemented by a text-based examination of the history of the color terms piros and veres/vörös. A further objective was to answer questions raised in the course of international research concerning the reason for the existence of two color terms with similar meanings in the Hungarian language to denote the red color range. Earlier studies had already suggested that the modern use of vörös, which has more ancient roots in the Hungarian language, may be related to the fact that this color term was previously used more extensively. However, the present research is unique in demonstrating the substantial changes that have taken place in the Hungarian language in relation to the role and meaning of these color terms. It has already been established that the two color terms switched places historically, and that piros today fulfills precisely the same function that for centuries belonged to veres/vörös, until the color term piros began to gain ground in the 19th century.

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A Cultural History Of Color in the Renaissance

10.5040/9781350182806 ◽

2020 ◽

Keyword(s):

Cultural History ◽

Performing Arts ◽

Material World ◽

Color Terms ◽

Global Circulation ◽

The World ◽

Color Technology ◽

History Of ◽

Psychology Literature

A Cultural History of Color in the Renaissance covers the period 1400 to 1650, a time of change, conflict, and transformation. Innovations in color production transformed the material world of the Renaissance, especially in ceramics, cloth, and paint. Collectors across Europe prized colorful objects such as feathers and gemstones as material illustrations of foreign lands. The advances in technology and the increasing global circulation of colors led to new color terms enriching language. Color shapes an individual’s experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Volume 3 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

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