Start with the Zippy strip of 6/29; focus on the second panel:
(#1) A generic diner setting, plus Nancy‘s cartoonist Ernie Bushmiller’s three rocks, unaccountably numbered for reference (see my 9/22/17 posting “Three rocks”)
Double dactyls for boys
Snarfity-barfity, Grossout and Slapstick, those
Champions of ick, masters of pow:
Boys by the age of six, nix on the feminine,
Slam with the Stooges, shout it out loud
On 8/31, e-mail from fellow shapenote singer Peter Ross, asking
whether onomatopoeia might apply to songs like the City of New Orleans, Bill Staines’s song River, the Carter family song Winding Stream, etc., where the music fits the meaning of the lyrics
These are wonderful, incredibly moving songs, and I’ll write about them below, but what Peter’s talking about is a relationship between the form of pieces of music (including their lyrics) and the images or stories the music might evoke — while onomatopoeia is a specifically linguistic relationship, having to do with an association between linguistic elements — lexical items — and their referents, turning on the phonetics of the lexical items and perceptible characteristics of the referents.
So they’re clearly related concepts, but not the same thing.
Mike Pope on Facebook, following up on my posting of the 25th “Lilo & Stitch”, with a question about the naming of the characters in the movie:
(#1) Stitch and LiloMP: Do you think the animators consciously followed a kiki/bouba paradigm?
AZ: Almost surely not consciously; they just chose names that “sounded right” to them.
In general, writers’ name choices for fictitious characters are inscrutable in detail; even if the writers have an explicit account of where the names came from, unconscious preferences for certain kinds of names can usually be seen to be at play.
One of these preferences is the bouba/kiki effect, which has to do with the visual appearance of the referents (see the images above). Also involved are effects having to do with the gender of the referents (Stitch is male, Lilo female). No doubt there are more.
Today’s morning name. I really have no idea why. I haven’t even seen the movie and was only vaguely aware of its theme. Maybe the sound-symbolic values of the names, the contrast between the /l/s of Lilo, voiced liquids, symbolically flowing; and the /s t č/ of Stitch, all voiceless obstruents, symbolically spiky and aggressive. And the /aj/ of Lilo, long and with a low nuclear F2; versus the /ɪ/ of Stitch, quite short and with a very high F2. Lilo is female, human, and family-oriented; Stitch is male, alien, and destructive.
3 x 3: three cartoons of linguistic interest for the 3rd of December: a Dave Blazek Loose Parts with merged phonemes; a Wayno/Piraro Bizarro with an ambiguity; and a Zits with an onomatopoeia.
Tuesday’s Zippy:
(#1)
Another chapter in word attraction: Zippy’s (and Griffy’s) enjoyment of “funny words”. Here, gargoyle, which Zippy, absurdly, analyzes as a compound of the nouns gar (referring to a kind of sharp-toothed fish) and goyle (a rare, mostly dialectal, term for a deep trench) — so, roughly ‘fish ravine’. Turns out the actual etymology of gargoyle is entertaining enough on its own.
In today’s comics feed, the One Big Happy from 10/4, in which Ruthie mondegreens:
(#1)
Yes: the song “We’re Off to See the Wizard”, from the 1939 movie of The Wizard of Oz, with we’re off (mis)heard as Rolf.
First, it’s American.
Second, it’s simple, homey food, designed to use tougher and cheaper cuts of beef.
Third, it’s unclear where the modifier Swiss comes from.
Fourth, its preparation involves two cooking techniques that are used in other dishes. One of these is tenderizing and flattening by pounding, a technique also used in the preparation of elegant dishes of veal, beef, pork, or chicken in the Schnitzel / Milanesa family.
Fifth, the other technique is braising: searing meat and then cooking it very slowly with liquid (and, usually, vegetables) in a closed container. Sharing this technique makes Swiss steak and pot roast of beef culinary cousins.
μ μ
(but the bull was real butch about it, and anyway that’s the Greek Way)
Meanwhile, the Greek letter mu is wide open for cow cartoons, like this recent one (from February 1st) by Scott Hilburn, passed on to me by Facebook friends:
(#1)
Today’s Zippy, a follow-up to yesterday’s:
(#1)
Yesterday, “Between Parody and Pastiche”, with the Zippy title “The Long Corn Rye” (The Long Goodbye). Today’s title: “Farewell, Ned Smedley” (Farewell, My Lovely). This time, I’m focused on just one thing, the clicking / ticking sound effect at the end, toketa toketa toketa, which takes me not to Chandler but to Thurber, in “The Secret Life of Walter Mitty”.
