This volume, a sequel to Form Miming Meaning (1999) and The Motivated Sign (2001), offers a selection of papers given at the Third International Symposium on Iconicity in Language and Literature (Jena 2001). The studies collected here present a number of new departures. Special consideration is given to the way non-linguistic visual and auditory signs (such as gestures and bird sounds) are represented in language, and more specifically in ‘signed’ language, and how such signs influence semantic conceptualization. Other studies examine more closely how visual signs and representations of time and space are incorporated or reflected in literary language, in fiction as well as (experimental) poetry. A further new approach concerns intermedial iconicity, which emerges in art when its medium is changed or another medium is imitated. A more abstract, diagrammatic type of iconicity is again investigated, with reference to both language and literature: some essays focus on the device of reduplication, isomorphic tendencies in word formation and on creative iconic patterns in syntax, while others explore numerical design in Dante and geometrical patterning in Dylan Thomas. A number of theoretically-oriented papers pursue post-Peircean approaches, such as the application of reader-response theory and of systems theory to iconicity. Table of ContentsPreface and acknowledgments ix•x List of contributors xi•xiii Introduction: From Signing back to Signs Olga Fischer and Wolfgang G. Müller 1•20 Part I: Auditory and visual signs and signing 21 The influence of sign language iconicity on semantic conceptualization Klaudia Grote and Erika Linz 23•39 What You See Is What You Get: Iconicity and metaphor in the visual language of written and signed poetry: A cognitive poetic approach William J. Herlofsky 41•61 Spatial iconicity in two English verb classes Axel Hübler 63•77 What imitates birdcalls? Two experiments on birdcalls and their linguistic representations Keiko Masuda 79•103 Part II: Visual iconicity and iconic mapping 105 Perspective in experimental shaped poetry: A semiotic approach John J. White 107•129 Where reading peters out: Iconic images in the entropic text Julian Moyle 131•153 Iconic representation of space and time in Vladimir Sorokin’s novel The ueue (Ochered’)þ Andreas Ohme 155•167 “Vision and Prayer”: Dylan Thomas and the Power of X Matthias Bauer 169•183 Diagrams in narrative: Visual strategies in contemporary fiction Christina Ljungberg 185•201 Part III: Structural iconicity 203 The iconicity of Afrikaans reduplication C. Jac Conradie 205•225 Diagrammatic iconicity in the lexicon: Base and derivation in the history of German verbal word-formation Volker Harm 227•243 Creative syntax: Iconic principles within the symbolic Beate Hampe and Doris Schönefeld 245•263 Aspects of grammatical iconicity in English Guenter Rohdenburg 265•287 Beatrice: or The geometry of love Wilhelm Pötters 289•316 How metaphor and iconicity are entwined in poetry: A case in Haikuþ Masako K. Hiraga 317•335 Part IV: Intermedial iconicity 337 Intermedial iconicity in fiction: Tema con variazioni Werner Wolf 339•360 Iconicity and literary translation Elżbieta Tabakowska 361•376 Part V: New applications of sign theory 377 Iconizing literature Jorgen Dines Johansen 379•410 From signal to symbol: Towards a systems typology of linguistic signs Piotr Sadowski 411•424 Author index 425 Subject index 427