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Dr. Mitsuhiko Ota, a linguist in the University of Edinburgh Language Sciences department, was the lead researcher in a 2018 study (Ota, Davies-Jenkins, and Skarabela 2018) examining infant-directed speech, a.k.a. baby talk. Across languages, lexical items specific to infant-directed speech (i.e., 'baby-talk words') are characterized by three major features: 1. onomatopoeia incorporated into non-arbitrary, "highly iconic" words, e.g. "quack", "bow wow" 2. diminutives, e.g. "daddy", "tummy" 3. reduplication, e.g. "din din", "easy peasy" These three lexical characteristics may help infants discover the referential nature of words, identify word referents, and segment fluent speech into words. If so, the amount of lexical input containing these properties should predict infants' rate of vocabulary growth. To test this prediction, Ota's team tracked the vocabulary size in 47 English-learning infants from 9 to 21 months and examined whether vocabulary growth was related to measures of iconicity, diminutives, and reduplication in the lexical input at 9 months. The team's analyses showed that both diminutives and reduplication in the input were associated with vocabulary growth, although measures of iconicity were not. These results are consistent with the hypothesis that phonological properties typical of lexical input in infant-directed speech play a role in early vocabulary growth.

Sound symbolism is the systematic and non-arbitrary link between word and meaning. Although a number of behavioral studies demonstrate that both children and adults are universally sensitive to sound symbolism in mimetic words, the neural mechanisms underlying this phenomenon have not yet been extensively investigated. The present study used functional magnetic resonance imaging to investigate how Japanese mimetic words are processed in the brain. In Experiment 1, we compared processing for motion mimetic words with that for non-sound symbolic motion verbs and adverbs. Mimetic words uniquely activated the right posterior superior temporal sulcus (STS). In Experiment 2, we further examined the generalizability of the findings from Experiment 1 by testing another domain: shape mimetics. Our results show that the right posterior STS was active when subjects processed both motion and shape mimetic words, thus suggesting that this area may be the primary structure for processing sound symbolism. Increased activity in the right posterior STS may also reflect how sound symbolic words function as both linguistic and non-linguistic iconic symbols.

Sound symbolism is a non-arbitrary relationship between speech sounds and meaning. We review evidence that, contrary to the traditional view in linguistics, sound symbolism is an important design feature of language, which affects online processing of language, and most importantly, language acquisition. We propose the sound symbolism bootstrapping hypothesis, claiming that (i) pre-verbal infants are sensitive to sound symbolism, due to a biologically endowed ability to map and integrate multi-modal input, (ii) sound symbolism helps infants gain referential insight for speech sounds, (iii) sound symbolism helps infants and toddlers associate speech sounds with their referents to establish a lexical representation and (iv) sound symbolism helps toddlers learn words by allowing them to focus on referents embedded in a complex scene, alleviating Quine's problem. We further explore the possibility that sound symbolism is deeply related to language evolution, drawing the parallel between historical development of language across generations and ontogenetic development within individuals. Finally, we suggest that sound symbolism bootstrapping is a part of a more general phenomenon of bootstrapping by means of iconic representations, drawing on similarities and close behavioural links between sound symbolism and speech-accompanying iconic gesture.

If you are on the far side of 70, as I am, you may not even know what emoticons and Emojis are, but trust me, your grandchildren do. Emoticons - those little smiley face icons used to show various emotions, and their descendants, Emojis - icons illustrating almost anything, from Santa Claus to a screaming cat to a pile of excrement - have become so popular with young people who communicate by texting and emailing, that some Emoji experts converse only through pictographs. You don't need to know the other person's foreign language - or even how to read!

Interactive timeline of the history of English (spread across 10 different "acts") - includes sound clips (including Beowulf and the Canterbury Tales prologue), English language history, etc.

Adding on to Ryan's commentary: For each era, you can click on the different icons and do the following: 1. Read and hear a famous document 2. Get a brief historical overview 3. Linguistic developments 4. New words entering the language 5. A fast fact 6. A pun or riddle

Award-winning, Chinese contemporary artist, Xu Bing, has created _Book From the Ground_, a text that speakers of any language can "read." His interest in pictorial storytelling was heightened by a bubblegum wrapper he happened upon-a series of three images connected by two arrows that instructed the chewer to put the gum back into the wrapper after chewing and throw it in the trash. This became Xu's inspiration for _Book from the Ground_. Xu's book reflects cultural literacy and modern tools and technologies, rather than traditional literacy. The author predicts that the younger generation is likely to find his icon language easier to "read" because they've been exposed to these images for as long as they can remember on the Internet. "I think it can be seen two ways," says Robert Harrist, a professor of Chinese art history at Columbia University who has taught a semester-length course on Xu's work. "It's great that everybody can communicate now and stay in touch constantly through one medium or another, a kind of shared, plugged-in visual world." But at the same time, with the "flattening and evening out in communication so much is lost," especially when it comes to tense or nuance. "The real surprising thing here and the challenge and the thing I love about it is he makes you ask yourself: What is writing?" adds Harrist, who describes Xu as "the greatest living Chinese artist, simple as that.... Everything he does is profoundly thoughtful."