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Month: October 2021

The linguistic archaeology of feet

The linguistic archaeology of feet

There’s been excitement recently about evidence that humans had set foot in the Americas as much as 22,500 years ago, pushing back the previous best estimate by almost ten thousand years. And by ‘set foot’, I mean literally. The tell-tale new evidence comes to us in the form of imprints left by human feet in a particularly well-preserved mudflat in New Mexico. So far, the humans themselves have not been uncovered by archaeologists, but their characteristic mark upon the mud has endured.

When linguists peer into the past, we also will occasionally use the imprints, left by something which has otherwise been lost, to infer its presence long ago — all of which brings us to the topic of feet, and not the kind that you’d use to walk across a mudflat, but the literal English word ‘feet’, which itself contains a wonderful imprint of a long-lost vowel.

Our story begins with the fact that in English, the word ‘feet’ is a little odd. It’s a plural that doesn’t end in ‘s’. As any child will tell you, you can’t get away with saying ‘foots’ for the plural of ‘foot’ for very long before someone bigger than you corrects it to ‘feet’. However, given that most English nouns do use an ‘s’ plural, it’s entirely sensible to ask why ‘feet’ is different. (Of course, ‘feet’ isn’t absolutely unique: English contains a select club of other, similar plurals like ‘geese’ and ‘teeth’, to which we’ll return in a minute.)

The tale of ‘feet’ begins around two millennia ago, when it was in fact a regular plural word. In proto-Germanic, the singular form would have been ‘fōt-s’ (pronounced approximately as fohts, where ‘ō’ is a long ‘o’ sound) and its corresponding plural ‘fōt-iz’, constructed with a simple plural suffix ‘-iz’. Over the following centuries, the sounds at the end of the plural form were worn away and eventually lost, as often happens during language change. However, before the suffix disappeared entirely, the ‘i’ vowel in it left its imprint on the ‘ō’ vowel, changing it to ‘ȫ’, which is to say ‘fōtiz’ became ‘fōti’ then ‘fȫti’ then ‘fȫt’ which by Old English had become ‘fēt’ and is now ‘feet’. In the meantime, the singular form ‘fōts’, which contained no ‘i’ vowel, changed very little indeed: it lost its suffix ‘-s’, becoming ‘fōt’ and then modern English ‘foot’. A similar story lies behind the plurals ‘geese’ and ‘teeth’: an original suffixal vowel ‘i’ changed ‘ō’ into ‘ȫ’, before disappearing, then ‘ȫ’ became ‘ē’.

You might say that the ‘i’ vowel left its imprint upon original ‘ō’ in the form of the altered vowel ‘ȫ’. One tool which linguistic archaeologists put to good use, is our knowledge of the characteristic imprints that one sound can leave upon another. In the case of the long-lost ‘i’ vowel, the imprint even has a name, umlaut. Historical umlaut is also what lies behind plurals like ‘mice’ and ‘men’.

Armed with the background knowledge that lost ‘i’ vowels changed ‘ō’ into ‘ȫ’, and in doing so gave rise to modern English alternations between ‘oo’ and ‘ee’, we can now go fossicking through the vocabulary for more lost ‘i’ vowels. Another suffix that was lost over the centuries was a causative suffix, which related nouns to verbs, such as ‘blood’ to ‘bleed’, or ‘food’ to ‘feed’: as you’ll have guessed, the verbs once contained a now-lost ‘i’. In some cases, pairs of sibling words such as these have grown apart over time. For instance, if you were to decide someone’s fate (or their ‘doom’) then you’d be judging them (or ‘deeming’ them), though as you can see, I had to produce a fairly contrived context to highlight the relatedness of ‘doom’ and ‘deem’.

Umlaut caused by a now-lost ‘i’ also crops up in several nouns ending in ‘-th’: compare not only ‘strong’ with ‘strength’, ‘long’ with ‘length’, or ‘broad’ with ‘breadth’, but also ‘hale’ with ‘health’ and ‘foul’ with ‘filth’.

feet made filthy by umlaut!

Over decades of meticulous work, linguists have uncovered much about how languages around the world change over time, though much more still remains to be accounted for. One of the many lingering questions is what the conditions are, which favour the continued survival of idiosyncratic word forms like ‘feet’, long after they have lost their regularity. We know that many irregular words, such as the Old English plural ‘bēc’ for ‘books’ (corresponding to singular ‘bōc’), get removed over time, yet others persist for millennia. It’s an ongoing task for linguists to understand why some footprints remain while others get washed away.

Isn’t it iconic? creating signs in sign languages

Isn’t it iconic? creating signs in sign languages

If I asked you what you think of when I say the word iconic, you most probably would name David Bowie, Big Ben, or fish and chips. That is if you are not a linguist. We use this word in a different sense. It refers to elements in a language that have some sort of resemblance to the thing they refer to in the real world. The form of a word is not completely random. If you think about it, the adjective iconic is related to the noun icon, which, in its original meaning, denotes a painting that resembles a holy figure. Out of all the languages in the world, sign languages are especially famous for having a lot of iconic elements. Let’s see how it works!

Perhaps, the most often cited type of iconicity is word-level iconicity. Basically, it refers to signs that look like what they mean. Take a look at the Russian Sign Language sign CANDLE.

The sign CANDLE in Russian Sign Language.

Here, the signer ‘‘makes a picture’’ of a candle with his hands: his left hand, bent into a fist, stands for the body of a candle, and his right hand imitates flames by slightly shaking on top of it. At first glance, the idea is very simple. You might even wonder why linguists would spend time researching this phenomenon. Here is a candle, and here is an objective and logical way to depict this candle with the hands. But the process is more complex than it appears. First, note that not all candles look the same. Some of them have very thin bodies (like birthday candles), others are flat (like tealights), and don’t forget sophisticated arty candles like the ones below in the shape of Halloween characters.

Halloween candles.

This means that the Russian Sign Language sign CANDLE doesn’t depict some kind of objective candle. Instead, it portrays the picture of a candle it considers prototypical. This already can add quite a lot of variation: we can safely assume that there would be sign languages that choose a different candle to depict. Indeed, Italian Sign Language has a taller, more elegant looking candle in mind. Notice how the signer draws its tall body in the beginning.

The sign CANDLE in Italian Sign Language.

But even if two or more languages have the same picture in mind, there are still a lot of different ways to express it. For example, in German Sign Language, you are supposed to imitate lighting a match (that would in turn light the candle).

The sign CANDLE in German Sign Language.

Whereas in Greek Sign Language, you would show blowing out a candle instead.

The sign CANDLE in Greek Sign Language.

And even if you choose to express the same aspects of the same picture, you can still do it differently. For example, Brazilian Sign Language uses the same imagery as Russian Sign Language, but it shows the flames of the candle with all five fingers instead of just three.

The sign CANDLE in Brazilian Sign Language.

In order to account for this wide variability, Sarah Taub came up with a neat model of iconic signs. According to her, the creation of an iconic sign happens in three steps: (1) image selection: choosing an appropriate image; (2) schematization: choosing the important parts of the image to represent; and (3) encoding: creating the form of the sign. During the first step, one selects a prototypical image to represent; then, during the second step, one chooses what elements of this image will be expressed by the sign, and what elements will be left out. Finally, the last step is to decide how these elements will be expressed, i.e., what handshapes will be used and how they will be joined together. Sarah Taub explains this model on the example of the American Sign Language sign TREE.

The sign TREE in American Sign Language.

Here, one starts by choosing what tree species to represent and what kind of information to encode, such as tactile images of how bark and leaves feel, auditory images of leaves rustling, or visual images of a tree shape and/or colour. In case of American Sign Language, the choice fell on the shape of a tree with a tall trunk and a leafy treetop. Then one creates a mental representation of a tree to decide what pieces of it will be encoded. American Sign Language selected the trunk of a tree, the branching treetop, and the ground in which the tree grows. And finally, one needs to choose a physical form to represent each piece. In this example, a spread hand represents the branching structure, an upright forearm represents the trunk, and a horizontal forearm and palm represent a flat surface.

Sarah Taub’s model of iconic signs.

Try this yourself! Can you come up with a sign for, say, a flower? Think of the flowers you know and choose one! Will it be a dandelion, a сamomile, a rose, or maybe a funny (and slightly scary) monkey orchid?

Monkey orchids.

Then think of pieces you want to represent. Will it be just the flower itself? How many petals? How big are they? Do you want to encode the stem and the leaves as well? Or maybe your flower has thorns? And what about the soil? Finally, play with your hands or maybe even with your whole body and find a way to encode these pieces.

When you have created your masterpiece, go ahead and check how different sign languages did it! The best place to go is the spread-the-sign website. You can just type the word ‘flower’ and click on the flag of a language you are interested in. Of course, the difference between your representation and a sign of a sign language will be that you are free to choose from whatever parts and positions of your body you can come up with, whereas sign languages are limited by handshapes and movements that exist in the language. However, you’ll still get a good taste of iconicity!