Although the iconicity of reduplication has been addressed by many researchers, not enough attention has been paid
to the distinct character of modified reduplication in opposition to full reduplication. Modified reduplication is here defined as
the juxtaposition of two similar but not identical phonological forms which differ in vowel quality (e.g. English
chit-chat, Lhasa Tibetan
zam zom ‘careless work’, Tshangla
napanopo
‘silly’) or in initial consonant (e.g. English
hotchpotch, Lhasa Tibetan ’
a la ma la ‘confused,
unconnected, irregular’). This paper describes the uses of modified reduplication in five languages spoken in the Himalayas:
Central Tibetan (bod), Denjongke (sip, Tibetic), Lhomi (lhm, Tibetic), Tshangla (tsj, Sino-Tibetan, Bodish) and Duhumbi (cvg,
Kho-Bwa). The data, which come both from published sources (
Bodt 2020,
Naga & Rigzin 1994,
Yliniemi 2021,
Nitartha online dictionary of Tibetan) and heretofore unpublished material, show that modified reduplication in the aforementioned
languages is associated with four types of iconicity: (1) duality/plurality of similar but not identical sounds (e.g. Denjongke
tʽaŋtʽiŋ ‘cling clang’), (2) duality/plurality of similar but not identical items (e.g. Denjongke
dakdok ‘occurring as an assortment of small items of various sizes’), (3) duality/plurality of similar but
not identical locations (e.g. Tibetan
thar thor ‘scattered’), also suggesting motion between locations (e.g.
Tibetan
lang ling ‘drifting, swinging’), and (4) nonnormativity arising from the comparison of two similar but
non-identical forms (e.g. Tshangla
thapathopo ‘slow-witted’,
zhalangzholong ‘shapeless; useless
[of people]’). In four of the five languages (others than Lhomi)
a~o vowel modification is strongly associated
with nonnormativity.