Iconicity as the motivation for morphophonological metathesis and truncation in Nigerian Pidgin

Abstract

We present evidence for iconicity as the motivation for two patterns of morphophonological alternation in Nigerian Pidgin, also known as Naijá. To express an ‘unconventional positive’ in all varieties of Naijá, some nouns with the tone melodies H-L and L-H surface with the tone melodies L-H and H-L, respectively. In addition to unconventional positive, the Wafi variety of Naijá also expresses ‘unconventional negative.’ In this case, the first syllable of bisyllabic nouns (analogously, the first foot of four-syllable nouns) is transposed with the second syllable. However, in onsetful monosyllabic nouns, the initial consonant is deleted to express an unconventional negative. We account for the metatheses and truncation using transderivational faithfulness constraints and other independent constraints. Expressing the notion of unconventionality by changing the prosaic linear order of phonological elements in a word is a kind of form-meaning resemblance. Similarly, the association of (unconventional) negative with a reduction in a string of segments is another pattern of iconicity. This suggests that crossmodal depiction of sensory imagery, in addition to articulatory and auditory factors, can motivate morphophonological patterns. The morphophonological metatheses and truncation in Naijá contribute to the typology of morphophonological alternations with iconicity as their motivation. Most importantly, these patterns run counter to the claim that pidgins and creoles have simplified morphophonology.

Keywords

• iconicity
• tone
• metathesis
• truncation
• expressiveness
• pidgin
• creole