Journal articles: 'Colour terms'

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Harutyunyan, Kristine. "Colour Terms in Advertisements." Armenian Folia Anglistika 11, no. 2 (14) (October 15, 2015): 55–67. http://dx.doi.org/10.46991/afa/2015.11.2.056.

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The present article focuses on the peculiarities of the usage of colour terminology in advertisements. We live in a colourful world and there are great many colour words to describe it. We also live in a world where advertisement has become an accompanying phenomenon of our everyday life. It is obvious that the language of advertising has its specific features and it seems worth trying to reveal the role and the meaning of the colours used in advertisements. Colour terms are known to be linguistic universals which have certain associations attached to each of them. We may suppose that the colours that are mostly used in the advertisements are the basic colour terms. The spheres where we expect to find wider usage of colour terms should be the ones connected with fashion industry.

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Pitchford, Nicola J., and Kathy T. Mullen. "Is the Acquisition of Basic-Colour Terms in Young Children Constrained?" Perception 31, no. 11 (November 2002): 1349–70. http://dx.doi.org/10.1068/p3405.

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We investigated whether the learning of colour terms in childhood is constrained by a developmental order of acquisition as predicted by Berlin and Kay [1969 Basic Color Terms (Berkeley, CA: University of California Press)]. Forty-three children, aged between 2 and 5 years and grouped according to language ability, were given two tasks testing colour conceptualisation. Colour comprehension was assessed in a spoken-word-to-colour-matching task in which a target colour was presented in conjunction with two distractor colours. Colour naming was measured in an explicit naming task in which colours were presented individually for oral naming. Results showed that children's knowledge of basic-colour terms varied across tasks and language age, providing little support for a systematic developmental order. In addition, we found only limited support for an advantage for the conceptualisation of primary (red, green, blue, yellow, black, white) compared to non-primary colour terms across tasks and language age. Instead, our data suggest that children acquire reliable knowledge of nine basic colours within a 3-month period (35.6 to 39.5 months) after which there is a considerable lag of up to 9 months before accurate knowledge of the final two colours (brown and grey) is acquired. We propose that children acquire colour term knowledge in two distinct time frames that reflect the establishment of, first, the exterior (yellow, blue, black, green, white, pink, orange, red, and purple) and, second, the interior structure (brown and grey) of conceptual colour space. These results fail to provide significant support for the order predicted by Berlin and Kay, and suggest, instead, that the development of colour term knowledge is largely unconstrained.

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Panasenko, N. "COLOUR TERMS IN SUDDEN FICTION." Philology at MGIMO 19, no. 3 (October 3, 2019): 131–38. http://dx.doi.org/10.24833/2410-2423-2019-3-19-131-138.

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The paper presents the analysis of colour perception and its interpretation in psychology and symbolism; it highlights colour properties and the approaches to colour studies largely in linguistics. One of the features of colours is their ability to express human emotions and feelings, either positive or negative (verbally/ nonverbally), and to create certain atmosphere in the situation abound in colours. Shades of colours can be regarded as a lexico-semantic group formed by adjectives and nouns, which can be simple, derived, and compound words. Short texts include many colour terms expressing such colour properties, as hue, saturation, tone, lightness, intensity; each of them contributes to decoding of some culture-specific features hidden in Sudden fiction. The analysis of Sudden fiction shows that short stories have specific composition, where colour terms perform different functions. Descriptive functions are mainly connected with focal colours and identify objects’ properties. Other functions, such as character-generating, associative, metaphoric, symbolic, semiotic, and culture specific are more complicated. Their identification implies additional knowledge of cultural, social, and historical planes.

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Anwar, Hilbeen, and Dalia Najeeb. "COLOUR TERMS IN BAHDINI KURDISH PROVERBS." Humanities Journal of University of Zakho 9, no. 4 (December 29, 2021): 1000–1010. http://dx.doi.org/10.26436/hjuoz.2021.9.4.768.

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Colour is a strong communication method which, despite their denotative meanings, conveys different positive and negative messages since their meanings and connotations are language and culture based. The present study aims at investigating the meanings and the frequency of colour terms used in Bahdini Kurdish proverbs. To conduct the present study, data have been collected from different Kurdish proverb books. The results arrived at in the present study showed that the shades and hues of the basic colour terms are used a little in Kurdish proverbs compared with the basic colour terms. The colours are not occurred equally in Kurdish proverbs. Each colour term gives a different meaning, and sometimes the same connotation is interpreted by more than one colour term. Moreover, they have both positive and negative connotations.

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Salih, Ahmed M., and Marwa W. Salih. "Basic Color Terms in the Glorious Qur’an." Koya University Journal of Humanities and Social Sciences 4, no. 1 (2021): 137–43. http://dx.doi.org/10.14500/kujhss.v4n1y2021.pp137-143.

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Colour plays a key role in people’s communication. Languages represent the gradation of colours in nature by a series of discrete categories. These categories of colour differ along with the different cultures. Colour distinctions and meanings also play a major role in different religions. A certain colour may have a particular meaning in Christianity and another different meaning. There is no single language is said to include all colour variations. Colour distinctions and meanings play a major role in different religions. A certain colour may have a particular meaning in Christianity and another different meaning. This paper aims at identifying the basic colour terms in the Glorious Qur'an and making structural and semantic analyses of them. It is hypothesized that the Glorious Qur’an contains particular colour terms that occupy various grammatical classes and indicates specific functions. Furthermore, some are linked to each other by semantic relations. The major findings arrived at are the following: there are six basic colour terms used in the Glorious Qur’an; they are white, black, green, yellow, blue, and red. Colour terms used in the Glorious Qur’an have various structures in Arabic syntax. Secondly, semantic variations are found in many verses of the Glorious Qur’an that include colour terms. Thirdly, cultural differences affect the usage of colour in language. Finally, the use of colour terms in the Glorious Qur’an is meant to apply different functions of the terms, such as the visual, the aesthetic, the symbolic, and the expressive functions. one colour might be interpreted in one way in a language and in a totally different way in another.

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Arbab, Shabnam, Jonathan A. Brindle, Barbara S. Matusiak, and Christian A. Klöckner. "Categorisation of Colour Terms Using New Validation Tools: A Case Study and Implications." i-Perception 9, no. 2 (March 2018): 204166951876004. http://dx.doi.org/10.1177/2041669518760043.

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This article elaborates on the results of a field experiment conducted among speakers of the Chakali language, spoken in northern Ghana. In the original study, the Color-aid Corporation Chart was used to perform the focal task in which consultants were asked to point at a single colour tile on the chart. However, data from the focal task could not be analysed since the Color-aid tiles had not yet been converted into numerical values set forth by the Commission internationale de l’éclairage (CIE). In this study, the full set of 314 Color-aid tiles were measured for chromaticity and converted into the CIE values at the Daylight Laboratory of the Norwegian University of Science and Technology. This article presents the conversion methodology and makes the results of the measurements, which are available in the Online Appendix. We argue that some visual-perception terms cannot be reliably ascribed to colour categories established by the Color-aid Corporation. This suggests that the ideophonic expressions in the dataset do not denote ‘colours’, as categorised in the Color-aid system, as it was impossible to average the consultants’ data into a CIE chromaticity diagram, illustrate the phenomena on the Natural Colour System (NCS) Circle and Triangle diagrams, and conduct a statistical analysis. One of the implications of this study is that a line between a visual-perception term and a colour term could be systematically established using a method with predefined categorical thresholds.

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Tao, Wang. "Colour Terms in Shang Oracle Bone Inscriptions." Bulletin of the School of Oriental and African Studies 59, no. 1 (February 1996): 63–101. http://dx.doi.org/10.1017/s0041977x00028561.

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Most people are born with the natural ability to see and distinguish the colours of objects and things in everyday life, but to explain in words what colour is, is a more complicated matter. Scientists have generally accepted that, physically, colour is the visual aspect of electromagnetic radiant energy having a spectral composition ranging in wavelength from about 380 to about 720 nanometres. From the psychological point of view, it is a sensation produced on the eye and in the brain by rays of light when resolved by selective reflection. The problems raised by the study of colour use are thus interdisciplinary.

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Golka, Maria H. "La catégorisation linguistique des couleurs: niveaux d'élémentarité des noms de couleurs français." Cognitive Studies | Études cognitives, no. 14 (September 4, 2014): 131–47. http://dx.doi.org/10.11649/cs.2014.012.

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Linguistic categorisation of colours: relative basicness of French colour termsCategorisation is one of the basic cognitive processes. Because of the continuous character of the colour spectrum, colour terms constitute an interesting material to study linguistic categorisation. The first part of this article offers a review of research on the linguistic categorisation of colours, especially on basic colour terms and prototypes. In the second part, the results of an empirical study on the basicness of French colour terms will be presented. The results suggest that colour terms are categorised as prototypically structured concepts, which supports the hypothesis of the relative basicness of colour terms.

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Hippisley, Andrew, Ian Davies, and Greville G. Corbett. "The basic colour terms of Lower Sorbian and Upper Sorbian and their typological relevance." Studies in Language 32, no. 1 (January 11, 2008): 56–92. http://dx.doi.org/10.1075/sl.32.1.04hip.

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Berlin & Kay’s basic colour term framework claims that there is an ordering in the diachronic development of languages’ colour systems. One generalisation is that primary colours, WHITE, BLACK, RED, YELLOW, GREEN, BLUE, are lexicalised before derived colours, which are perceptual blends, e.g. ORANGE is the blend of YELLOW and RED. The colour systems of Lower Sorbian and Upper Sorbian offer an important typological contribution. It is already known that primary colour space can contract upon the emergence of a basic derived term; our findings indicate that derived categories also shift as colour systems develop. Tsakhur offers corroborating evidence.

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Jonauskaite, Domicele, Lucia Camenzind, C. Alejandro Parraga, Cécile N. Diouf, Mathieu Mercapide Ducommun, Lauriane Müller, Mélanie Norberg, and Christine Mohr. "Colour-emotion associations in individuals with red-green colour blindness." PeerJ 9 (April 7, 2021): e11180. http://dx.doi.org/10.7717/peerj.11180.

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Colours and emotions are associated in languages and traditions. Some of us may convey sadness by saying feeling blue or by wearing black clothes at funerals. The first example is a conceptual experience of colour and the second example is an immediate perceptual experience of colour. To investigate whether one or the other type of experience more strongly drives colour-emotion associations, we tested 64 congenitally red-green colour-blind men and 66 non-colour-blind men. All participants associated 12 colours, presented as terms or patches, with 20 emotion concepts, and rated intensities of the associated emotions. We found that colour-blind and non-colour-blind men associated similar emotions with colours, irrespective of whether colours were conveyed via terms (r = .82) or patches (r = .80). The colour-emotion associations and the emotion intensities were not modulated by participants’ severity of colour blindness. Hinting at some additional, although minor, role of actual colour perception, the consistencies in associations for colour terms and patches were higher in non-colour-blind than colour-blind men. Together, these results suggest that colour-emotion associations in adults do not require immediate perceptual colour experiences, as conceptual experiences are sufficient.

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Ryndina, Iuliia. "Color terms as a way to categorize artistic reality (based on the novel by Lion Feuchtwanger «The ugly duchess»)." Филология: научные исследования, no. 5 (May 2022): 44–52. http://dx.doi.org/10.7256/2454-0749.2022.5.38038.

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Colour terms are a significant group of lexical units of any language. The article is devoted to the identification and the description of lexical units that explicitly express colour or include implicitly transmitted semes of colour in the novel by the German writer L. Feuchtwanger «The ugly duchess». The author believes that colour terms, accumulating national-cultural stereotypes and ideological meanings of the linguistic community, reproduce fragments of reality and the artistic concept of the world in the text. Using various connotations of colour meanings, L. Feuchtwanger solves two tasks in the novel: colour-description creates a unique poetics of the work, and color-characteristic reveals its main idea. The linguistic representation of colour terms in this novel allows us to understand the writer's idiostyle and the cultural meanings of his work, the peculiarities of the colour perception in the German linguoculture. Since the colour-description in the analyzed novel has not been researched yet, this determines the novelty of this work. The results of the research allow us to assert that the dominant coloratives that define the writer’s idiostyle are shades of blue, gray, white, black, red and brown, i.e. the basic palette of colours. It is worth noting that there are relative more lexemes in the novel that express colour explicitly. The significance of this research is determined by the fact that it contributes to further development of stylistics, linguoculturology and intercultural communication, and can be used in teaching German in higher educational institutions.

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Redkozubova, Ekaterina A., and Elena A. Panteleeva. "Secondary Colour Terms in British Beauty Products: Structure, Semantics, Word-formation." Proceedings of Southern Federal University. Philology 2020, no. 3 (September 30, 2020): 67–75. http://dx.doi.org/10.18522/1995-0640-2020-3-67-75.

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The article deals with cultural, structural and semantic peculiarities of secondary colour terms used in British beauty products. A secondary colour term may be significant aesthetically, culturally, socially, historically, psychologically and linguistically. Secondary colour terms of beauty products reflect people’s experience, mentality, their interpretations of objective reality, their cultural traditions and language features. Such terms may be both universal and ethnospesific. The largest thematic groups of colour terms under analysis are the following: «colours», «flowers», «natural phenomena», «jewels». Minor thematic groups are «monarch», «sweets», «fauna». The most productive word-formation means are word-composition, affixation, blending, shortening.

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Andrick, Gail Rex, and Helen Tager-Flusberg. "The acquisition of colour terms." Journal of Child Language 13, no. 1 (February 1986): 119–34. http://dx.doi.org/10.1017/s0305000900000337.

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ABSTRACTThe acquisition of colour terms in pre-school-aged children was investigated in two studies. The first study explored the role of conceptual factors in 2-, 3- and 4-year-old children's performance on two tasks. Comprehension and production of basic colour words were tested using stimuli that varied in focality. The results confirmed earlier research demonstrating the important and early influence of focality on children's colour concepts and developing colour lexicon. However, only moderate support was obtained for the order-of-acquisition hypothesis proposed by Berlin & Kay (1969). Quite large discrepancies between comprehension and production were found in this study, with no clear relationship between these two performances. In the second study the role of maternal input on children's learning of colour words was investigated, using the spontaneous speech transcripts from Adam, Eve and Sarah. Significant correlations between mothers' and children's uses of specific colour words were found across all three subjects. The findings from both studies confirm that both conceptual and environmental factors are important in shaping the child's developing colour concepts and colour lexicon, particularly for mapping out the boundaries of the basic colour spaces, which are culturally, rather than innately, determined.

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Harutyunyan, Christine. "The Salience of Colour Terms." Armenian Folia Anglistika 3, no. 1 (3) (April 16, 2007): 53–56. http://dx.doi.org/10.46991/afa/2007.3.1.053.

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The interrelation between color terms and the meanings they denote is quite controversial. Despite the fact that color terms are linguistic universalities and possess a certain universal value in the language thinking of all ethnic groups, they differ in terms of the ethno-linguistic evaluation. The psycholinguistic value of color terms immensely depends on the professional occupation and the individual preference of language bearers.

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le Roux, Jurie. "Revisiting Setswana basic colour terms." South African Journal of African Languages 33, no. 2 (September 2013): 159–64. http://dx.doi.org/10.1080/02572117.2013.871457.

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Saunders, B. A. C., and J. Van Brakel. "Re-Evaluating Basic Colour Terms." Cultural Dynamics 1, no. 3 (July 1988): 359–78. http://dx.doi.org/10.1177/092137408800100306.

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Guðmundsdóttir Beck, Þórhalla, and Matthew James Whelpton. "Samspil máls og merkingar. Um litaheiti í íslensku táknmáli." Orð og tunga 21 (August 15, 2019): 75–100. http://dx.doi.org/10.33112/ordogtunga.21.5.

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Brent Berlin and Paul Kay brought a sea change in semantic studies of colour terms when they published their book Basic Color Terms in 1969. Up to that point the dominant view was that each language represented a unique conceptual organisation of the world, a view supported by the fact that the colour spectrum is a continuum which provides not obvious breaks for the purposes of naming. Despite the many criticisms of their work which have followed, their methodology has proven extremely influential and been widely adopted. The project Evolution of Semantic Systems, 2011–2012, adopted their methodology for a study of colour terms in the Indo-European languages and the Colours in Context project applied the same methods to a study of Icelandic Sign Language. Signed languages diff er in many ways from spoken languages but the results of this study suggest the broad organisation of the colour space is the same in Icelandic Sign Language, Icelandic and British English. The colour space is organised by a few dominant terms, largely the same as Berlin and Kay ́s original basic colour terms. Yet within that broad pattern is considerable microvariation, especially in the spaces between the dominant terms. There the characteristic patt erns of word formation in the language have a clear influence in colour naming strategies.

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Coventry, Kenny, Christos Mitsakis, Ian Davies, Julio Lillo Jover, †Anna Androulaki, and Natalia Gômez-Pestaña. "Basic colour terms in Modern Greek: Twelve terms including two blues." Journal of Greek Linguistics 7, no. 1 (2006): 3–47. http://dx.doi.org/10.1075/jgl.7.03and.

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AbstractWe describe an investigation of Modern Greek colour terms intended to establish its set of basic colour terms (BCTs). Pilot work suggested that Greek had terms for each of the Berlin & Kay (1969) eleven ‘universal categories’. These terms, plus [γalázjo] “light blue”, were the most frequent terms in Greek texts. Four naming studies with varying stimuli (Munsell, Color-aid and NCS), lighting (daylight, illuminant C and fluorescent), instructions (no restriction on terms or only essential terms), and informants (bilingual Greek-English students and monolingual Greek speakers from Crete) were carried out. Measures of basicness included frequency, consistency and consensus of use, naming time and ‘necessity’. The results supported the analysis of texts, suggesting that Greek has twelve BCTs, including two terms for blue. The ranges of the two blue terms differ mainly in lightness, and this division is similar to the equivalent divisions in Russian and Turkish. However, the positions of the best examples vary across the three languages presenting difficulties for a common account of the origins of the additional term. The use of BCTs was reasonably stable across variations in methods, stimuli, lighting and informants, suggesting that field studies with limited control over these variables may nevertheless be able to identify BCTs.

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Ryabina, Elena. "A study of loan colour terms in the Komi languages." Eesti ja soome-ugri keeleteaduse ajakiri. Journal of Estonian and Finno-Ugric Linguistics 5, no. 2 (December 11, 2014): 91–116. http://dx.doi.org/10.12697/jeful.2014.5.2.05.

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[NOTE. This abstract contains diacritics that may not display correctly.]This article deals with a comparative study of loaned colour vocabulary in the closely related Komi-Zyrian and Komi-Permyak languages. Data were originally collected by using the field method suggested for establishing basic colour terms by Davies and Corbett (1994, 1995). Sixty-five coloured tiles were used as stimuli. The study explored and compared the psychological salience of recent Russian loan colour terms. It was found that loan colour words occurred more in the Komi-Permyak data. The most salient adopted colour term in the Komi-Permyak language is zeĺone̮j ‘green’. In the next stage of basic colour system evolution in Komi-Zyrian and Komi-Permyak, the loan colour terms korič́ńeve̮j ‘brown’, fioĺetove̮j ‘purple’ and oranževe̮j ‘orange’ may appear. At the present stage of colour category development, the Russian basic terms rozovyj ‘pink’ and goluboj ‘light-blue’ are not salient in either language.Elena Ryabina: Laenvärvinimedest komi keeltes. Artiklis võrreldakse vene laenvärvinimesid omavahel lähedalt suguluses olevas sürjakomi ja permikomi keeles. Andmed on kogutud Daviese ja Corbett’ (1995) välimeetodiga. Uurimuses on kasutatud 65 standardset Color-aid Corporationi värvitahvlit. Uurimuse eesmärk on laenvärvinimede psühholoogilise esilduvuse väljaarvutamine ja võrdlemine. Tulemused näitavad, et permikomi andmestik sisaldab rohkem laenvärvinimesid. Kognitiivse esiletuleku indeksi järgi on neist psühholoogiliselt esilduvaim zeĺone̮j ‘roheline’. Põhivärvinimede süsteemi arenedes võivad komi keeltes eeldatavasti leksikaliseeruda korič́ńeve̮j ‘pruun’, fioĺetove̮j ‘lilla’ ja oranževe̮j ‘oranž’, sest need on mõlemas komi keeles kodunenud. Laenvärvinimed rozovyj ‘roosa’ ja goluboj ‘helesinine’ ei ole praegusel põhivärvinimede arenguetapil psühholoogiliselt esiletulevad kummaski komi keeles.Märksõnad: laensõna, põhivärvinimi, psühholoogiline esilduvus, sürjakomi keel, permikomi keel

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Allan, Keith. "The connotations of English colour terms: Colour-based X-phemisms." Journal of Pragmatics 41, no. 3 (March 2009): 626–37. http://dx.doi.org/10.1016/j.pragma.2008.06.004.

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Gorzhaya, Alesya A., and Timerlan I. Usmanov. "The development of linguistic and cultural meanings of English colour lexis: dynamics and modern state." Current Issues in Philology and Pedagogical Linguistics, no. 2(2021) (June 25, 2021): 96–114. http://dx.doi.org/10.29025/2079-6021-2021-2-96-114.

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The article is devoted to the study of the dynamics of development and the current state of linguacultural meanings in colour terms that are used in English-language women’s prose. In the course of the analysis of the theoretical and methodological material, it has been revealed that the colour terms in the literary text contribute to the fact that the descriptions and pictures drawn by its author are perceived as correctly as possible by the reader, and the latter more accurately perceives the sensations and emotions experienced by the characters at different moments of the story. During the analysis of the corpus of selected contexts (more than 700 fragments) with colour terms (500 units) from the works of fiction of modern women’s prose – criminal literature of the British writer Elizabeth Haynes – a number of features have been established. All the analyzed works are rich in the use of various colours, generally the main ones, and their shades, but there are also other colours. Thematic groups of colour terms include descriptions of the appearance of the main and secondary characters, everyday realia of the surrounding world, phenomena and objects of the natural world, and other abstract notions. Frequently occurring primary colour terms that do not have a transfer of meaning have been distinguished, and less frequent secondary colour terms with a transfer of meaning, and the secondary ones usually had a more complex morphological and syntactic structure. The selected colour terms that describe the appearance of the characters and have a transfer of meaning are divided into two groups, one of which includes colour terms with a metaphorical component, and the other contains colour terms that form transferred epithets. Within the framework of the description of natural phenomena and objects, the authors distinguish fully metaphorized colour terms, partially metaphorized colour terms that include a metaphorized component that does not extend its influence to the other structural elements of the colour term, as well as colour terms represented by an explicit comparison. In general, colour terms fill the work with a deep content, an additional meaning that the author lays down when writing a literary work.

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García-Page, Mario. "Los nombres de color del español." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 44, no. 1 (March 6, 2009): 47–66. http://dx.doi.org/10.1075/rro.44.1.03pag.

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Colour terms in Spanish are a heterogeneous and large set in origin and morphology: there are basic colour terms, which can function as adjectives or nouns (verde, blanco, azul, rojo…) and secondary colour terms with a binary structure N1(+basic colour)-N2(object/proper name) (verde esmeralda, blanco hueso, azul cielo, rojo Corintio…), as well as referential terms, which refer primarily to a physical object in which colour is a prominent feature (naranja, granate, lila, carmín…). Finally, there is a set of colour terms which can only function as adjectives by means of adjectival suffixation (verdoso, blancuzco, azulino, rojizo…). Such diversity brings about variable behaviour in identification tests (such as Este color es el + N – This colour is + N) as well as in grammatical tests (derivation, quantification, etc.).

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Maguidova, Irina, and Natalia Decheva. "Reading Artistic Prose through Colour Terms." Armenian Folia Anglistika 2, no. 1-2 (2) (October 16, 2006): 68–74. http://dx.doi.org/10.46991/afa/2006.2.1-2.068.

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The article examines the possibility of creating color imagery in artistic prose. Special attention is paid to the role of the lexical, phraseological, linguocultural values of color terms from the perspective of philological reading. Research of the language of F. Scott Fitzgerald’s novel reveals that certain colors (red, white, pink, etc.) acquire a symbolic significance in the context.

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Andreeva, Lyudmila Anatol'evna, Ol'ga Fedorovna Khudobina, and Katalin Sipőcz. "COLOUR TERMS IN THE MANSI RIDDLES." Philological Sciences. Issues of Theory and Practice, no. 9 (September 2019): 175–79. http://dx.doi.org/10.30853/filnauki.2019.9.35.

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Halpern, Baruch, and Athalya Brenner. "Colour Terms in the Old Testament." Journal of Biblical Literature 104, no. 1 (March 1985): 126. http://dx.doi.org/10.2307/3260607.

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Uusküla, M. "THE BASIC COLOUR TERMS OF CZECH." Trames. Journal of the Humanities and Social Sciences 12, no. 1 (2008): 3. http://dx.doi.org/10.3176/tr.2008.1.01.

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Davies, Ian, Christine Davies, and Greville Corbett. "The basic colour terms of Ndebele∗." African Languages and Cultures 7, no. 1 (January 1994): 36–48. http://dx.doi.org/10.1080/09544169408717774.

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Mylonas, Dimitris, and Lindsay MacDonald. "Augmenting basic colour terms in english." Color Research & Application 41, no. 1 (January 27, 2015): 32–42. http://dx.doi.org/10.1002/col.21944.

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Moss, A. E. "Basic colour terms: Problems and hypotheses." Lingua 78, no. 4 (August 1989): 313–20. http://dx.doi.org/10.1016/0024-3841(89)90027-2.

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Davies, Ian, Greville Corbett, Al Mtenje, and Paul Sowden. "The basic colour terms of Chichewa." Lingua 95, no. 4 (April 1995): 259–78. http://dx.doi.org/10.1016/0024-3841(94)00024-g.

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Sutrop, U. "THE BASIC COLOUR TERMS OF ESTONIAN." Trames. Journal of the Humanities and Social Sciences 4, no. 2 (2000): 143. http://dx.doi.org/10.3176/tr.2000.2.03.

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Forder, Lewis, Olivia Taylor, Helen Mankin, Ryan B. Scott, and Anna Franklin. "Colour Terms Affect Detection of Colour and Colour-Associated Objects Suppressed from Visual Awareness." PLOS ONE 11, no. 3 (March 29, 2016): e0152212. http://dx.doi.org/10.1371/journal.pone.0152212.

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Bowker, Lynne. "You say "flatbed colour scanner", I say "colour flatbed scanner"." Terminology 4, no. 2 (January 1, 1997): 275–302. http://dx.doi.org/10.1075/term.4.2.04bow.

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It has often been suggested that terms are not prone to variation. Moreover, many standardizing organizations and terminology textbooks take a prescriptive approach to term formation and use in which they disparage variation. However, we believe that variation is not due to arbitrariness or carelessness, but rather that it is well-motivated and useful in expert discourse. We hypothesize that multidimensional classification is one of the determining factors behind term choice and we present an empirical study of the influence of multidimensional classification on term use in which we examine variant terms in context in a one-million word corpus in the specialized subject field of optical scanning technology.

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Soriano, Cristina, and Javier Valenzuela. "Emotion and colour across languages: implicit associations in Spanish colour terms." Social Science Information 48, no. 3 (August 21, 2009): 421–45. http://dx.doi.org/10.1177/0539018409106199.

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This study explores the reasons why colour words and emotion words are frequently associated in the different languages of the world. One of them is connotative overlap between the colour term and the emotion term. A new experimental methodology, the Implicit Association Test (IAT), is used to investigate the implicit connotative structure of the Peninsular Spanish colour terms rojo (red), azul (blue), verde (green) and amarillo (yellow) in terms of Osgood’s universal semantic dimensions: Evaluation (good—bad), Activity (excited—relaxed) and Potency (strong—weak). The results show a connotative profile compatible with the previous literature, except for the valence (good—bad) of some of the colour terms, which is reversed. We suggest reasons for both these similarities and differences with previous studies and propose further research to test these implicit connotations and their effect on the association of colour with emotion words.

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CURTA. "COLOUR PERCEPTION, DYESTUFFS, AND COLOUR TERMS IN TWELFTH-CENTURY FRENCH LITERATURE." Medium Ævum 73, no. 1 (2004): 43. http://dx.doi.org/10.2307/43630698.

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Shevchenko, Elizaveta, and Irina Tomashevskaya. "Translation: the puzzle of colour." Slovo.ru: Baltic accent 10, no. 3 (2019): 105–13. http://dx.doi.org/10.5922/2225-5346-2019-3-8.

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This research contributes to the study of colour terms as a cognitive phenomenon. Since colour is not a universal concept and an ordinary mind does not perceive colour separately from the object, it is possible to observe the knowledge about colour, which exists in the language but does not exist in its physical sense. We hold that the given knowledge is the cause of significant difficulties arising in the translation of various colour terms, though the nature of these terms existence should not be complex in its essence, being a basic phenomenon of the natural world. Moreover, certain ambiguity rises when reference points of colour do not coincide with the indirect naming of colours and shades in different languages. Different pairs of languages apparently set their individual spectrum of translation difficulties. We characterise some typical colour-related English into Russian translation difficulties which arise at the cognitive level.

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Solopova, A. А. "Functions of colour terms in Ovid’s Metamorphoseon." Indo-European Linguistics and Classical Philology, no. 26 (2022): 1098–111. http://dx.doi.org/10.30842/ielcp230690152671.

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Gasharova, Aida R. "Semantics of colour terms in Lezgin folklore." Vestnik of the Mari State University 14, no. 2 (2020): 188–94. http://dx.doi.org/10.30914/2072-6783-2020-14-2-188-194.

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Hanwell, David, and Majid Mirmehdi. "Weakly supervised learning of semantic colour terms." IET Computer Vision 8, no. 2 (April 2014): 110–17. http://dx.doi.org/10.1049/iet-cvi.2012.0210.

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Louwrens, L. J. "Northern Sotho colour terms and semantic universals." South African Journal of African Languages 13, no. 4 (January 1993): 121–28. http://dx.doi.org/10.1080/02572117.1993.10586976.

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Davies, Ian, Greville Corbett, Harry McGurk, and David Jerrett. "A developmental study of the acquisition of colour terms in Setswana." Journal of Child Language 21, no. 3 (October 1994): 693–712. http://dx.doi.org/10.1017/s030500090000951x.

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ABSTRACTWe report a study of the acquisition of colour terms by speakers of Setswana, the language of Botswana in Southern Africa. This was carried out as a test of Berlin & Kay's theory of colour term universals, on a language with less than the maximum complement of eleven basic colour terms, and in order to document changes in Setswana under the impact of economic development. Seventy-seven five- to nine-year-olds were studied on two colour tasks: elicited lists and colour naming. In general the data were consistent with Berlin & Kay's theory: the rank order of frequency of correct use of colour terms was similar to the order of the Berlin & Kay hierarchy; and primary colour terms were offered more frequently and were more likely to be used correctly than secondary colour terms. The use of English colour terms was prevalent, especially amongst the younger groups, but they functioned as substitutes for Setswana terms, rather than as a means to fill the vacant basic colour term slots.

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Pautz, Adam. "Can the physicalist explain colour structure in terms of colour experience?1." Australasian Journal of Philosophy 84, no. 4 (December 2006): 535–64. http://dx.doi.org/10.1080/00048400601079094.

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Fejsa, Mikhaylo. "Basic colour terms in the lexical-semantic field of colour in the Rusin language." Rusin, no. 68 (2022): 251–65. http://dx.doi.org/10.17223/18572685/68/13.

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The main goal of this research is to present basic colour terms in the lexical-semantic field of colour of the Backa-Srem Rusin (Ruthenian) chromatic terminology, which has not been studied in Slavic studies so far. Rusin equivalents to the basic colour terms distinguished by Brent Berlin and Paul Kay in their work Basic Color Terms: Their Universality and Evolution (white, black, red, green, yellow, blue, brown, purple, pink, orange, gray) are bila, cams, cevena , Helena, zovta/zolta , belava, braon, llova , celova , pomarancecova/pomarandzecova and siva; the equivalents zovta and pomarancecova are characteristic for the inhabitants of Ruski Krstur whereas the equivalents zolta and pomarandzecova are characteristic for the inhabitants of Kucura. The research corpus is mainly composed of Serbian-Ruthenian Dictionary and Ruthenian-Serbian Dictionary. The analysis has shown that the basic colour terms often coincide in two genetically related languages such as Rusin and Serbian but there are many important differences. The Rusin lexeme bila has the equivalents bela and plava in Serbian, and the Rusin lexeme belavahas the equivalents plavaand sedain Serbian when naming hair or beard. There are several cases when an adjective that conveys a given colour is necessary in one language but not in the other (e.g. Rusin cibul'a : Serbian crniluk, Rusin zel'ena pasul'a : Serbian boranija). Most of the chromatic terms are of Slavic origin (“ belv > bila, “сыпъ> cama, “siv>siva, “zelenъ >zel'ena, “ztv>zolta/zovta) but loanwords have been increasingly used for nuanced purposes, e.g. azurna, teget, akvamarin, tirkizna in recent decades; some of them remain unchanged, e.g. blond, braon, drap, krem, bez and oker in both languages, and lila and roze only in Serbian. The lexeme colour in both researched Slavic languages is not of Slavic origin; the lexeme boja in the Serbian language originates from Turkish (Turkish boya), and the lexeme farba in Rusin (as well as in Serbian when the term refers to non-linguistic entities) is of German origin (German farbe).

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DAVIES, IAN R. L., GREVILLE G. CORBETT, HARRY McGURK, and CATRIONA MacDERMID. "A developmental study of the acquisition of Russian colour terms." Journal of Child Language 25, no. 2 (June 1998): 395–417. http://dx.doi.org/10.1017/s0305000998003468.

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We report a study of the acquisition of colour terms by Russian children which had two main aims: first, to test Berlin & Kay's (1969) theory of colour universals using acquisition order as a measure of basicness; and secondly, to see if the two blue terms of Russian are genuinely basic. Two hundred children aged from three to six-years-old were tested on three colour-tasks – colour term listing, colour term production and colour term comprehension. To a reasonable approximation, the order of colour term acquisition was in accord with Berlin & Kay's theory, but the data are also consistent with the weaker claim that primary terms tend to be learned before derived terms. On balance the data were consistent with Russian exceptionally, having an extra term for the blue region. But, the two blue terms – goluboj ‘light blue’ and sinij ‘dark blue’ – were confused more often than other pairs of terms even by the five- to six-year-old sample.

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Stanulewicz, Danuta, and Konrad Radomyski. "COLOUR TERMS IN INORGANIC CHEMISTRY: A CORPUS STUDY." Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, no. 22 (January 12, 2022): 95–109. http://dx.doi.org/10.31392/npu-nc.series9.2021.22.07.

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Colour is a common physical phenomenon involving selective absorption, reflection or transmission of certain wavelengths of light. It is one of the fundamental properties of chemical compounds, which is particularly evident in the field of inorganic chemistry. The aim of this paper is to present colour terms used by scientists in the field of inorganic chemistry. We concentrate both on basic and non-basic colour terms – as understood by Berlin and Kay (1969). The research material is extracted from a corpus compiled with AntConc, consisting of abstracts published in Inorganic Chimica Acta, Inorganic Chemistry Communications, Journal of Inorganic Biochemistry and ten other chemical journals. The size of the corpus is 1,626,380 words. The most frequent basic colour terms found in the abstracts are blue (370 occurrences), green (302) and red (222), whereas the non-basic terms include, among others, violet (46) and cyan (4). In this paper, we investigate the uses of these and other colour words, focusing mainly on their occurrence in names of chemical compounds and other terms as well as in descriptions.

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Edwards, Jim. "A Reply to De Anna on the Simple View of Colour." Philosophy 78, no. 1 (January 2003): 109–14. http://dx.doi.org/10.1017/s003181910300007x.

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John Campbell proposed a so-called simple view of colours according to which colours are categorical properties of the surfaces of objects just as they normally appear to be. I raised an invertion problem for Campbell's view according to which the senses of colour terms fail to match their references, thus rendering those terms meaningless—or so I claimed. Gabriele de Anna defended Campbell's view against my example by contesting two points in particular. Firstly, de Anna claimed that there is no special problem here for the simple view of colours, a similar invertion story could apply to primary qualities terms for shapes. Secondly, de Anna purported to give an account of the senses and references of colour terms in my invertion story which renders the senses and references of those terms mutually consistent.In this paper I contested both of de Anna's claims. Regarding the first, I argue that his imagined invertion of apparent shapes is not epistemically stable, in contrast to the invertion of apparent shapes is not epistemically stable, in contrast to the invertion of apparent colours. Hence the victims of apparently inverted shapes would be able to discover the mismatch of senses and refences of their shape terms, in contrast to the victims of apparent invertions of colours. Regarding the second, I argue that de Anna's account of the victim's colour terms itself uses and not merely mentions so-called colours terms. Hence de Anna' account of them is itself meaningless due to a mismatch of sense and reference. So I conclude that my objection to Campbell's simple view of colours stands.

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Chivarzina, Alexandra I. "A Comparative Study of Colour Terms in Ttranslations of the New Testament into Macedonian and Albanian." Slavic World in the Third Millennium 15, no. 3-4 (2020): 113–26. http://dx.doi.org/10.31168/2412-6446.2020.15.3-4.08.

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The article considers the colour terms present in the New Testament in the Macedonian and Albanian languages. The characteristic features of the translation are determined by both the cultural unity and the lexical systems of the Balkan languages under consideration. Among the few contexts using colour terms, most are translated equally. This can be explained by both objective reasons (natural colour of objects) and general connotations attributed to the main colours of the spectrum. The attention of this study is focused primarily on the places in the text where different translation decisions have been made. However, it is impossible not to mention the most characteristic general features of colour term use in the New Testament in the Macedonian and Albanian languages. The study indicates the thoroughness of the work done by translators, who, considering the peculiarities of the colour term vocabulary of their language, sought to maximize the use of the lexical system in order to extremely accurately and easily convey the meaning of the original text. The connotations of the colour terms found in the text are mostly the same in the cultures and target languages under discussion. However, there are cases of using different lexemes in the same context in different places in the book. The similarities and differences in translations into Macedonian and Albanian help to understand how similar Balkan cultures see the New Testament and what they highlight as the most significant.

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Zayniev, Daler. "The polysemy of the colour term white in English, Russian, Tajik and Uzbek." ExELL 7, no. 2 (December 1, 2019): 112–34. http://dx.doi.org/10.2478/exell-2020-0009.

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Abstract Colour is one of the central categories of both a conceptual and a linguistic world of image, correlated with an axiological and an esthetic assessment, a semiotic and value world of image of a given national culture, which allows us to talk about colour preferences, ethnic colour mentality, colour gaps and colour universals, that is, about the colour world of image. In addition, colours have senses specific to particular fields, from physics over printing to senses used in everyday life. In the present article, I carry out an analysis of the colour term white in English, and its counterparts in Russian, Tajik and Uzbek from the lexicological and lexicographical point of view, starting with a semasiological perspective, following Steinvall’s (2002: 56) methodology. The conceptual space of the colour term white in lexicographic work tends to be kept compact rather than articulated in great detail, just like in the case of other types of colours, i.e. in an attempt to minimize polysemy, its senses are typically lumped, rather than split. The main aims were to investigate the differences in the representation of adjectives denoting white colour across languages and to compare monolingual and bilingual dictionaries with respect how they structure their meanings, as well as collocations and idiomatic expressions (often based on metaphors and metonymies). A number of field-like clusters of concepts related to the colour terms for white were established. Based on these findings, I proceed to make some suggestions for the improvement of the approach to colour terms for white and other colours in general use and pedagogical dictionaries.

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Sanad, Reham. "A Study of the Factors Affecting Colour Meaning and Emotional Response." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 11–22. http://dx.doi.org/10.18844/prosoc.v4i11.2844.

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Colour design research studies are concerned with identifying colour preferences and emotion elicited by colours, and a deep understanding of the aspects shaping these emotions will lead to better exploitation of colour design. This study highlights the aspects that contribute to human emotional response to colour. Hue, brightness and chroma are colour attributes used in different colour model identifying colours. Brightness and chroma in most studies affect the hue on colour emotion association. Colour context, texture and size are also discussed in terms of contribution to colour motion response. Other factors such as time span and culture impact the colour emotion link and aspects related to humans including personality, age, gender and preference to colour and/or emotion are discussed. The findings of this research will benefit marketers and designers to understand the effective usage of colour in design making in its aesthetical and functional aspects. Keywords: Colour attributes, age, sex, preference, culture, context, education, religion, personality, colour context.

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Shepherd, AJ. "Colour Vision in Migraine: Selective Deficits for S-Cone Discriminations." Cephalalgia 25, no. 6 (June 2005): 412–23. http://dx.doi.org/10.1111/j.1468-2982.2004.00831.x.

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Three studies are reported that explore colour perception in migraine. In each, sensitivity for colours detected selectively by the S-cones and the L- and M-cones was assessed separately. The first study assessed the discrimination of small colour differences using the Farnsworth-Munsell 100-hue test. The second assessed threshold detection for purple, yellow, red and green targets on five equiluminant background colours. The third examined supra-threshold colour scaling using two colour series, purple-yellow and red-green. Each study indicated that differences in colour perception between migraine and control groups were restricted to colours detected by the S-cones, there were no differences in performance for colours detected by the L- and M-cones. The results are discussed in terms of possible pathologies in the early visual pathways.

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Journal articles on the topic 'Colour terms'

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