The packaging of meaning in verbs varies widely across languages since verbs are free to encode different aspects of an event. At the same time, languages tend to display recurrent preferences in lexicalization, e.g. verb-framing vs. satellite-framing in motion. It has been noted, however, that the lexicalization patterns in motion are not carried over to the domain of vision, since gaze trajectory (‘visual path’) is coded outside the main verb even in verb-framed languages. This ‘typological split’ (Matsumoto 2001), however, is not universal. This article contains the first extensive report of verb-framing in the domain of vision based on data from Maniq (Austroasiatic, Thailand). The verbs are investigated using a translation questionnaire and a picture-naming task, which tap into subtle semantic detail. Results suggest the meanings of the verbs are shaped by universal constraints linked to earth-based verticality and bodily mechanics, as well as local factors such as the environment and the cultural scenarios of which looking is a salient part. A broader look across the whole Maniq verb lexicon reveals further cases of verbally encoded spatial notions and demonstrates a pervasive cross-domain systematicity, pointing to the language system itself as an important shaping force in lexicalization.

This paper deals with the grammatical differences and overlaps between the uses of the Finnish kuulua as a verb of auditory perceptibility (‘to be audible’) and as a verb of appearance, when employed in negative clauses (‘to be imperceptible (through unspecified sensory input)’). Both meanings entail perceptibility, existentiality and motion from the experienced towards the experiencer. However, they differ significantly in regard to the nature of the motion as well as the degree of animacy of the subject referent. As a verb of auditory perceptibility, kuulua accepts mainly inanimate subjects referring to a perceivable sound. As a verb of appearance, kuulua is mostly used with animate subjects. The semantic difference between the two constructions is accounted for in terms of objective and intersubjective meaning construal. The potential movement of a sound towards the experiencer concerns the relationship between the world and the subject of conceptualization, whereas the non-appearance of an animate being is viewed on the level of intersubjective cognitive coordination, with regard to interactional expectations. The results of this study shed light on the complex semantics of perceptibility. The analysis is based on 1,528 occurrences of kuulua in dialectal and literary data.

The aim of this study is to see how and to what extent the Talmyan notion of fictive motion is realized in the conceptual frame of speaking. Drawing from a previous in-depth analysis of the speaking event Manner component in English (cf. Vergaro, Sandford, Mastrofini, and Formisano, unpublished observations),1 we investigate the realization of fictive path in 186 English manner of speaking (henceforth MoS) verb entries accessed through the Corpus of Contemporary American English (henceforth COCA). Fictive path is always involved in the conceptualization of the speaking event. Communication is elaborated through the conduit metaphor, which is, in turn, motivated by the embodied act of speaking. Fictive path is further considered in relation to image schemas and windowing. Different degrees of path windowing emerge from this study, illustrating how the speaker focuses attention on a specific portion of the speaking event. Image schema distribution and an implicational hierarchy of the various types of path elaboration also become evident in this study.

Dynamic conceptualization is a fundamental notion in cognitive linguistics. Abstract motion is one type of dynamic conceptualization. It is said to structure descriptions of static scenes such as ‘The mountain range goes from Mexico to Canada’, and in doing so, invokes a subjective sense of motion or state change. In recent years, a growing body of experimental research supports this claim. However, additional work is needed to understand the dynamics of abstract motion and the extent to which it generalizes. This paper provides some background on abstract motion and reports two new experiments that investigate two unexplored types of abstract motion, including visual paths and pattern paths. Together, the results indicate that abstract motion plays a central role in language use and understanding.