International Journal of Language and Culture - Volume 8, Issue 1, 2021

This Special Issue is dedicated to the analysis of the linguistic conceptualization of “beautiful” and “ugly” as the key concepts that are basic to aesthetic appreciation across languages and cultures within the framework of folk aesthetics. For this purpose, we present a collection of original research articles analyzing concepts related to folk aesthetics in seven languages: English, Spanish, Japanese, Russian, Danish, Persian, and Mandarin Chinese. All studies in this Special Issue focus on words and concepts as representations of culture-specific ways of aesthetic appreciation. Most of the studies are corpus-based, therefore they draw their conclusions on significant linguistic data.

This paper examines the Danish language of aesthetics from the perspective of four untranslatable adjectives: pæn, flot, dejlig, and lækker. These words are frequent and salient in everyday discourses, and as such they shed light on Danish “folk” conceptions. From the perspective of Lexical Anthropology and NSM Semantics, each of the words are explored and explicated in order to shed light on the ways in which Danish discourse organize positive aesthetic experiences. Sensitive to polysemy, and the variety of lexicogrammatical frames in which the words occur, the paper provides a high-resolution analyses of the “something ADJ frame” which enables discourses of design, food, and art. Based on lexical semantic evidence, the paper locates two themes in Danish discourse: “aesthetic normality” and “ordinary hedonism” which seem to act as cognitive axes around which discourses revolve. The paper argues that words hold the key to understanding the diversity of aesthetic cultures, and that untranslatables in particular, allow for a deep emic understanding of how local configurations of seeing, feeling, touching, and thinking are constituted.

From a semantic and cultural perspective, one could ask a number of questions regarding the English word ‘beauty’ and the adjectival form ‘beautiful’ when they are used to refer to visual aspects of people. Given that scholars and professionals in the beauty industry frequently use the words to describe people from various cultures, should we assume that each of them embodies a semantic and cultural universal? Given that plastic surgeons and beauticians improve the physical appearance of people, especially women, why do they not use the word ‘pretty’ to promote their services instead? After all, the phrase ‘pretty woman’ is also the title of a popular song first recorded by Roy Orbison in 1964 and later the name of a hugely successful 1990 movie. Why are beauty salons so called? Why are they not called prettiness salons instead? This paper attempts to address such questions by studying the meanings of two Mandarin Chinese words: mĕi/měilì (roughly, ‘beautiful’) and piàoliàng (roughly, ‘pretty’). The words are polysemous and this paper focuses on the meanings that are relevant to the purposes of describing women. It tries to explain the conceptual difference between a woman who is mĕi/měilì and one who is piàoliàng. Hopefully, the findings will shed light on some of the semantic distinctions that are important to Mandarin Chinese speakers and thus the questions raised above.

Japanese visual aesthetics as represented in traditional arts such as flower arranging, calligraphy and tea ceremony have long been celebrated or even emulated as exemplary expressions of beauty. The Japanese term utsukushii (beautiful) can be used to describe a wide variety of pleasing aspects of daily life, ranging from the human form to nature and even the gustatory experience. This article outlines traditional notions of beauty in the Japanese language, sketching forward to more contemporary expressions of visual culture that cluster around the term kawaii. This word is often translated as “cute” in English, but we maintain that kawaii extends well beyond its denotative sense to encompass a more complex spectrum of meanings. For example, it can be used to describe objects and practices which have both sentimental charm as well as dark humour. We argue that the kawaii aesthetic has been successful because it serves important emotional and social functions. Finally, the differences between the terms utsukushii and kawaii are gendered and class based, with kawaii often providing a democratic expression of resistance to gendered processes of aging, ideas of class and taste, and attractiveness in Japan’s postmodern society. This essay begins with an overview of the semantic meanings of the concepts of beauty and cuteness in Japanese, followed by a discussion focused on the historical antecedents of the Japanese notion of cuteness. The third section shifts to an analysis of the expansion of the kawaii concept in post-war society and its socio-cultural functions. The essay closes with exploration of a few of the hybrid offshoots derived from kawaii, demonstrating that concepts of beauty in Japan are constantly changing and reacting to social and historical trends.

The paper studies the semantics of four Russian key terms of aesthetic evaluation: krasivyj ‘beautiful’, prekrasnyj ‘beautiful/fine’, nekrasivyj ’ugly/plain’ and bezobraznyj ‘ugly/frightful’. It demonstrates different patterns of polysemy of the words and the nuances of meaning. Following the framework of folk aesthetics and cultural semantics, the meanings of the terms in question are represented using the Natural Semantic Metalanguage (NSM) and are shown to relate to Russian cultural themes. The analysis demonstrates cultural significance of aesthetic value in Russian and its intrinsic link with ethics, morality and politeness.

The paper explores the meaning and use of ugly in English. The study is based on corpus data from Cobuild Wordbanks Online and investigates the polysemy and the spheres of application of the concept. Through corpus analysis methodology, we investigate the most common collocations and the pragmatic and contextual uses of the term. Based on this analysis, our study proposes semantic explications of ugly in universal human concepts within the theoretical framework of the Natural Semantic Metalanguage (NSM). We also analyze the most common collocations with the word ugly and classify them into several meaning-based categories. A comparison between beautiful and ugly reveals that they are not identical in their distribution, which suggests different cognitive salience of the concepts. We also note the special role of ‘people’ and ‘nature’ in conceptualization and use of beautiful and that of ‘human actions’ in ugly.

The aim of this paper is to study conceptualizations of two Persian evaluative terms, namely zesht (ugly) and zibâ (beautiful), by focusing on their uses at the metapragmatic level in evaluations of im/polite act. To achieve this aim, by drawing on natural and authentic examples from Persian, the relationship between the use of the metapragmatic markers zesht and zibâ and the im/polite (non)linguistic act is addressed and the types of im/polite behaviours that licence the use of these metapragmatic markers are further explored. It will also be argued that conceptualizations of im/politeness seem to be expressed predominantly in terms of aesthetic terms which are situationally constructed and are morally informed. The examples reveal that the use of the aesthetic markers as metapragmatic markers originates from a set of cultural conceptualizations, which are part of the moral order, and in fact, shape and are, over time, shaped by the norms of im/politeness that exist at multiple levels of society. These socially and culturally shared conceptualizations greatly influence the practices by which judgments and evaluations of im/politeness arises in different types of interaction.

The present article describes the conceptualization of aesthetics in Spanish through the analysis of the two prototypical terms that describe positive and negative sensory appreciation, i.e., “bonito” (beautiful) and “feo” (ugly). Following a mixed-approach methodology combining Natural Semantic Metalanguage and Corpus Pragmatics, the article compares the use of these adjectives in spoken and written language, analyzes their realization in the corpora under analysis, provides the explications that support their polysemy, and describes their distribution in different contexts. The final part of the paper is devoted to the comparison of the use of these adjectives with their counterparts in English, as evidenced by another paper in this special issue.