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Anartistic language, orartlang,[1][2][3] is aconstructed language designed for aesthetic and phonetic pleasure. Constructed languages can be artistic to the extent that artists use it as a source of creativity in art, poetry, calligraphy or as ametaphor to address themes such as cultural diversity and the vulnerability of the individual in a globalizing world.[4] They can also be used to test linguistical theories, such asLinguistic relativity.
Unlikeengineered languages orauxiliary languages, artistic languages often have irregular grammar systems, much like naturallanguages. Many are designed within the context offictional worlds, such asJ. R. R. Tolkien'sMiddle-earth. Others can represent fictional languages in a world not patently different from the real world, or have no particular fictional background attached.
Several different genres of constructed languages are classified as 'artistic'. An artistic language may fall into any one of the following groups, depending on the aim of its use.Similarly tophilosophical languages, artlangs are created in accordance with an initially defined principle in mind.
By far the largest group of artlangs arefictional languages (sometimes also referred to as "professional artlangs"). Fictional languages are intended to be the languages of a fictional world, and are often designed with the intent of giving more depth and an appearance of plausibility to the fictional worlds with which they are associated, and to have their characters communicate in a fashion which is both alien and dislocated. By analogy with the word "conlang", the termconworld is used to describe these worlds, inhabited by fictionalconstructed cultures.
There are two major categories of fictional languages.
Professional fictional languages are those languages created for use in books, movies, television shows, video games, comics, toys, and songs. Prominent examples of settings featuring fictional languages includeArda and theStar Trek universe,Simlish inThe Sims, games likeIco and theAr Tonelico series, and songs of the French bandMagma, singing inKobaïan.
Internet-based fictional languages are hosted along with their "conworlds" on the Internet, and based at these sites, becoming known to the world through the sites' visitors. An example isVerdurian, the language ofMark Rosenfelder's Verduria on the planet of Almea.
Alternative languages, oraltlangs, speculate on an alternate history and try to reconstruct how a family of natural languages would have evolved if things had been different, e.g.: What if Greek civilization had gone on to thrive without a Roman Empire, leavingGreek and notLatin to develop several modern descendants? The language thatwould have evolved is then traced step by step in its evolution, to reach its modern form. An altlang will typically base itself on the core vocabulary of one language and the phonology of another.
The best-known language of this category isBrithenig, which initiated the interest among Internet conlangers in devising such alternate-historical languages, likeWenedyk. Brithenig attempts to determine how Romance languages would have evolved had Roman influence in Britain been sufficient to replace Celtic languages withVulgar Latin, and bases its phonology on that ofWelsh. An earlier instance isPhilip José Farmer'sWinkie language, a relative of theGermanic languages spoken by the Winkies of Oz inA Barnstormer in Oz. Another example isAnglish, which tries to reconstruct how English could have looked without Latin influence.
Although technically a professional fictional language,Wenja, used in the video gameFar Cry Primal is an attempt an reconstructing an earlier stage ofProto-Indo-European, before the appearance of characteristics such asgender,ablaut or thes-mobile, to name a few.[5]
Micronational languages are the languages created for use inmicronations. Having the citizens learn the language is as much a part of participating in the micronation as minting coins and stamps or participating in government. The members of these micronations meet up and speak the language they have learned when they are participating in these meets. They coin new words and grammatical constructions when needed.Talossan, from R. Ben Madison'sKingdom of Talossa, is an archetypal example of a micronational language.[6]
Personal languages are ultimately created for one's own edification. The creator does not expect anyone to speak it; the language exists as a work of art. A personal language may be invented for the purpose of having a beautiful language, for self-expression, as an exercise in understanding linguistic principles, or perhaps as an attempt to create a language with an extreme phonemic inventory or system of verbs. Personal languages tend to have short lifespans, and are often displayed on the Internet and discussed on message boards much like Internet-based fictional languages. They are often invented in large numbers by the people who design these languages. However, a few personal languages are used extensively and long-term by their creators (e.g., for writingdiaries). Javant Biarujia, the creator ofTaneraic, described his personal language (which he terms ahermetic language) thus: "a private pact negotiated between the world at large and the world within me; public words simply could not guarantee me the private expression I sought."[7] The authorRobert Dessaix describes the origins of his personal language K: "I wanted words that described reality. So I made them up."[8]
The aim of such languages is to express deep meaning with very few parts. For instance,Toki Pona is generally said to have around 120,[9] 123,[10] or 125[11] root words[12] and 14phonemes. It was created by Canadian linguist and translatorSonja Lang[13] for the purpose of simplifying thoughts and communication.[14]
An experimental language is aconstructed language designed for the purpose of exploring some theory oflinguistics. Most such languages are concerned with the relation betweenlanguage and thought; however, languages have been constructed to explore other aspects of language as well. Inscience fiction, much work has been done on the assumption popularly known as theSapir–Whorf hypothesis. Artlangs of this type overlap withengineered languages.
Seelist of constructed languages.
The idea was for "functionlang" to be a useful term to describe a certain group of conlangs that weren't fitting into the pattern. Those being the (relatively rare) conlangs that were not artlangs, logiclangs, or auxlangs, but instead designed around some *other* specified purpose(s).
It is myartlang, spoken on an archipelago in the mid-Atlantic, somewhat south of the Azores and northwest of Madeira. The liturgical language has a number of _very_ exotic sounds, partly to indicate that it is not the normal language of the street (these sounds include several velaric egressive sounds, ie reverse clicks; one or two apicovelars; nareal fricatives; and a few others).
I'm opposed to anartlang with tones, in much the same way I'm opposed to anartlang with the many vowel sounds of English, or the consonant clusters of Russian and English.
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