The analysis reveals massive changes in the use of colour terms. In the second part of the paper, Finnish translations of the Russian works studied in the first part are examined with the same methods. An analysis of the frequencies of colour terms shows that the writers have different attitudes to colours: to some of them colour is important (Bulgakov, Pasternak), while others pay less attention to it (Tolstoj, Dostoevskij) some authors do not have favourite colours (Gogol′, Čechov), others do have colour preferences (Bulgakov, Dostoevskij). In the first part of the article I examine the colour palettes of six Russian writers: Gogol′, Dostoevskij, Tolstoj, Čechov, Bulgakov and Pasternak.
Preserving colour flavours of literary works in translation may therefore be difficult. Literary texts is an area, where colours play a special role. They sorted coloured stimuli into groups by similarity and after sorting named the groups.ĭifferent languages have different colour palettes and different colour associations. Estonian and Estonian Russian participants also completed a sorting task between the list and naming tasks. In the naming task the participants named coloured stimuli one by one answering the question: “What colour is it?”. The participants were asked about all the colours they knew in the list task. Turkish (N=56), Estonian (N=39) and Estonian Russian (N=30) participants were questioned to find an answer to those questions. Are Turkish terms MAVI ‘blue’ and LACIVERT ‘dark blue’ similar? Is Estonian SININE ‘blue’ influenced by Russian and therefore also divided into more than one blue categor Russian is exceptional because both SINIJ ‘blue’ and GOLUBOJ ‘light blue’ mark blue equally. There being only one blue category reinforces the universalist view of colour terms, while the appearance of more than one blue category, especially in the sorting task, supports a weak relativist approach. From the theory of basic colour terms and previous research into Turkish, Estonian and Russian basic colour terms arise the questions of whether the behaviour of one blue is universal, and how the category of blue might be divided. They called these universal colour names basic colour terms. They proposed that in every language there is a small, limited amount of words for designating colour. The theory of basic colour terms by Brent Berlin and Paul Kay (1969) started with an idea that certain colour categories are universal. However, both studies agree thatįinnish does not possess a basic colour term for purple. That there are only 8 basic colour terms in Finnish. These results contrast with Mauno Koski’s claim ‘yellow,’ musta ‘black,’ valkoinen ‘white,’ oranssi ‘orange,’ ruskea ‘brown,’ harmaa An analysis of the results shows that there are 10īasic colour terms in Finnish-punainen ‘red,’ sininen ‘blue,’ vihreä ‘green,’ keltainen The list task was complemented by the cognitive salience Of Finnish, aged 10 to 75, performed two tasks: a colour-term list task (name as manyĬolours as you know) and a colour naming task (where the subjects were asked to nameĦ5 representative colour tiles). The field method of Ian Davies and Greville Corbett (1994). The data for the study was collected using Basic colour term in this study is understood asīrent Berlin and Paul Kay defined it in 1969. Choose the Finnish surname of your future baby, here.This article describes a study of Finnish colour terms the aim of which was to establishĪn inventory of basic colour terms, and to compare the results to the list of basic terms Return to alphabetical list of all finnish names >įind in one click, in the ranking of the most popular Finnish names, one of your choice through our list of Finnish names in fashion. Find an Finnish name more easily through our directory of Finnish names. This original dictionary of Finnish male and female first names is unique, you will find that hides your Finnish name, but also a complete choice of Finnish names for boys and girls, to help you choose the surname of your baby. All Finnish names beginning with the letter M
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