Fictional language

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An example of Tolkien's Quenya, one of the languages of the elves, written in Tengwar with transliteration into a Latin-based alphabet. It translates to "Ah! like gold fall the leaves in the wind, long years numberless as the wings of trees!" Quenya Example.svg
An example of Tolkien's Quenya, one of the languages of the elves, written in Tengwar with transliteration into a Latin-based alphabet. It translates to "Ah! like gold fall the leaves in the wind, long years numberless as the wings of trees!"

Fictional languages are the subset of constructed languages (conlangs) that have been created as part of a fictional setting (e.g. for use in a book, movie, television show, or video game). Typically they are the creation of one individual, while natural languages evolve out of a particular culture or people group, and other conlangs may have group involvement. Fictional languages are also distinct from natural languages in that they have no native speakers. [1] By contrast, the constructed language of Esperanto now has native speakers.

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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. The goal of the author may be to have their characters communicate in a fashion which is both alien and dislocated. [2] Within their fictional world, these languages do function as natural languages, helping to identify certain races or people groups and set them apart from others. [1]

While some less-formed fictional languages are created as distorted versions or dialects of a pre-existing natural language, many are independently designed conlangs with their own lexicon (some more robust than others) and rules of grammar. [3] Some of the latter are fully formed enough to be learned as a speakable language, and many subcultures exist of those who are 'fluent' in one or more of these fictional languages. [4] Often after the creator of a fictional language has accomplished their task, the fandom of that fictional universe will pick up where the creator left off and continue to flesh out the language, making it more like a natural language and therefore more usable. [5]

Purpose

Fictional languages are separated from artistic languages by both purpose and relative completion: a fictional language often has the least amount of grammar and vocabulary possible, and rarely extends beyond the absolutely necessary. At the same time, some others have developed languages in detail for their own sake, such as J. R. R. Tolkien's Quenya and Sindarin (two Elvish languages), Star Trek 's Klingon language and Avatar's Na'vi language which exist as functioning, usable languages. [4]

By analogy with the word "conlang", the term conworld is used to describe these fictional worlds, inhabited by fictional constructed cultures. The conworld influences vocabulary (what words the language will have for flora and fauna, articles of clothing, objects of technology, religious concepts, names of places and tribes, etc.), as well as influencing other factors such as pronouns, or how their cultures view the break-off points between colors or the gender and age of family members. Sound is also a directing factor, as creators seek to show their audience through phonology the type of race or people group to whom the language belongs. [3]

Commercial fictional languages

Commercial fictional languages are those languages created for use in various commercial media, such as:

While some languages are created purely from the desire of the creator, language creation can be a profession. In 1974, Victoria Fromkin was the first person hired to create a language (Land of the Lost's Paku). [5] Since then, notable professional language creators have included Marc Okrand (Klingon), David Peterson (Dothraki and others in Game of Thrones ), and Paul Frommer (Na'vi).

Alien languages

Qapla' means 'success' in the Klingon language. Qapla'.svg
Qapla' means 'success' in the Klingon language.

A notable subgenre of fictional languages are alien languages, the ones that are used or might be used by putative extraterrestrial life forms. Alien languages are subject of both science fiction and scientific research. Perhaps the most fully developed fictional alien language is the Klingon language of the Star Trek universe – a fully developed constructed language. [6]

The problem of alien language has confronted generations of science fiction writers; some have created fictional languages for their characters to use, while others have circumvented the problem through translation devices or other fantastic technology. For example, the Star Trek universe makes use of a "universal translator", which explains why such different races, often meeting for the first time, are able to communicate with each other. [7] Another more humorous example would be the Babel fish from The Hitchhiker's Guide to the Galaxy , an aurally-inserted fish that instantaneously translates alien speech to the speaker's native language. [8]

While in many cases an alien language is but an element of a fictional reality, in a number of science fiction works the core of the plot involves linguistic and psychological problems of communication between various alien species.

Visual alien languages

Circular Gallifreyan from Doctor Who, an example of a visual language. The sentence translates to "Welcome to Wikipedia, the free encyclopedia that anyone can edit." Complex Gallifreyan sentence.svg
Circular Gallifreyan from Doctor Who , an example of a visual language. The sentence translates to "Welcome to Wikipedia, the free encyclopedia that anyone can edit."

A further subgenre of alien languages are those that are visual, rather than auditory. Notable examples of this type are Sherman's Circular Gallifreyan from BBC's Doctor Who series[ citation needed ] and the heptapod's written language, which is distinct from their spoken language, from the 2016 film Arrival . [9] [10]

Internet-based fictional languages

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 visitors to these sites. Verdurian, the language of Mark Rosenfelder's Verduria on the planet of Almea, is an Internet-based fictional language.

Many other fictional languages and their associated conworlds are created privately by their inventor, known only to the inventor and perhaps a few friends.

See also

Related Research Articles

<span class="mw-page-title-main">Cirth</span> Artificial script in the fantasy works of J. R. R. Tolkien

The Cirth is a semi‑artificial script, based on real‑life runic alphabets, one of several scripts invented by J. R. R. Tolkien for the constructed languages he devised and used in his works. Cirth is written with a capital letter when referring to the writing system; the letters themselves can be called cirth.

<span class="mw-page-title-main">Tengwar</span> Fictional script in the fantasy works of J. R. R. Tolkien

The Tengwar script is an artificial script, one of several scripts created by J. R. R. Tolkien, the author of The Lord of the Rings.

The Elvish languages of Middle-earth, constructed by J. R. R. Tolkien, include Quenya and Sindarin. These were the various languages spoken by the Elves of Middle-earth as they developed as a society throughout the Ages. In his pursuit for realism and in his love of language, Tolkien was especially fascinated with the development and evolution of language through time. Tolkien created two almost fully developed languages and a dozen more in various beginning stages as he studied and reproduced the way that language adapts and morphs. A philologist by profession, he spent much time on his constructed languages. In the collection of letters he had written, posthumously published by his son, Christopher Tolkien, he stated that he began stories set within this secondary world, the realm of Middle-earth, not with the characters or narrative as one would assume, but with a created set of languages. The stories and characters serve as conduits to make those languages come to life. Inventing language was always a crucial piece to Tolkien's mythology and world building. As Tolkien stated:

The invention of languages is the foundation. The 'stories' were made rather to provide a world for the languages than the reverse. To me a name comes first and the story follows.

The English philologist and author J. R. R. Tolkien created several constructed languages, mostly related to his fictional world of Middle-earth. Inventing languages, something that he called glossopoeia, was a lifelong occupation for Tolkien, starting in his teens.

<span class="mw-page-title-main">Fictional universe</span> Self-consistent fictional setting with elements that may differ from the real world

A fictional universe is the internally consistent fictional setting used in a narrative work or work of art, most commonly associated with works of fantasy and science fiction. Fictional universes appear in novels, comics, films, television shows, video games, art, and other creative works.

<span class="mw-page-title-main">Marc Okrand</span> American linguist

Marc Okrand is an American linguist. His professional work is in Native American languages, and he is well known as the creator of the Klingon language in the Star Trek science fiction franchise.

The Black Speech is one of the fictional languages constructed by J. R. R. Tolkien for his legendarium, where it was spoken in the evil realm of Mordor. In the fiction, Tolkien describes the language as created by Sauron as a constructed language to be the sole language of all the servants of Mordor.

An artistic language, or artlang, is a constructed 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 a metaphor to address themes such as cultural diversity and the vulnerability of the individual in a globalizing world. They can also be used to test linguistical theories, such as Linguistic relativity.

Elvish languages are constructed languages used by Elves in a fantasy setting. The philologist and fantasy author J. R. R. Tolkien created the first of these languages, including Quenya and Sindarin.

<span class="mw-page-title-main">Constructed language</span> Consciously devised language

A constructed language is a language whose phonology, grammar, and vocabulary, instead of having developed naturally, are consciously devised for some purpose, which may include being devised for a work of fiction. A constructed language may also be referred to as an artificial, planned or invented language, or a fictional language. Planned languages are languages that have been purposefully designed; they are the result of deliberate, controlling intervention and are thus of a form of language planning.

<span class="mw-page-title-main">Klingon</span> Fictional species in Star Trek

The Klingons are a fictional species in the science fiction franchise Star Trek.

<span class="mw-page-title-main">Quenya</span> Fictional language in the fantasy works of J. R. R. Tolkien

Quenya is a constructed language, one of those devised by J. R. R. Tolkien for the Elves in his Middle-earth fiction.

Sindarin is one of the constructed languages devised by J. R. R. Tolkien for use in his fantasy stories set in Arda, primarily in Middle-earth. Sindarin is one of the many languages spoken by the Elves. The word Sindarin is a Quenya word.

Bible translations into constructed languages that were created as part of a fictional setting include:

The Valyrian languages are a fictional language family in the A Song of Ice and Fire series of fantasy novels by George R. R. Martin, and in their television adaptation Game of Thrones and later House of the Dragon.

A formal description of an alien language in science fiction may have been pioneered by Percy Greg's Martian language in his 1880 novel Across the Zodiac, although already the 17th century book The Man in the Moone describes the language of the Lunars, consisting "not so much of words and letters as tunes and strange sounds", which is in turn predated by other invented languages in fictional societies, e.g., in Thomas More's Utopia.

<i>Conlanging: The Art of Crafting Tongues</i> 2017 American film

Conlanging: The Art of Crafting Tongues is a 2017 documentary film about conlanging – the hobby of constructing artificial languages and the people who make them. The film features conlangers David J. Peterson, Marc Okrand and David Salo, as well as Paul Frommer, linguistics professor and creator of Na'vi, and Christine Schreyer, anthropologist at the University of British Columbia, who hopes to be able to apply conlanging methods to endangered languages. The film also looks at the history of the hobby and modern-day conlangers. While the film was made available for online purchase in 24 August, a premiere was held on 22 July at the University of Calgary's Plaza Theatre. Production began in 2015, and received funding from the Social Sciences and Humanities Research Council of Canada, but the film's future was secured through an Indiegogo campaign that raised $25,000 during August 2016. The Language Creation Society provided $3,000 worth of funds towards the film and held an interview with Watkins.

<i>In the Land of Invented Languages</i> 2009 book by Arika Okrent

In the Land of Invented Languages: Esperanto Rock Stars, Klingon Poets, Loglan Lovers, and the Mad Dreamers who Tried to Build a Perfect Language is a 2009 non-fiction book by linguist Arika Okrent about the history and culture of constructed languages, or conlangs, languages created by individuals. Okrent explores the motivations for creating a language, the challenges faced by such projects, and the outcomes of a number of high-profile conlangs. The book revolves around six conlangs: John Wilkins' unnamed 'philosophical language', Esperanto, Blissymbols, Loglan and its descendant Lojban, and the Klingon language designed for the Star Trek universe. Okrent describes her personal experiences learning and interacting with these languages and their speakers, and provides historical and linguistic analyses of their structures and features.

Tolkien's scripts are the writing systems invented by the philologist and fantasy author J. R. R. Tolkien. The best-known are Cirth, Sarati, and Tengwar.

References

Citations
  1. 1 2 Barnes, Lawrie; van Heerden, Chantelle (2008-06-02). "Virtual Languages in Science Fiction and Fantasy Literature". Language Matters. 37: 102–117. doi:10.1080/10228190608566254. S2CID   144894796.
  2. Conley & Cain 2006, pp. "Foreword", p. XIX ff.
  3. 1 2 "Questions Answered: Invented Languages". Schott’s Vocab Blog. 2010-03-10. Retrieved 2019-01-30.
  4. 1 2 "Fictional Languages You Can Actually Learn To Speak". Ranker. Retrieved 2019-01-30.
  5. 1 2 Peterson, David J. (2015). The Art of Language Invention : from Horse-Lords to Dark Elves, The Words Behind World-building. New York, New York. ISBN   978-0-14-312646-1. OCLC   900623553.{{cite book}}: CS1 maint: location missing publisher (link)
  6. Prisco, Jacopo (July 3, 2018). "How do you design a language from scratch? Ask a Klingon". CNN. Retrieved January 25, 2024.
  7. Reynolds, Eileen (January 26, 2011). "Star Trek, Google, and the Dream of Universal Translation". The New Yorker. Retrieved January 25, 2024.
  8. Edwards, Jim (January 15, 2015). "Google's New Language Translation App Is Astonishing". Business Insider. Retrieved January 25, 2024.
  9. Lubin, Gus (November 21, 2016). "'Arrival' nails how humans might actually talk to aliens, a linguist says". Business Insider. Retrieved January 25, 2024.
  10. Zeitchik, Steven (November 25, 2016). "Decoding the linguistic geekiness behind 'Arrival's' sci-fi sheen". Los Angeles Times. Retrieved January 25, 2024.
General references