Natlang-based "IAL pidgins"

Raymond Brown wrote:
"Yep - but the problem is that people tend to have an aversion towards what
looks like a butchered form or caricature of their own language.
[...] it may be, and certainly would be for many anglophones, that such
things look like caricatures of English."
    Just last night I saw a premiere of Seussical, which (as you have
already probably guessed) is a musical based upon the writings of Theodore
Geisel, a native of Massachusetts - and the musical continues his tradition
of creatively using the English language (the opening number is "Oh the
thinks you can think...").  There's quite a lot of other items that would be
very interesting to conlangers (e.g. Jojo and his inventory of letters that
follow the letter Z).

"So a pidgin with "Italo-Spanish-like lexifying" might be fun to create and,
indeed, have aesthetic appeal for Jonathan (and, I'd guess, could well have
aesthetic appeal for many anglophones), but don't expect it to have the same
aesthetic appeal for Italian & Spanish speakers ;)"
    One would think so, but I think czHANg is also attempting to work within
a time-honored tradition of mutilating the Italian language.  He mentioned
Marinetti and the Futurists - experimental artists who worked in language as
well as canvas.  Here's an excerpt from Marinetti's "Bilancio delle
analogie":

(1.a SOMMA)
Marcia del cannoneggiamento futurista
colosso-leitmotif-maglio-genio-novatore-ottimismo-fame-ambizione (TERRIFICO
ASSOLUTO SOLENNE EROICO PESANTE IMPLACABILE FECONDANTE)
zang tuumb tumb tumb

(2.a SOMMA)

difesa Adrianopoli passatismo minareti dello scetticismo cupole-ventri
dell’indolenza vigliaccheria ci-penseremo-domani non-c’è-pericolo
non-è-possibile a-che-serve dopo-tutto-me-ne-infischio consegna di tutto lo
stock in stazione-unica = cimitero

(3.a SOMMA)

intorno ad ogni obice-passo del colosso-accordo cadere del maglio-creazione
del genio-comando correre ballo tondo galoppante di fucilate mitragliatrici
violini monelli odori-di-bionda-trentenne cagnolini ironie dei critici ruote
ingranaggi grida gesti rimpianti (ALLEGRO AEREO SCETTICO FOLLEGGIANTE AEREO
CORROSIVO VOLUTTUOSO)

(4.a SOMMA)

intorno a Adrianopoli + bombardamento + orchestra + passeggiata-del-colosso
+ officina allargarsi cerchi concentrici di riflessi plagi echi risate
bambine fiori fischi-di-vapore attese plume profumi fetori angosce (INFINITO
MONOTONO PERSUASIVO NOSTALGICO) Questi pesi spessori rumori odori turbini
molecolari catene reti corridoi di analogie concorrenze e sincronismi
offrirsi offrirsi offrirsi offrirsi in dono ai
miei amici poeti pittori musicisti e rumoristi futuristi
zang-tumb-tumb-zang-zang-tuumb tatatatatatatata picpac
pampacpacpicpampampac uuuuuuuuuuuuuuu

ZANG-TUMB
TUMB-TUMB
TUUUUUM

     One of the mottos of the Futurists was that art, in fact, can be
nothing but violence, cruelty, and injustice - Marinetti called upon the
Italians to re-invent art for themselves, forging it from an appreciation of
machines, speed, and the new technology, as well as a glorification of war.
Marinetti also felt that the Italians needed to express themselves using new
language.
     Futurist poetry was designed to project off the page like shot fired
from a gun.  For this reason, the so-called "parole in liberta" style of
poetry contained no adjectives, adverbs, finite verbs, punctuation or
anything else that might possibly slow down the pace - so a Futurist poem
was essentially an uninterrupted sequence of nouns, operating off of
onomatopoeia.
     While I'm not the biggest fan of futurism, I can respect their
political and cultural impact upon Europe.  It didn't stop with the
Fascists, although apparently Mussolini was one of Marinetti's biggest fans.
  I'm much more of an Ungaretti man myself (M'illumino d'immenso!).
-Chollie
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