Journal articles: 'Punu language'

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Naoui Khir, Abdeljalil. "A semantic and pragmatic approach to verb particle constructions used in cartoons and puns." Language Value, no. 4 (2012): 97–117. http://dx.doi.org/10.6035/languagev.2012.4.6.

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Mwangi, Evan Maina. "Gender and the Erotics of Nationalism in Ngũgĩ wa Thiong'o's Drama." TDR/The Drama Review 53, no. 2 (June 2009): 90–112. http://dx.doi.org/10.1162/dram.2009.53.2.90.

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At the intersection of symbolic language, gender, and national politics, Ngũgĩ wa Thiong'o uses sexual puns as a metaphor for land and political independence. Performance is central to all of Ngũgĩ's writing, and his oral performances in praise of his wife, Njeeri, mark the acme of his gendered use of language for political ends. Ngũgĩ's practice raises the question of whether the use of indigenous languages in African drama is liberating in and of itself, even when representations of gender roles are regressive.

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Christino, Beatriz. "HANN?, Katja. (2008). Uchumataqu. The lost language of the Urus of Bolivia. A grammatical description of the language as documented between 1894 and 1952." LIAMES: Línguas Indígenas Americanas 8, no. 1 (April 28, 2010): 161. http://dx.doi.org/10.20396/liames.v8i1.1478.

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O sétimo volume da coleção editada pela Universidade de Leiden “Indigenous Languages of Latin America”, Uchumataqu. The lost language of the Urus of Bolivia. A grammatical description of the language as documented between 1894 and 1952 deixa evidente o rigoroso trabalho de investigação de fontes e análise lingüística empreendido por Katja Hannb, pesquisadora do projeto DoBeS “Uru-Chipaya” de 2005 a 2007. Seu objeto de estudo é a língua Uchumataqu, falada, como informa a autora, até aproximadamente 1950 pelos Uru na região do lago Titicaca nas comunidades de Irohito (situada no nordeste da Bolívia) e de Ch’imu (localizada no sudeste do Peru), assim como na Baía de Puno, em território peruano.

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Sariah, Sariah, and Jatmika Nurhadi. "CREATIVITY OF LANGUAGE, LEXICAL RELATIONS, AND CULTURAL VALUES: SUNDANESE HILARIOUS PUNS IN BRILIO.NET." Humanities & Social Sciences Reviews 8, no. 3 (June 28, 2020): 1260–71. http://dx.doi.org/10.18510/hssr.2020.83129.

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Purpose of the study: The objective is to be studied is the use of Sundanese language with the opposite meaning, cause-effect, comparison, and extension of meaning. The use of the Sundanese language contains cultural values of humility, advice/invitations, and friendliness. Cultural values become the personality of the Sundanese brand adapted to the development of technology to make the speech products of the author also discuss local and global values. Methodology: This study seeks to analyze language creativity with local Sundanese nuances that follow global progress. This research used a descriptive qualitative method. The data source from 100 Sundanese hilarious puns found in brilio.net. The descriptive method was used in several stages, namely data collection, data analysis, and data presentation. Main Findings: This research shows that Sundanese hilarious puns found in brilio.net use language creativity which contains 35% expansion of meaning (polysemy), opposite meaning (20%), cause-effect (25%), and comparison (20%). The dominant cultural values are friendliness by 52.5% others are humility (20%) and advice (27.5%). They reflect the habits of Sundanese people who like to joke and empower technological advances so that the creativity of the language produced further reflects today's digital development. Applications of this study: This research is used as a tool or model in understanding and interpreting language creativity in terms of contrastive meaning, cause-effect, comparison, the extension of meaning and values, i.e.: humility, advice, and friendliness in Sundanese hilarious puns. Novelty/Originality of this study: Sundanese hilarious puns show that language creativity not only empowers the play of words, but also the cultural values that become the tradition of Sundanese people, namely the traditions of Sundanese who like to joke (ngabodor). Cultural and lexical relationships are combined and produce funny speech following the development of typical Sundanese technology. Sundanese culture and language will persist if Sundanese people always use and maintain them, one of which is by creating hilarious Sundanese puns that follows technological advances, such as those found in Sundanese hilarious puns in brilio.net.

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Görlach, Manfred. "Continental pun-dits." English Today 10, no. 1 (January 1994): 50–52. http://dx.doi.org/10.1017/s0266078400000900.

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Sherzer, Joel. "On puns, comebacks, verbal dueling, and play languages: Speech play in Balinese verbal life." Language in Society 22, no. 2 (June 1993): 217–33. http://dx.doi.org/10.1017/s0047404500017115.

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ABSTRACTIn Bali, speech play is a cultural focus. Several of the many forms of Balinese speech play are investigated – puns, comebacks and verbal dueling, and pig-latin type play languages. These are examined in the context of everyday, informal speech and conversation, verbal routines and events such as storytelling and bargaining, and the artistic and ritual performances for which Bali is famous, such as shadow puppet plays and dance dramas. Attention is paid to the role of multilingualism in Balinese speech play, especially the intersection of the various languages and language levels in constant use in Bali. The significance of speech play in Balinese culture and society is explored. (Ethnography of speaking, speech play, humor, Bali, Indonesia)

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Hornberger, Nancy H. "Bilingual education success, but policy failure." Language in Society 16, no. 2 (June 1987): 205–26. http://dx.doi.org/10.1017/s0047404500012264.

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ABSTRACTIn 1977, a bilingual education project began in rural areas of Puno, Peru, as a direct result of Peru's 1972 Education Reform. This paper presents results of an ethnographic and sociolinguistic study comparing Quechua language use and maintenance between: 1) a bilingual education school and community, and 2) a nonbilingual education school and community. Classroom observation indicated a significant change in teacher–pupil language use and an improvement in pupil participation in the bilingual education school. Community observation and interviews indicated that community members both valued and used their language. Yet the project has had difficulties expanding or even maintaining its implementation. (Quechua; Puno, Peru; Peru; Andes; bilingual education; classroom language use; ethnography; sociolinguistics; community development; language planning; language maintenance; educational policy)

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Bestley, Russell. "Art attacks and killing jokes: The graphic language of punk humour." Punk & Post Punk 2, no. 3 (February 1, 2014): 231–67. http://dx.doi.org/10.1386/punk.2.3.231_1.

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Tobias, Shani. "Translation as Defamiliarization: Translating Tawada Yōko’s Wordplay." Japanese Language and Literature 54, no. 2 (September 25, 2020): 199–216. http://dx.doi.org/10.5195/jll.2020.119.

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Keijirō Suga coins the term “translational poetics” to describe the essential similarities between literary translation and creative writing, since both perform a linguistic revolution or transformation. Japanese-German writer, Yoko Tawada, exhibits a literary style that exemplifies this transformative and interactive potential of language, deriving from her self-described existence in the “poetic ravine” or border zone between languages and identities. Many of the characters in her works are also travelers and lack a sense of national identity or most-comfortable language. Tawada forces her readers to question their belief in the naturalness of their native language through a defamiliarizing style that often involves wordplay, such as humorously drawing attention to the literal meaning behind commonly-used idioms and proverbs. This paper focusses on an excerpt from Yoko Tawada’s 2002 work Yōgisha no yakōressha, “To Zagreb”, and its English translation by Margaret Mitsutani, considering how the defamiliarizing effects of Tawada’s wordplay can be conveyed to an English audience. While double meanings and puns are inevitably achieved differently in the two languages, various translation strategies may create similar effects, such as making Japanese and English creatively interact, or exploiting the inherent possibilities of wordplay in English.

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Balteiro, Isabel. "When Spanish owns English words." English Today 28, no. 1 (March 2012): 9–14. http://dx.doi.org/10.1017/s0266078411000605.

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The English language and the Internet, both separately and taken together, are nowadays well-acknowledged as powerful forces which influence and affect the lexico-grammatical characteristics of other languages world-wide. In fact, many authors like Crystal (2004) have pointed out the emergence of the so-called Netspeak, that is, the language used in the Net or World Wide Web; as Crystal himself (2004: 19) puts it, ‘a type of language displaying features that are unique to the Internet […] arising out of its character as a medium which is electronic, global and interactive’. This ‘language’, however, may be differently understood: either as an adaptation of the English language proper to internet requirements and purposes, or as a new and rapidly-changing and developing language as a result of a rapid evolution or adaptation to Internet requirements of almost all world languages, for whom English is a trendsetter. If the second and probably most plausible interpretation is adopted, there are three salient features of ‘Netspeak’: (a) the rapid expansion of all its new linguistic developments thanks to the Internet itself, which may lead to the generalization and widespread acceptance of new words, coinages, or meanings, hundreds of times faster than was the case with the printed media. As said above, (b) the visible influence of English, the most prevalent language on the Internet. Consequently, (c) this new language tends to reduce the ‘distance’ between English and other languages as well as the ignorance of the former by speakers of other languages, since the ‘Netspeak’ version of the latter adopts grammatical, syntactic and lexical features of English. Thus, linguistic differences may even disappear when code-switching and/or borrowing occurs, as whole fragments of English appear in other language contexts. As a consequence of the new situation, an ideal context appears for interlanguage or multilingual word formation to thrive: puns, blends, compounds and word creativity in general find in the web the ideal place to gain rapid acceptance world-wide, as a result of fashion, coincidence, or sheer merit of the new linguistic proposals.

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Hoffmann, Dorothea. "Be happy when your stomach is." Pragmatics and Cognition 27, no. 1 (December 31, 2020): 184–208. http://dx.doi.org/10.1075/pc.00014.hof.

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Abstract In this paper I provide a description of the role of body-part terms in expressions of emotion and other semantic extensions in MalakMalak, a non-Pama-Nyungan language of the Daly River area. Body-based expressions denote events, emotions, personality traits, significant places and people and are used to refer to times and number. Particularly central in the language are men ‘stomach’, pundu ‘head’ and tjewurr ‘ear’ associated respectively with basic emotions, states of mind and reason. The figurative extensions of these body parts are discussed systematically, and compared with what is known for other languages of the Daly River region. The article also explores the grammatical make up of body-based emotional collocations, and in particular the role of noun incorporation. In MalakMalak, noun incorporation is a central part of forming predicates with body parts, but uncommon in any other semantic domain of the language and only lexemes denoting basic emotions may also incorporate closed-class adjectives.

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Stelter, Julia. "To pun or not to pun?" Languages in Contrast 11, no. 1 (March 22, 2011): 23–39. http://dx.doi.org/10.1075/lic.11.1.04ste.

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This paper presents a contrastive analysis of puns in English and German based on a bilingual corpus of 2,400 jokes from published collections. The main assumption is that punning in the two languages differs in quantity and quality because of contrasts in morphosyntax, lexis and phonology. More precisely, given that the creation of most types of paronomastic jokes is considered to be facilitated in English, the English data set is expected to show a higher number and a greater variation of puns. However, a few manifestations of punning are assumed to occur particularly often in the German data. Seven hypotheses related to these predictions are tested. The most significant finding is that puns in the English set clearly outnumber puns in the German set.

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Tymbolova, A., and A. Aidarkyzy. "THE LINGUISTIC NATURE OF PUN." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 169–74. http://dx.doi.org/10.51889/2021-1.1728-7804.28.

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The article analyzes various concepts that occur in the paradigm of modern scientific approaches to pun. Currently, there is no clear opinion among researchers regarding the definition of the essence of this stylistic approach. Therefore, in linguistics, scientists interpret such a stylistic approach as a pun from different sides. A pun is also called a sharp word or a language game. It is described in the form of a stylistic turn or miniatures based on the play of words, their sound similarities in different meanings, a concept that gives a comic tone to speech. Despite the ambiguity of the origin of the word pun, modern lexicographic publications recognize it as a word that unwittingly gives ambiguity, is prone to humor, and is similar in sound, caused by homonymy. Indeed, the language game of pun is based on homonyms that sound the same but have different meanings. By its very nature, wordplay is a kind of short-form pun. Pun is one of the ways to enrich the language and word formation, which is an effective means of learning the capabilities of the language. Therefore, it is proved that a pun is one of the ways to create a new image by transforming the formed language material.

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Švelch, Jaroslav, and Tamah Sherman. "“I see your garbage”: Participatory practices and literacy privilege on “Grammar Nazi” Facebook pages in different sociolinguistic contexts." New Media & Society 20, no. 7 (August 3, 2017): 2391–410. http://dx.doi.org/10.1177/1461444817719087.

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In contemporary online culture, Grammar Nazi (GN) is a derogatory term used to label individuals who practice excessive language policing but has also been ironically appropriated by groups of users who engage in evaluation of other people’s grammar for entertainment purposes. In this article, we combine approaches from media studies and sociolinguistics to analyze the adoption of the phenomenon by two GN Facebook pages in two languages: English and Czech. Our mixed-method analysis shows that while both pages can be read as examples of media participation, they also exemplify their users’ “literacy privilege” associated with standard language ideology. However, there are differences in the practices associated with the label, reflecting the specific sociolinguistic contexts. While Czech GNs act as “guardians” of the public space, collecting and displaying localized orthographic errors for collective dissection, the English page is more dedicated to sharing jokes and puns typical of international online culture.

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Lucas, Teresa. "Language Awareness and Comprehension through Puns among ESL Learners." Language Awareness 14, no. 4 (November 15, 2005): 221–38. http://dx.doi.org/10.1080/09658410508668838.

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Lynott, Dermot, Georgios Tagalakis, and Markt Keane. "Conceptual Combination with PUNC." Artificial Intelligence Review 21, no. 3/4 (June 2004): 353–74. http://dx.doi.org/10.1023/b:aire.0000036263.74312.50.

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Lynott, Dermot, Georgios Tagalakis, and Mark Keane. "Conceptual Combination with PUNC." Artificial Intelligence Review 22, no. 3 (June 2004): 247–67. http://dx.doi.org/10.1007/s10462-004-5219-3.

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Lillo, Antonio. "Cut-down puns." English Today 22, no. 1 (January 2006): 36–44. http://dx.doi.org/10.1017/s0266078406001064.

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SLANG IS characterized by its capacity to shock, startle and amuse: often achieved by manipulating existing lexical material in a playful way. Indeed, this play instinct is at the core of language use at large: cf. Nilsen & Nilsen (1978:28–44), Redfern (1984:6), and especially Crystal (1998). It is however in the realm of informal discourse that all types of ludic word-forming – from malapropisms to homonymic puns – thrive most richly. One such way of manipulating existing lexical items is to expand them implicitly into longer forms so that the original does double (and often facetious) duty. This process is at work not only in such acronyms as S.F.A. – impeccably, Scottish Football Association, but facetiously both sweet fuck-all and its euphemistic variant Sweet Fanny Adams – but also in such elaborations as do-re-mi for ‘dough’ (US slang money), Oswald for ‘an ounce’ of a drug (expanding oz, the abbreviation of ‘ounce’), and Georgie (after the late renowned footballer George or Georgie Best), for ‘best’ itself. The following article seeks to explore the curious realm of curtailed puns formed on the same principle as Georgie.

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Zhang, Le. "An Analysis of Puns in The Big Bang Theory Based on Conceptual Blending Theory." Theory and Practice in Language Studies 8, no. 2 (February 1, 2018): 213. http://dx.doi.org/10.17507/tpls.0802.05.

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Pun, as a rhetorical device, is widely employed in both written and oral language. It plays a key role in generating and carrying humorous effects. The former research of Puns is usually concentrated on its definitions, classifications, translation strategies, pragmatic functions and are mainly narrowed down to the scope of rhetoric, semantics and pragmatics. However, few scholars have studied puns from a cognitive perspective. Based on Conceptual Blending Theory, the author collects 100 puns from 40 episodes of the first two seasons of The Big Bang Theory as the sources of research subjects. According to the users, types and functions of puns and data analysis, this study has come to the following conclusions: (1) Among the many characters, Sheldon is the person who uses puns the most, which fully reflect his personality of arrogance and showing off. Meanwhile, contextual puns appeared the most in the sitcom, which indicates the sitcom has a close connection with daily life. (2) The mirror network model, single-scope network model and double-scope network model could be conducted to construct meaning, while the meaning construction of puns cannot be used through simplex network model. (3) Puns have four kinds of functions in The Big Bang Theory. The major functions of pun are humorous, followed by sarcastic, persuasive and aesthetic functions. This article is helpful to readers to understand the meaning of puns correctly, at the same time it can promote the further application of Conceptual Blending Theory.

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Koren, Ana. "An Honest Attempt to Grasp and Possibly Tame the Wild Animal of Punning Taxonomy." ELOPE: English Language Overseas Perspectives and Enquiries 9, no. 2 (May 10, 2012): 23–37. http://dx.doi.org/10.4312/elope.9.2.23-37.

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The paper addresses the issue of the English pun and its successful evasion of taxonomic organization throughout the literature. Many linguists have tried to ground this subject, some going about it with more or less attention to detail, others by dodging the matter altogether. How does one specify and categorize such a phenomenon that spreads its tentacles through so many fields of a language (or even more than one language)? Puns tend to overlap in structure and are therefore almost impossible to divide clearly, by means of providing an untainted example, without interferences of other possible categories. Therefore, some previous approaches to the matter will be presented, followed by an attempt to create a clear categorization of English puns on the basis of various sources and fundamental criteria, recognising a variety of mechanisms that are present in each assigned category. For a better taxonomical comprehension a visual depiction of the tree structure is added. Additionally, unintentional punning and a short circuit in discourse, or the misinterpretation of puns, will be presented and briefly discussed.

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Agrawal, Divya, and Ani Thomas. "Identification and Evaluation of Homographic Puns Using Similarity Methods." International Journal of Applied Evolutionary Computation 12, no. 1 (January 2021): 18–26. http://dx.doi.org/10.4018/ijaec.2021010102.

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Natural language processing is a subfield of linguistics concerned with the interactions between computers and human language, specifically in how to program computers to process and analyze large amounts of text data (natural language data). WSD, word sense disambiguation in natural language processing, is the task of determining the correct annotation of the pun word in given context. This paper describes about the endeavor in using cosine similarity method for detection of a single homographic pun in given context, its location, and the correct annotation with respect to helping words in the context. This paper includes two approaches: BIT_SYS1 and BIT_SYS2. The first contains the words having synset count one as it cannot be pun but it can serve as helping word to the pun, and in the later words with synset count one is eliminated and the concept of helping word is abandoned. Performance of BIT_SYS2 is better than BIT_SYS1 as F1 score of BIT_SYS2(0.8571, 1.0000, 1.0000) is higher than BIT_SYS1(0.8439, 0.8648, 0.8648) in pun detection task, pun location task, and pun annotation task.

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Vezzaro, Cristina, and Katrien Lievois. "Multilingual humour in a polyglot multicultural author: the case of Fouad Laroui." European Journal of Humour Research 7, no. 1 (May 21, 2019): 71. http://dx.doi.org/10.7592/ejhr2019.7.1.vezzaro.

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This paper focuses primarily on the Dutch and Italian translations of Laroui’s works, in which the two central features of his writing, i.e. humour and multilingualism, are strictly related. Laroui is a transcultural author fluent in French, English, Dutch, dialectal Arabic and classical Arabic, and his works reflect the different layers of experiences and languages he has gathered during his life. Humour, on the other hand, is a way for him to present, in an axiological opposition, different viewpoints that mostly cross cultures, nationalities and social hierarchies. Our analysis of Le Jour où Malika ne s’est pas mariée and Une année chez les Français has allowed us to pinpoint the interaction between the two main features of his writing and examine the creation of puns by means of different languages or loanwords. We have then analysed the various strategies adopted by translators and commented their different solutions. Our analysis has allowed us to identify three different ways in which a third language (L3) in the source text - often connected to humour - is rendered in the target text, i.e. (1) taken as it is, (2) distorted or adapted to the target language and (3) kept with an intertextual or paratextual element or replaced altogether.

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Samuels, Tristan. "Undoing the Hottentoting of “the Queen of Punt” A Jamaican Afronography on the Kemetiu Depiction of Ati of Punt." Journal of Black Studies 52, no. 1 (September 21, 2020): 3–23. http://dx.doi.org/10.1177/0021934720945360.

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The physical appearance of Ati, the co-ruling woman of Punt, often referred to as “the Queen of Punt,” as depicted in the pharaoh Hatshepsut’s “Voyage to Punt” has been subject to scholarly attention in the European academy. However, in this scholarship her appearance is disparaged as humorous or pathological which is reminiscent of the racist characterizations of Ssehura of the Khoi-Khoi people as the “Hottentot Venus.” This problem is termed as the “European Hottentot Complex” in this study. Recovering Ati from the European Hottentot Complex, this study provides an Afronography on the Kemetiu (ancient Egyptian) aesthetic perspective by examining the primary sources from a Jamaican cultural perspective through language. Subsequently, this study shows the transgenerational dimension of the Afrikan aesthetic norm that is expressed in the Jamaican notion of tiknis. Ultimately, this study locates the Kemetiu perspective on Ati of Punt within the context of tiknis.

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Hornberger, Nancy Hughes. "Bilingual Education and Quechua Language Maintenance in Highland Puno, Peru." NABE Journal 11, no. 2 (January 1987): 117–40. http://dx.doi.org/10.1080/08855072.1997.10668523.

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Gratzke, Michael. "The Meanie Club – Gendered violence and post-punk narratives of love in Miss Farkku-Suomi by Kauko Röyhkä and Dorfpunks by Rocko Schamoni." Forum for Modern Language Studies 56, no. 2 (September 13, 2019): 135–54. http://dx.doi.org/10.1093/fmls/cqz031.

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Abstract This article examines love, relationships, intimacy and gendered violence in fictionalized punk biographies by authors and post-punk recording artists Kauko Röyhkä and Rocko Schamoni. Punk rock’s DIY aesthetic emphasizes self-fashioning and shock value. Where mainstream impression management, in the sense of Goffman’s micro-sociology, aims at hiding one’s ‘stigma’ in the presentation of the self, punk makes the individual’s ‘stigma’ the main feature of self-fashioning. This attitude is at odds with the ways in which the lover, in particular the Barthesian wretched lover, seeks to appear as attractive to the object of their affection. Miss Farkku-Suomi (‘Miss Denim Finland’, 2003) and Dorfpunks (‘Village Punks’, 2004) tell similar stories of transgressive self-fashioning leading to a re-instatement of hegemonic masculinity and heteronormative love narratives. This article contextualizes these findings regarding male punk writing by comparing them to the autobiography of female punk musician and writer Viv Albertine.

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Harvey, Keith. "Describing camp talk: language/pragmatics/politics." Language and Literature: International Journal of Stylistics 9, no. 3 (August 2000): 240–60. http://dx.doi.org/10.1177/096394700000900303.

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This article uses literary examples from English-language and French-language postwar fiction to elaborate a descriptive framework for representations of camp talk. The framework is based on four underlying semiotic strategies that produce a variety of surface textual effects (stylistic and pragmatic). The strategies are called Paradox, Inversion, Ludicrism and Parody. The effects they generate range from register play, through puns, to innuendo. The article argues that these effects contribute to the development of fictional representations of homosexual/gay/queer characters in postwar fiction and also to the elaboration of a gay critique of dominant cultural norms and practices. As such, the four strategies may also, it is suggested, underpin other (visual, gestural) semiotic regimes.

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Millennia, Nurul Izzah, Yuni Anan, Indah Lestari, Ridwan Arifin, and Ashbar Hidayat. "Punk Community in Criminology Study (Study in Ngaliyan District, Semarang City)." Law Research Review Quarterly 6, no. 1 (February 3, 2020): 37–52. http://dx.doi.org/10.15294/lrrq.v6i1.31232.

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The purpose of this study was to find out what criminal cases were carried out by punk children, then what factors behind them committed the crime, and why they could enter the punk community. Punk kids are always associated with a negative action, look weird, steal, children are slang, immoral, and other negative things. Sometimes punk children choose to live on the road not only a factor in the conditions of economic difficulties, but also because they enjoy environmental conditions on the road, they feel their families do not care, and lack of education. Research methods The research method used in conducting research on the criminal acts of punk children community is to use qualitative research methods with a sociological juridical approach. Qualitative research methods according to Lexy J Moleong are research that intends to understand the phenomenon of what is understood by the subject of research, such as behavior, perceptions, motivations, actions, etc., holistically and in description in the form of words and language in a natural context. Data collection uses quantitative methods. The results of the study concluded that criminal acts or crimes by punk children were carried out due to economic, family, environmental factors, and lack of education.

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Webster, Anthony K. "A Note On Navajo Interlingual Puns." International Journal of American Linguistics 76, no. 2 (April 2010): 289–98. http://dx.doi.org/10.1086/652268.

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Hill, Archibald A. "Puns: Their Reality and Their Uses." International Journal of American Linguistics 51, no. 4 (October 1985): 449–50. http://dx.doi.org/10.1086/465927.

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Lazović, Vesna. "How to P(l)ay with Words? The Use of Puns in Online Bank Advertisements in English and Serbian in Light of Relevance Theory." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 2 (November 30, 2018): 25–44. http://dx.doi.org/10.4312/elope.15.2.25-44.

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Based on a corpus comprising online bank advertisements shown in the UK and Serbia, this paper aims at describing the most frequent ways of creating puns and classifying them based on their predominant structure. The function of puns in advertising is explained from the perspective of Sperber and Wilson’s relevance theory (1995) and the behavioural AIDA model. This paper also tries to reveal whether the formal and semantic aspects of lexical units are exploited in British and Serbian bank offers, and whether there are any language- and culture-specific features in terms of punning.

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Bates, Catherine. "The Point of Puns." Modern Philology 96, no. 4 (May 1999): 421–38. http://dx.doi.org/10.1086/492782.

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Al-Auwal, Teuku Muhammad Ridha. "Reluctance of Acehnese youth to use Acehnese." Studies in English Language and Education 4, no. 1 (March 1, 2017): 1. http://dx.doi.org/10.24815/siele.v4i1.7000.

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This study was aimed at finding the main factors causing Acehnese youth to be reluctant to use their Acehnese language within their groups and in daily life and also at finding out their attitudes towards the Acehnese language. The study adopted a case study approach using semi-structured interviews to obtain data. Ten (10) participants, who were members of the Students Union of Syiah Kuala University, the so-called PEMA Unsyiah, who were considered representative of all the students, took part in this study. The findings revealed that negative attitudes to their Acehnese language have mushroomed amongst Acehnese youth today. Acehnese youth are now accustomed to using Indonesian instead of Acehnese language in their everyday life due to several reasons, namely: Indonesian seems more modern (showing the person to be upper- class), they feel spoken Acehnese sounds ‘harsh’ and ‘weird’, Indonesian is predominant on campus now, Indonesian seems more prestigious and ‘cooler’, Indonesian can be used to neutralize the differences between different Acehnese dialects and languages, Indonesian is more convenient whilst Acehnese is more difficult, Acehnese is mainly used for making jokes, humour and puns, Indonesian is more reasonable and convenient to communicate with the opposite sex, if communication is already running in Indonesian, it is difficult to switch it to Acehnese, and finally, Indonesian is easier and more convenient to use to greet new friends.

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Inagawa, Mayuko. "Creative and Innovative Uses of English in Contemporary Japan." English Today 31, no. 3 (August 12, 2015): 11–16. http://dx.doi.org/10.1017/s026607841500019x.

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Over the last century or so, English has become a global lingua franca. Today, English is the first language of 400 million people and the second language of as many as 1.4 billion (Millward & Hayes, 2012: 342). In addition, it is the language that is predominantly used on the Internet; 80% of homepages on the Web are in English, followed by German (4.5%) and Japanese (3.1%) (Millward & Hayes, 2012: 343). Needless to say, English serves as a medium of communication regardless of the speaker's first language. As English spreads globally, fragments of its lexicon also permeate native languages, enriching their lexicons. This paper is concerned with the use of English and its elements, including English-derived words, in contemporary Japan, especially within the discourse of ‘Manners Posters’, posters which promote good manners in public spaces, and advertising texts. These types of media display creative and innovative uses of English that interact with Japanese at various linguistic levels in the form of wordplay, communicating messages, sometimes even in the form of puns, to achieve particular ends in a given context. We will look at this phenomenon from the ‘glocal’ point of view – i.e., the mechanisms and effects of a fusion between ‘global English’ and local culture that create a localised or nativised taste of the global.

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Martin, Anca-Simina. "There’s a Double Tongue in Cheek: On the Un(Translatability) of Shakespeare’s Bawdy Puns into Romanian." American, British and Canadian Studies 29, no. 1 (December 20, 2017): 169–89. http://dx.doi.org/10.1515/abcsj-2017-0024.

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Abstract The translatability of William Shakespeare’s titillating puns has been a topic of recurrent debate in the field of translation studies, with some scholars arguing that they are untranslatable and others maintaining that such an endeavour implies a divorce from formal equivalence. Romanian translators have not troubled themselves with settling this dispute, focusing instead on recreating them as bawdily and punningly as possible in their first language. At least, this is the conclusion to which George Volceanov has come after analysing a sample of Shakespearean ribald puns and their Romanian equivalents. By drawing parallels between such instances of the Bard’s rhetoric and three of their Romanian translations, my article aims to reinforce the view according to which Romanian translators have succeeded, by and large, in translating Shakespeare’s bawdy puns into their mother tongue.

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Klitgård, Ida. "Taking the pun by the horns." Target. International Journal of Translation Studies 17, no. 1 (December 31, 2005): 71–92. http://dx.doi.org/10.1075/target.17.1.05kli.

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Taking my starting-point in Maria Tymoczko’s claim (1999) that syntagmatic elements in texts present the greatest challenges to translators and readers of translations, I want to argue that literary translators and translation scholars need to pay greater attention to clusters of wordplay rather than distinguishing puns as individual, separate brain-teasers. Hence, more is at stake in the translation of wordplay than just trying to transfer the source text complexities into the target language. Historical, social and other contextual and intertextual factors must also be taken into consideration. My case in point is an examination of the transfer of highly challenging networks of puns in James Joyce’s Ulysses (1922) into Danish and German. The theoretical frame of reference is a discussion of puns in the critical works of Dirk Delabastita, Jonathan Culler, Derek Attridge and Patricia Parker followed by a critique of translator and critic Frank Heibert’s methods of evaluating the German translations.

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PRICE, G. "Review. Puns. Redfern, Walter." French Studies 40, no. 2 (April 1, 1986): 249–56. http://dx.doi.org/10.1093/fs/40.2.249.

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Ferrarese, Marco. "Punk rock as a second language: The value of punk music scene affiliation for non-native English speakers." Journal of Popular Music Education 1, no. 3 (September 1, 2017): 317–30. http://dx.doi.org/10.1386/jpme.1.3.317_1.

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Jeurissen, Maree. "Te Reo Māori as a Subject: The Impact of Language Ideology, Language Practice, and Language Management on Secondary School Students’ Decision Making." Australian Journal of Indigenous Education 43, no. 2 (November 10, 2014): 175–84. http://dx.doi.org/10.1017/jie.2014.14.

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Te reo Māori, the Indigenous language of Aotearoa (New Zealand), remains ‘endangered’ despite concentrated ongoing efforts to reverse declining numbers of speakers. Most of these efforts have focused on te reo Māori immersion education settings as these were considered the most effective means to ensure the survival of the language (May & Hill, 2008). More recently, the home has been identified as an important setting for language regeneration (Te Puni Kokiri, 2011). Despite the fact that the vast majority of secondary school-aged students (both Māori and non-Māori) attend English-medium schools, these settings are seldom considered as having potential to increase numbers of te reo Māori speakers. This article reports findings from a case study of one English-medium secondary school where factors surrounding the uptake of te reo Māori as a subject were investigated. Using Spolsky and Shohamy's (2000) language policy framework as an explanatory lens, it was revealed that even when students’ language ideologies orient them towards learning te reo Māori, language management and practice decisions can discourage rather than encourage this choice.

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Kamat, Rujvi, Manisha Ghate, Tamar H. Gollan, Rachel Meyer, Florin Vaida, Robert K. Heaton, Scott Letendre, et al. "Effects of Marathi-Hindi Bilingualism on Neuropsychological Performance." Journal of the International Neuropsychological Society 18, no. 2 (December 30, 2011): 305–13. http://dx.doi.org/10.1017/s1355617711001731.

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AbstractThe present study aimed to examine if bilingualism affects executive functions and verbal fluency in Marathi and Hindi, two major languages in India, with a considerable cognate (e.g., activity is actividad in Spanish) overlap. A total of 174 native Marathi speakers from Pune, India, with varying levels of Hindi proficiency were administered tests of executive functioning and verbal performance in Marathi. A bilingualism index was generated using self-reported Hindi and Marathi proficiency. After controlling for demographic variables, the association between bilingualism and cognitive performance was examined. Degree of bilingualism predicted better performance on the switching (Color Trails-2) and inhibition (Stroop Color-Word) components of executive functioning; but not for the abstraction component (Halstead Category Test). In the verbal domain, bilingualism was more closely associated with noun generation (where the languages share many cognates) than verb generation (which are more disparate across these languages), as predicted. However, contrary to our hypothesis that the bilingualism “disadvantage” would be attenuated on noun generation, bilingualism was associated with an advantage on these measures. These findings suggest distinct patterns of bilingualism effects on cognition for this previously unexamined language pair, and that the rate of cognates may modulate the association between bilingualism and verbal performance on neuropsychological tests. (JINS, 2012, 18, 305–313)

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van Mulken, Margot, Renske van Enschot-van Dijk, and Hans Hoeken. "Puns, relevance and appreciation in advertisements." Journal of Pragmatics 37, no. 5 (May 2005): 707–21. http://dx.doi.org/10.1016/j.pragma.2004.09.008.

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Liao, Qiaoyun, Quan Hu, Mengting Gao, Lijun Meng, Zhipeng Tan, and Jie Zheng. "Affordance Derivation Facilitates the Semantic Access in Comprehending Chinese Puns." Chinese Journal of Applied Linguistics 44, no. 1 (March 1, 2021): 90–110. http://dx.doi.org/10.1515/cjal-2021-0006.

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Abstract The study employed ERP technique to explore whether the affordance derivation can facilitate semantic access in comprehending Chinese puns. ERPs were measured while participants read the pun sentences containing dual meanings and made a judgement about the following probes and statements. The results showed that highly related probes in pun sentences elicited a smaller N400 and a larger LPC than moderately related probes in pun sentences. As for the comparison of sentence types, both highly and moderately related probes in pun sentences produce a smaller N400 and a larger LPC than those in control sentences. These results indicate that in the early stage of pun comprehension, semantic access to the literal meaning is easier through affordance derivation because of meaning dominance and frequency. In the late stage of integration, however, the intended meaning of puns can be facilitated and accessed through its privilege of affordance derivation activated by pun words in a pun context because of the priming context and its underlying intention. The study has discovered empirically that it is the affordance derivation, which connects the context and the dual meanings indicated by the pun words, that contributes to the different time courses and dynamic underlying neurocognitive mechanisms in comprehending puns in Chinese.

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Delabastita, Dirk. "Focus on the Pun." Target. International Journal of Translation Studies 6, no. 2 (January 1, 1994): 223–43. http://dx.doi.org/10.1075/target.6.2.07del.

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Ackerley, Chris. "FUN DE PARTIE: Puns and Paradigms in." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 315–25. http://dx.doi.org/10.1163/18757405-019001025.

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Beckett's bilingual texts and self-translations raise awkward questions as to how two 'different' works can be equally parts of a greater whole or complementary aspects of the 'same' text. In this paper I consider how puns, allusions and other linguistic paradigms constitute points of resistance, particularly when sentiments originally written in one language seek expression in another. By describing the 'machinery' of the pun in terms of 'sameness' and 'difference,' I seek to identify its role in the dialectic of 'equivalence' and 'mis-matching' implicit in the binary relationship of and .

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Alosevičienė, Eglė. "Peculiarities of Multilingual Films in the Context of Audio Visual Translation." Respectus Philologicus, no. 37(42) (April 20, 2020): 147–59. http://dx.doi.org/10.15388/respectus.2020.37.42.46.

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The present article investigates the most topical issues of the genre and translation of the multilingual film (also referred to as „polyglot film“). The definition of this type of film is based on the use of several different languages and their ‘collision’ in a feature film. In this sense, the multilingual film is a formal genre similar to, e.g., the musical, where, instead of a combination of movement and singing, a combination of several languages prevails. It is also denoted by reiterating combinations of actions and character constellations, specific patterns (odyssey, integraa The present article investigates the most topical issues of the genre and translation of the multilingual film (also referred to as “polyglot film”). The definition of this type of film is based on the use of several different languages and their “collision” in a feature film. In this sense, the multilingual film is a formal genre similar to, e.g., the musical where instead of a combination of movement and singing a combination of several languages prevails. It is also denoted by reiterating combinations of actions and character constellations, specific patterns (odyssey, integration, translation), aptitude to puns, search for internationally clear vocabulary. On the other hand, a question may be raised whether the creator of a film deliberately selects the tradition of multilingualism, whether a multilingual film is consciously intended. In this case, the concept of the genre is heavily debatable. The multilingual film was developed in the 1930s, after the completion of the epoch of silent film. Since the 1990s, the multilingual film has been employed to draw attention to the issues of migration and diasporas. In the context of audio-visual translation, the multilingual film is prominently challenging. When dubbing, the film is adapted to the language and culture of translation while eliminating multilingualism. When subtitling, multilingualism is preserved by keeping the original soundtrack, and different languages may be highlighted by employing subtitles of different types (differentiating by font, colour, etc.). When employing voice-over, synchrony and isochrony of various types are essential. tion, translation), aptitude to puns, search for internationally clear vocabulary. On the other hand, a question may be raised whether the creator of a film deliberately selects the tradition of multilingualism, whether a multilingual film is consciously intended. In this case, the concept of the genre is heavily debatable. Multilingual film was developed in the 1930s, after the completion of the epoch of silent film. Since the 1990s, multilingual film has been employed to draw attention to the issues of migration and diasporas. In the context of audio visual translation, multilingual film is prominently challenging. When dubbing, the film is adapted to the language and culture of translation while eliminating multilingualism. When subtitling, multilingualism is preserved by keeping the original soundtrack, and different languages may be highlighted by employing subtitles of different types (differentiating by font, colour, etc.). When employing voice-over, synchrony and isochrony of various types are essential.

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Díaz-Pérez, F. Javier. "Language representation in the Spanish, Italian and French versions of Xiaolu Guo’s A Concise Chinese-English Dictionary for Lovers: On the translation of ungrammatical idiolect and language-based jokes." Across Languages and Cultures 22, no. 1 (May 27, 2021): 82–99. http://dx.doi.org/10.1556/084.2021.00005.

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AbstractXiaolu Guo’s A Concise Chinese-English Dictionary for Lovers is a novel in which language has a special protagonism. The main character, Z, is a Chinese girl who goes to London to improve her basic English. Her idiolect is thus characterised by a great quantity of linguistic errors of different types. This lack of proficiency in English makes cross-cultural communication really difficult. Therefore, language becomes in this novel not only a characterisation tool, but also an essential aspect of the plot. Moreover, it is also a paramount source of humour, since there is plenty of jokes based, for instance, on puns, many of which derive from Z’s lack of linguistic competence. The main objective of this paper is to analyse language representation in the source text as well as in the Spanish, Italian and French versions of the novel from the perspective of relevance theory. Out of the three versions, the Spanish one reflects the highest interpretive resemblance in this regard, whereas the Italian one occupies the opposite pole of the scale. With regard to the translation of wordplay, the pragmatic scenario is normally maintained in the TT, although there are statistically significant differences between the three versions and across different types of puns.

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Embleton, Sheila. "Names and Their Substitutes." Target. International Journal of Translation Studies 3, no. 2 (January 1, 1991): 175–206. http://dx.doi.org/10.1075/target.3.2.04emb.

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Abstract The Astérix comic-book series, originally in French, is well-known and widely translated. Each book relates an adventurous episode in which the principal character is Astérix, a small, witty warrior from a fictional Gaulish village, the only village to have successfully resisted the Roman occupation. The series relies on many humorous techniques, but word-play and puns form an integral part. Much humour derives from the names used, combining various comic effects, particularly puns and double entendres. Thus the translator faces not only the usual problems in translating literary names, but also the problem of retaining these comic effects. This paper examines these problems and their solutions, based on a complete collection of name data from all 30 books in 4 languages (French original; English, German, Finnish translations), with numerous references to translations into other languages.

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Panchenko, Olena. "WORDPLAY IN DICKENS’S NOVELS AND WAYS OF THEIR TRANSLATION." English and American Studies 1, no. 17 (December 22, 2020): 92–96. http://dx.doi.org/10.15421/382016.

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The article deals with the general problem of wordplay and its translation. The relevance of the problem is accounted for by the powerful role of wordplay or puns in creating in special artistic atmosphere of any belle-letter sample and difficulties in its translating. The novels by Ch. Dickens have drawn attention of hundreds, if not thousands, researchers. A greater part of them pays attention to the literary side; the papers dealing with his language are quite versatile as well. But we have not yet met the comprehensive description and classification of Dickens’s puns. The aim of our paper is to classify cases of wordplay in the novels by Ch. Dickens and some possible ways of their translation. To achieve this aim we solved the following tasks: a) to choose a reliable definition of wordplay, or pun; b) to create a set of examples taken from Dickens’ novels and their translation into Russian and Ukrainian which are available at the site Gutenberg Project (https://www.gutenberg.org); c) to classify the puns; d) to analyze ways of their translation. The translation of puns is a really great problem and there exist different ways of solving it. Having analyzed Dickens’ puns and wordplay we can summarize that these ones can be subdivided into personal and common; alphabetical, morphemic and word; homonymic, patronymic and polysemantic. The correlation between puns in the original and translation can be described as their direct relation (pun – pun), asymmetric relation (pun – no pun; no pun – pun) and extralinguistic additions. The prospects of our investigation are connected with the study of Dickens’ art of creating individual manner of speech.

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Manurung, Ruli, Graeme Ritchie, Helen Pain, Annalu Waller, Dave O'Mara, and Rolf Black. "THE CONSTRUCTION OF A PUN GENERATOR FOR LANGUAGE SKILLS DEVELOPMENT." Applied Artificial Intelligence 22, no. 9 (September 5, 2008): 841–69. http://dx.doi.org/10.1080/08839510802295962.

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Bestley, Russ. "The Top of the Poppers sing and play punk." Punk & Post Punk 8, no. 3 (October 1, 2019): 399–421. http://dx.doi.org/10.1386/punk_00006_1.

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By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk and the concomitant shift towards ‘new-wave’ styles led to a degree of UK chart success for a number of groups. The inclusion of punk and new-wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the long-standing budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new-wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologized ‘outsider status’. From their saccharine cover images, harking back to the pin-ups of the 1950s, to the awkwardly dated language of sleeve notes and the notion that the diversity of contemporary ‘pop’ is not tarnished by subcultural differences, these albums reflect a fascinating period in punk’s acceptance, maturity and, perhaps, reluctant commodification.

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Smith, Richard H., Charles E. Hoogland, and Edward G. Brown. "Once a pun a time: Exploring factors associated with perceptions of humorous punning." HUMOR 33, no. 1 (February 25, 2020): 7–28. http://dx.doi.org/10.1515/humor-2018-0058.

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AbstractUsing participants’ reactions to puns (words or phrases with two or more possible meanings) embedded in hypothetical scenarios, we investigated how perceptions of punning are influenced by characteristics of both the social situation and the punster. Consistent with the reversal theory of humor, Study 1 (N=185) showed that puns are considered funnier and more appropriate in playful than serious situations and less appropriate when they interrupt conversation than when they complete a conversation sequence without causing an interruption. Consistent with age-based developmental expectations of punsters, Study 2 (N=333) indicated that obvious puns told by children are perceived more favorably than those told by adults of varying ages and levels of expertise in the subject area of the pun. Future research might benefit from using more naturalistic settings and examining the extent to which various contemporary humor frameworks (e.g. benign violations theory) apply more specifically to punning in context.

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Journal articles on the topic 'Punu language'

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