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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.

15. yy'ın ikinci yarısı ve 16. yy'ın ilk yarısı, Anadolu Türkçesinin gelişim aşamasında bir ara dönem niteliğindedir. Bu dönemin önemli temsilcileri arasında yer alan Sinan Paşa, küçük yaşlardan itibaren bilim ve sanata merak salmış, hayatını araştırarak, öğrenerek ve öğreterek geçirmiş bir âlimdir. İâde-i itibarından sonra kaleme aldığı; Tazarru'-nâme, Ma'ârif-nâme ve Tezkiretü'l-Evliyâ adlı Türkçe eserleriyle nesirdeki ustalığını sergilemiş ve kendine has üslûbu ile dikkat çekmiş bir sanatkârdır. Sinan Paşa üslûbunun önemli bir özelliği olan ve âhenk unsurları içerisinde değerlendirilen ses tekrarına dayalı sanatlar, Tazarru'-nâme'nin büyük bir bölümünü kapsamaktadır. Ses tekrarına dayalı sanatlar; kelimelerin manasına bakılmaksızın, sadece bu kelimeleri meydana getiren seslerin dikkate alındığı sanatlardır. Bu sanatların kullanımında temel amaç ritmik ses akışını ön planda tutarak eserlerde müzikaliteye dayanan âhenkli bir yapı vücûda getirmektir. Dolayısıyla doğrudan kulağa hitap eden bu sanatlar, estetik olarak kullanılmanın ve âhengi sağlamanın yanı sıra eserin beğenilmesinde de önemli bir rol oynar. Bu nedenle çalışmamızda; Mertol Tulum tarafından yayımlanan Tazarru'-nâme metninden yararlanılarak, eserde yer alan belli başlı ses tekrarına dayalı sanatlar belirlenmiş (seci, cinas, iştikak, asonans-aliterasyon) tasnif edilmiş, kullanım biçimleri ve farklılıkları incelenmiştir. The second half of the 15th century and the first half of the 16th century are an intermediate period in the development of Anatolian Turkish. Sinan Pasha, who was among the important representatives of this period, was a scholar who was interested in science and art from an early age, and spent his life researching, learning and teaching. He wrote after his return-i reputation; He is an artist who has demonstrated his mastery in prose with his Turkish works Tazarru'-nâme, Ma'ârif-nâme and Tezkiretü'l-Evliyâ, and has attracted attention with his unique style. The arts based on sound repetition, which is an important feature of Sinan Pasha's style and evaluated within the elements of harmony, covers a large part of Tazarru'- nâme. Arts based on sound repetition; Regardless of the meaning of the words, only the sounds that make up these words are considered. The main purpose in the use of these arts is to bring a harmonious structure based on musicality into the body by keeping the rhythmic sound flow in the foreground. Therefore, it plays an important role in the appreciation of the work, as well as the aesthetic use of these arts, which directly appeal to the ear, and provide harmony. Therefore, in our study; By making use of the Tazarru'-nâme text published by Mertol Tulum, the arts based on certain phonetic repetitions in the work were determined (seci, cinas, istikak, assonans-alliteration) were classified, their usage patterns and differences were examined.

Although it might appear contradictory to investigate noncanonical phraseological combinations in corpora, corpus linguistics research has revealed that they exceed canonical forms in number (Philip 2008). This paper intends to discuss the idea of fixedness by analyzing variant forms of idioms, and if they qualify as wordplay. The Web, our data source, is employed for collecting such noncanonical occurrences in both English and Portuguese using keywords on the Google Search Engine. Our discussion mainly draws on studies relating to fixed phrases (Kjellmer 1991; Granger & Paquot 2008; Tagnin 2013); phraseological skeletons (Renouf & Sinclair 1991; Philip 2008), and idiom transformations (Veisbergs 1997; Barta 2005). Due attention is also given to search queries of nonstandard forms of fixed expressions in corpora (Philip 2008), and the translation of idiom-based wordplay (Veisbergs 1997; Brezolin 2020)

Watch Out, Pun! Śleṣa in Brajbhasha Courtly Literature The paper examines several instances of the use of śleṣa in a 17th-century Braj poem commissioned by Shivaji Bhosle and composed in the Deccan. The subject of analysis is viewed from two perspectives: of the text’s genre (rītigranth) and the equivalence between the objects of comparison. To this end, the study brings into focus, on one hand, the issue of striking explicitness vis-a-vis deliberate unveiling of double meaning by the poet, and on the other, the relations between selected literary figures and the nature of śleṣa embedded within given examples. Besides showcasing an aspect of the poet’s virtuosity, the paper seeks to provide a template for wider discussion on the specifically Indian phenomenon of śleṣa in Braj courtly literary culture.

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.

This paper explores the puns in Lewis Carroll’s Alice in Wonderland, with a special focus on their types, as well as their Macedonian equivalents. Its aim is to discover on which linguistic techniques the puns are based on, and to present the varieties of their Macedonian translations – where they differ, where they are similar, which techniques are used by the translators, and whether the translations are ‘successful’. This is achieved through a comparative analysis of the original puns and their six translation varieties in Macedonian. Besides comparing the original with its translation varieties, the author provides a comparison between the translation varieties as well, highlighting the strategies used by the translators and comparing the variations based on their preferred translation strategy. The findings reveal that the focus of the majority of the translators is mainly on the recreation of the puns by using creative linguistic solutions. Otherwise, the result is an incoherent piece of text, which neither the readers nor the translators themselves can comprehend.

The relevance of our research is based on the growing popularity of the fantasy comedy genre. Since modern readers are more and more interested in foreign literature, translators are faced with the task of creating an adequate translation that will accurately reproduce the personal style and all the elements of a separate universe created by an author, as well as convey the meaning that the author puts in his works to his readers. Since the main feature of Terry Pratchett’s personal style is the use of pun and tell-tale names in his works, thus arises the question of proper translation of this particular vocabulary. This work is devoted to the study of the culture of English proper names, mostly pun and tell-tale names; and analysis of translation choices for such vocabulary in the works of Russian translators. The dominance of the semantic translation method is determined by extensive use of occasionalism in Pratchett’s works. As for transcription/transliteration or their mixing — the translator uses them if he doesn’t see any meaning behind a particular character name. In some cases, it is possible to talk about the creative component of the translated text, about bringing a translator’s personality to the novel. This individuality does not distort Pratchett’s personal style and his original solutions, which appear in translation. The purpose of this work is to analyze the linguistic and stylistic specificsof proper names translation techniques in a series of fantasy comedy «Discoworld» from English into Russian. The paper presents an analysis of the specifics of the interpretation of pun names taking into account difficulties and cases where the translation does not match the original. The results of the study will help to avoid possible difficulties in the future and find new ways to solve them. This will help to optimize the quality oftranslation, which in turn will lead to an improvement of the quality of the final product.

The Holiness Code in Leviticus contains a well-known list of illicit sexual practices. Two infamous Levitical verses (18.22 and 20.13) have been widely interpreted as forbidding and calling for punishment for carnal relations between two adult males and have even influenced modern legislation regarding homosexuality and marriage equality in many countries. It is the suggestion of the author that the verses do not in fact refer to homosexual acts at all, but instead should be interpreted as forbidding and calling for punishment of the act of two males sharing simultaneously the bed of a single woman, which in the context of the Holiness Code and its other statutes aims at prohibiting the creation of offspring whose patronage is unclear and form is abominable, which in turn would lead to the ritual pollution of the Promised Land.

The main task of the translator is to remember all the difficulties of translation and try to express the author's thought as accurately as possible, while not forgetting to convey various author's artistic techniques. One of the types of language game of the analyzed work is a pun. The analysis of the translations revealed a number of techniques for conveying puns of a fantasy work, such as: when conveying a pun, vocabulary should not denote concepts that are outside the reality of the child, the stylistic coloring of the pun should correspond to the peculiarities of the language of the children's work. A pun should naturally be included in the entire system of stylistic and figurative means of translation, obey the main goal of the entire work and not distort the ideological and artistic character of the original, it is created only in a typical situation for it.

The article reveals specific features of the translation from Spanish to Bulgarian of some comic word games/ puns in the American television series Silvana sin lana, especially those based on polysemy and paronymy, neologisms and certain proper names. Based on the requirements presented in the audio-visual translation, several translation proposals are analysed, including different options for translation compensations aimed at generating the same comic impact on the Bulgarian public as the original version exerts on Spanish-speaking viewers. The results show that this objective, however complicated it may seem, in many cases is achievable, although with certain inevitable losses. Nevertheless, on other occasions the word games have practically disappeared from the target text both for purely linguistic reasons, and because of the limitations of audio-visual translation caused by the interpenetration of several codes of different kinds.

This article reviews and analyzes pun in the Chinese advertisement texts. Pun is a literary technique that in the same contexts uses different meanings of similarly sounding single word, different words or phrases. In the Chinese advertisements pun is used as an instrument of linguistic manipulation for imparting a humorous effect or instigating targeted audience to utilize their imagination for decoding a message. Usage of pun in advertising attaches a meaning to an expression, which seems hard to understand, but in reality, it simply attracts consumer’s attention and incites them to buy advertised goods based on the background knowledge. In accordance with the selectmen material, communicative-pragmatic method is recognized as most relevant allowing to consider linguistic peculiarities of the text, as well as extralinguistic circumstances and factors. Pun plays an important role in creating advertisement texts. Bright and positive texts that contain pun are capable of expressing a deeper meaning and convey larger volume of information in comparison with the traditional advertising. Such advertising helps to represent a company and characteristics of a product in a simple and understandable format and ensure product marketing.

‘I did an interview for this book while sitting on a toilet’, might well be the greatest opening to a public administration book that I have ever seen. In this ground-breaking (excuse the pun) book...

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Статья посвящена проблеме передачи игры слов при переводе на русский язык анимационного сериала «Конь БоДжек». Осуществлено сопоставление четырех русских вариантов перевода с англоязычным оригиналом; в каждом случае выделены стимулятор и результанта игры слов. Проведен контекстуальный анализ, позволяющий объяснить переводческие решения. Four Russian variants of the translation are compared with the English original; for each case, there are distinguished the stimulator and resultant of the word play. A contextual analysis was carried out to explain translator’s decisions.

Благодарности: автор выражает благодарность научному руководителю, кандидату филологических наук, доценту Бортникову Владиславу Игоревичу за помощь в подготовке доклада и тезисов. Acknowledgments: The author expresses her gratitude to Bortnikov Vladislav Igorevich — Candidate of Philological Sciences, Associate Professor, for his help in preparing the report and theses. Доклад посвящен проблеме сохранения каламбуров в четырех русскоязычных вариантах анимационного сериала «Конь БоДжек» (2014). В ходе контекстно-семантического анализа каждого случая игры слов выделены стимуляторы и результанты каламбуров, осуществлена попытка объяснить переводческие решения. The report studies the problem of saving puns in four Russian-language versions of the animated series “BoJack Horseman” (2014). The contextual and semantic analysis of each case of word play made it possible to identify stimulants and resultants of the puns. The author makes an attempt to explain translators’ solutions.

Tecnîsât-ı Süleymân u Belkîs-nâme, written by the 15th century poet and prose writer Firdevsî-i Tavîl; is a very voluminous masnavi, consisting of approximately 20.000 couplets, in which various tales of Hz. Solomon and the life story of Belkıs, the queen of Sheba, are handled. Although it is mentioned by Firdevsî in her other works and this information is repeated in various sources, this work has not been reached until recently. Belkîs-nâme was unearthed by a team including us, and studies are still continuing to present the work as a full text to the world of science. Currently, we have two copies of the work, Uppsala and Gotha. The fact that it is written from beginning to end with the art of pun and that it deals with a subject that has not been sufficiently emphasized in our literature, such as the life of Sheba's queen Belkıs, are the features that increase the value of the work. In this study; First of all, the work was tried to be introduced on the basis of its existing copies, then a detailed and new classification was tried to be made by considering the basic sources related to the subject, and finally, all the sub-items of this classification were exemplified with appropriate couplets selected from Belkîs-name., 15. yüzyıl şair ve nasiri Firdevsî-i Tavîl tarafından kaleme alınan Tecnîsât-ı Süleymân u Belkîs-nâme; Hz. Süleyman’ın muhtelif kıssalarının ve Sebe melikesi Belkıs’ın hayat hikâyesinin işlendiği, yaklaşık 20.000 beyitten müteşekkil, oldukça hacimli bir mesnevidir. Bizzat Firdevsî tarafından diğer eserlerinde bahsedilmesine ve çeşitli kaynaklarda bu bilgilerin tekrar edilmesine rağmen, yakın zamana kadar bu esere ulaşılamamıştır. Belkîs-nâme, bizim de dâhil olduğumuz bir ekip tarafından gün yüzüne çıkarılmış olup eserin ilim âlemine tam metin olarak sunulabilmesine yönelik çalışmalar hâlen devam etmektedir. Eserin şu anda elimizde, Uppsala ve Gotha nüshaları olmak üzere iki nüshası mevcuttur. Baştan sona cinas sanatı ile kaleme alınmış olması ve özellikle Sebe melikesi Belkıs’ın hayatı gibi, edebiyatımızda daha önce yeteri kadar üzerinde durulmamış bir konuyu detaylı bir şekilde işlemesi, eserin kıymetini artıran özelliklerdir. Bu makalede; öncelikle, mevcut nüshalarından yola çıkılarak eser tanıtılmaya çalışılmış, daha sonra, konuyla ilgili temel kaynaklar da göz önünde bulundurularak cinas sanatına dair detaylı ve yeni bir tasnif yapılmaya çalışılmış, son olarak da bu tasnifin bütün alt maddeleri Belkîs-nâme’den seçilen uygun beyitlerle örneklendirilmiştir.

Subtitling humor is one of the most arduous tasks subtitlers face as it involves technical, linguistic, textual and cultural factors. This article aims at investigating the issue of manipulating humor in Arabic subtitles of American series and movies. It examines the strategies subtitlers use in translating humor and analyzes the solutions they opt for. It focuses on two fields of study: jokes and puns. The study is based on the work of Diaz Cintas (2012) and (2007) on ideological manipulation in Audiovisual Translation (AVT). The theory stipulates that translators have turned into intercultural agents and mediators shaping the ideological discourse of their culture Article visualizations

The article provides some substantial new evidence on Carneades by re-editing several lines in Philodemus’ Index Academicorum (PHerc. 1021, col. 22. 1–17) which up until now has not yielded any reasonable information. New imaging techniques (MSI and HSI) as well as a new editorial system have been applied to the papyrus for the first time. Among other things, we learn from the new readings the reasons for Carneades’ avoidance of writing. Furthermore, an anecdotal episode is reported that features an epistemological pun involving the Stoic Diogenes of Babylon. Later on in the text Carneades’ participation in the embassy to Rome (155 BCE) was dealt with. The philosophical and biographical implications of the new readings and related questions are discussed.

Three lovely Sisters working were(As they were closely set)Of soft and dainty Maiden-haire,A curious Armelet.I smiling, ask’d them what they did?(Faire Destinies all three)Who told me, they had dra...

This commentary on Pun Ngai’s forum statement focuses on several questions that her insights provoke. These questions relate to the role played by media in the mobilizations, regional differences amongst participants, the relationship between anti-foreign and anti-capitalist sentiment, and also the sociological background of student radicals.

Homographic pun has been developed into a new research area as an important branch of humor research, being a common source of humor in jokes and other comedic works. Pun word is the key to better understand homographic pun. However, in order to construct automatic model for locating the pun from homographic pun, it remains difficult challenges because of the ambiguity and confusion. In this paper, we firstly introduce several multi-dimensional semantic relationships of homographic pun based on the relevant theory and then employ a novel effective un-supervised semantic similarity match approach MSRLP that depending on the multi-dimensional semantic relationships to locate the pun in a homographic pun. Performance evaluation demonstrates that our presented approach significantly achieves the state-of-the-art performance on the public SemEval2017 Task7 dataset, outperforming a number of strong baselines by at least 3.67% in F1-score measure.

A pun is always humorous and has strong interactive value in people's daily communication. It creates a humorous effect in a certain context, in which a word implies two or more meanings by using polysemy (homographic pun) or phonological similarity to another word (heterographic pun). Pun location is a task to identify the pun word in a given text, which is of great significance to understand humorous texts. Existing methods generally adopt single long sequence structure but cannot well capture the rich semantics of pun words in sentences. We present an approach that considers long-distance and short-distance semantic relations between words simultaneously. For the long-distance semantic relation, we introduce multi-level embeddings to represent the most relevant aspects of the data. For the short-distance semantic relation, we exploit the complex-valued model with a self-adaptive selection mechanism based on multi-scale of input information. Meanwhile, we propose a new classification task to distinguish the homographic pun and heterographic pun. We introduce it as an auxiliary to jointly train the original pun location task, which first learns the location of different types of puns together. Experiment results show that the latest state-of-the-art results can be achieved through our model.

This article analyzes linguistic means implemented in actualization of the comic feature in the schwanks of Russian Germans. Schwank of Russian Germans is a kind of comic genre in German literature. The main way to actualize the comic feature in the texts of this genre is a language game. The article studies the correlation of such concepts as «language game», «wordplay», «pun». The language game is a broader concept that includes all the variety of ways to create something comic. Wordplay and pun are considered to be synonymous concepts that are a kind of language game. Means of different levels of the language can be involved in the realization of a language game. Lexical-semantic means, puns in particular, play a particular role in the texts of Russian Germans’ schwanks. Graphic and phonetic means are rarely used independently to create a language game, however, they can act as additional means along with lexical-semantic, syntactic and morphological ones.

Prose texts are traditionally divided into narrative texts and informative-explanatory (non-fictional) texts. However, there are “frontier texts”, which share characteristics of the first and of the second type – their prototype being the Essays of Michel de Montaigne. To this hybrid category belongs the essay La toison de Madeleine (2000) by art critic Daniel Arasse, devoted to the fundamental attribute of Mary Magdalene in Western iconography, i.e. her long hair. Written in the form of a monologue, the essay features, alongside the usual linguistic structures which recur in explanatory texts, words and expressions of oral French (colloquial terms and phrases, interjections, puns). The study of its two existing Italian translations (Artemide, 2005; Einaudi, 2013) reveals how difficult a decision it is for translators – but also for editors – to reproduce, in the translation of an “art criticism essay” (a textual typology associated with an elevated style), a use of the language that deliberately breaks the rules of the genre: even the most successful translation (Luca Bianchi for Einaudi) fails to be fully consistent in its lexical and syntactic choices.