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This study investigates the intricate realm of puns, a linguistic feature characterized by its multifaceted meanings and significant role in enriching religious texts. Puns present a unique challenge in translation, especially within the context of the Holy Qur'an. To examine these challenges, this study employed the Newmark's approach, selecting ten purposive puns from the Holy Qur'an for analysis. Each selected pun was first translated by AI, then subjected to two rounds of editing by professional translators to enhance linguistic precision and stylistic elegance. A qualitative analysis was conducted to assess the extent to which the AI-generated and post-editing translations captured the intended meanings of the puns. The findings reveal that while AI translations provide a competent foundational interpretation of the text, they often lack the depth required to fully encapsulate the puns' dual or layered meanings. Human post-editing significantly refines these translations, enhancing linguistic accuracy and embracing the puns' aesthetic and theological richness. However, the accuracy in conveying the puns' intended meanings varied, with not all post-edited translations fully capturing the intricate balance of literal and metaphorical interpretations. The study underscores the vital synergy between AI and human expertise in achieving translations that balance accuracy with aesthetic appeal. [ABSTRACT FROM AUTHOR]

An analysis of pests harmfulness on emerging and young sugar beet was carried out. During the 20th century, pest damage of 18 taxa was registered in the Czech Republic with permanent damage caused by pests from four taxa: Aclypea spp., Elateridae, Atomaria linearis Stephens, 1830 and Pegomya spp. Harmfulness in crea sed in three taxa: Myzus persicae Sulzer, 1776, Aphis fabae Sco poli, 1763, Chaetocnema concinna (Marsham, 1802), and decrea sed in Noctuinae, Bothynoderes punctiventris (Germar, 1824) and Otiorhynchus ligustici (L., 1758). Pests from seven taxa were spora dically damaging: Collembola, Silpha obscura L., 1758, Cassida spp., Galeruca tanaceti (L., 1758), Tanymecus palliatus (F., 1787), Opa trum sabulosum (L., 1761), Bibio spp. and Tipula spp. After 2000, nine pest taxa were found to be damaging to emerging and young sugar beet, five of which were sporadic or irregular pests: Noc tuinae, Elateridae, Atomaria linearis, Cassida spp., Bothynoderes pun cti ventris and Tanymecus palliatus. Aphidae, Chaetocnema con cinna and Pegomya spp. can still be considered regular pests. [ABSTRACT FROM AUTHOR]

Extended just intonation confronts us with musical problems arising from the sheer array and variety of pitch relationships that can be written, played, and heard. Through an analysis of Ben Johnston's Seventh String Quartet as a case study, this essay addresses the diversity of these pitch relationships by suggesting a three-way categorization of just intonation ratios: primary intervals (simple integer ratios), ectopic intervals (ratios with no primary interval analogue), and intermediary intervals (ratios with a close primary interval analogue). I suggest a listening strategy based on the categorization resulting in two analytical models. A voltaic analysis recognizes changes in the pitch domain indicated by the differences between primary and intermediary intervals. A pitch pun analysis emphasizes the small magnitude of the differences between primary and intermediary intervals and the slow drift away from a secure sense of pitch place. Finally, I combine these views to compare the two analytical strategies as applied to the last measures of Johnston's Seventh String Quartet and speculate on the implications of these strategies for hearing and conceiving of pitch intervals. [ABSTRACT FROM AUTHOR]

The rendering of verbal and verbal-visual puns in dubbing is a tough task that requires taking into account linguistic challenges, multimodal cohesion and dubbing synchronies. Thus, the aim of this research is to determine how verbal and verbal-visual puns are rendered from English into Lithuanian in the animated film Mr. Peabody & Sherman (2014). There have been collected 27 cases of puns including 14 verbal (52%) and 13 verbal-visual (48%) puns. The categorisation of verbal and verbal-visual puns according to the type revealed that verbal puns contained examples of homonymy, homophony and paronymy, but paronymic verbal puns prevailed the most. Almost all cases of verbal-visual puns were homonymic because of their intersemiotic construction which is usually based on polysemous words. All cases of verbal and verbal-visual puns have been rendered by employing 3 translation techniques: PUN→PUN, PUN→NON-PUN, PUN→PUNOID. The prevailing technique for transferring verbal and verbal-visual puns was PUN→PUN, which reveals the translator's attempt to tackle linguistic challenges and consider multimodal cohesion and dubbing synchronies. [ABSTRACT FROM AUTHOR]

Utilising the content and discourse analyses, the article aims to reveal the shared rhetorical linguistic tactics employed in 16 slogans from WHO's Immunisation Week campaigns (2013-2023) to proficiently communicate messages. Slogans are vital for promoting vaccination in public health initiatives. The analysis reveals graphical, phonological, lexical, syntactic, and semantic features of slogans. Graphically, partial capitalisation and hashtags enhance visibility and engagement. Phonological features include alliteration and assonance, creating memorable rhythms. Lexically, inclusive language and action verbs motivate and persuade. Syntactically, imperative verbs, parallel structures, repetitions, and ellipses enhance impact and memorability. Semantically, puns, personifications, metaphors, and antitheses add depth and engage the audience. The findings inform future campaigns, facilitating the development of impactful slogans to combat vaccine-preventable diseases. [ABSTRACT FROM AUTHOR]

This research is dedicated to exposing the specifics of translating multimodal puns based on the retrospective experiment. A multimodal pun is defined as a creolized/ polycoded formation substantiated by a specific type of ambiguity consisting of two inhomogeneous semiotic modes. Verbal-visual puns functioning as separate texts served as the research material. Each multimodal pun results from intersemiotic translation when the signs of one semiotic system are transformed into the signs of another. For the vast majority of multimodal puns, verbal signs are interpreted into pictures, but the opposite cannot be excluded either. The role of the visual component is twofold. It can be creative when the picture is part of the ambiguity mechanism, or it can be amplifying when the picture accentuates the verbal wordplay, not participating directly in the creation of ambiguity. Hence, our first hypothesis is that multimodal puns with an amplifying visual component are a lesser challenge for translators than those with a creative one due to the absence of the necessity to coordinate verbal and visual modes in the target text. The research aims to identify the strategies of interlinguistic translation of multimodal puns and the factors that determine them, particularly the impact of the visual mode on the translator's decision-making. Hence, our second hypothesis is that multimodal puns require double strategies that would allow to correlate the reproduction of the elements of two different semiotic systems. The analysis of the subjects' translations, as well as their reports received in the course of the delayed retrospective experiment, confirmed both hypotheses. [ABSTRACT FROM AUTHOR]

The Yorùbá language radio programme Kókó Inú Ìwé Ìròyìn, which translates as "Newspaper Headlines News", began airing in 1999 and starts broadcasting at 6 am daily on the Lagos local languages radio network Bond FM 92.9. I argue that the news presenters do not use the usual radio journalism conventions, but instead lean towards a performative mode that makes use of various traditional oral devices, including proverbs, puns, extemporisation and fictional exaggeration. In this way, they borrow from other Yorùbá performance traditions, thus creating a news format that reinforces a Yorùbá cultural sphere and which creates a particular aural community. The deployment of Yorùbá figurative texts in the parsing of news stories signals an attempt to localise their journalistic work in a Yorùbá discursive tradition whose mode of verbal communication privileges textual inventiveness and dynamic recapitulations. The radio news show is an example of the changing context and continual reinvention of Yorùbá oral performance in modern society. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Basrah is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The document provides a list of reviewers for neuropathology from October 2023 to September 2024, including individuals from various countries such as Japan, the United States, India, China, and others. The reviewers come from diverse backgrounds and contribute to the field of neuropathology through their expertise and evaluations. This list showcases the global collaboration and expertise present in the field of neuropathology. [Extracted from the article]

This essay attempts to think through what a "translingual" poetics might be like for contemporary poetry. Its first section discusses the term translingual as it is used in some areas of applied linguistics. The second section constructs an imaginary scenario where a poem employs more than one language and examines the relations between them. The third section asks whether the term translingual poetry might be used to refer not just to language‐mixing but rather to a special way of handling even a single language. The fourth section tries to think of "translingual poetry" as one where the poet assumes the linguistic strategies of the language learner. The essay also revisits the argument by the Russian Formalist critics that the language of poetry resembles a foreign language. [ABSTRACT FROM AUTHOR]

In Catullus 50, after an enjoyable day writing poetry with Licinius Calvus, the poet warns his friend not to ignore him lest Nemesis punish him for it, ne poenas Nemesis reposcat a te ('lest Nemesis demand punishment from you'). It will be proposed in this article that, in keeping with neoteric ideals, Catullus is playing on the phrase a te to create a bilingual pun on the Greek word ἄτη 'delusion', 'mental blindness (often divinely sent)'. [ABSTRACT FROM AUTHOR]

Political and security stability have the potential to support developing countries' efforts to achieve Sustainable Development Goals, as this region is home to the majority of the global population. This study examines the impact of political and security stability and other factors on food security [as measured by the prevalence of undernourishment (PUN)] in developing countries. We analysed 2002--2020 data from 83 developing countries across Africa, Asia, and Latin America and the Caribbean, using the system General Method of Moment (sys-GMM). Our study indicates that political and security stability and the use of the internet can increase food security or reduce PUN in developing countries. Other factors contributed to an increase in PUN: the previous year's PUN, the cereal import dependency ratio and the unemployment to total population ratio. Meanwhile, other factors have varying effects on the PUN in developing countries. [ABSTRACT FROM AUTHOR]

Copyright of University of Sharjah Journal for Humanities & Social Sciences is the property of University of Sharjah - Scientific Publishing Unit and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One thing above others is known widely about the so-called 'English' cadence: that it is not English. Ever since musicologists of the mid-twentieth century named it, the cadence has laboured under the guise of its deceptiveness. However, as argued in this article, the cadence has much to tell us about the musical culture of England at the end of the sixteeenth and into the seventeenth century, during which period it was popular. The 'English' cadence shines a light on the movement towards tonality, the twilight period of solmization, and the understanding of false relations. An etymology of the cadence, making use of etymology's older, more playful, punning role as the rhetorical trope etymologia , demonstrates that (English or not), the cadence has much to tell us about this poignant period of English history. [ABSTRACT FROM AUTHOR]

The present study investigates the challenges translators may face when translating pun expressions in some selections found in Arabic poetry into English. The study examines the strategies employed to translate puns, the choice of pun’s sense, and the perseverance of the aesthetic function of puns in English. The study analyses the translation of a sample of ten Arabic-English puns by twenty-five MA translation students grounded on Delabastita’s (1993) model, the graded salience hypothesis and back-translation method. The study has revealed that the familiarity of the pun’s overt meaning and the ignorance of its covert one constitute a major challenge for inadequately translating puns, thereby distorting the pun’s aesthetic function in the target text. Two out of Delabastita’s translation strategies are shown to be employed in the translation of the given puns, among which pun to non- pun is the most prevalent one. The study has suggested editorial techniques and related rhetorical device as a potential means for adequately rendering the respective puns. [ABSTRACT FROM AUTHOR]

Many books have been written in the field of rhetoric and especially Badi’’ science, which is one of the three branches of this knowledge. One of the most controversial topics in the field of Badi’’ science is anadiplosis. There is a lot of disagreement in the definition of this figure of speech and its examples, so sometimes the definition of this figure of speech in rhetorical books is mixed with other figures of speech such as puns, polyptoton, pseudo-derivation, etc. This makes various divisions and common evidence of this figure of speech. Some rhetoricians have even examined its quota, doubt, acrostic, or one of the types of puns. But with more reflection and careful consideration, more precise and clear definitions can be offered for it, and the border between them can be distinguished. In this study, which is organized with a focus on Persian rhetorical books with a partial view of Arabic books, an effort has been made to study and review the historical rhetorical ideas in this field and compare the definitions provided in rhetorical books about the anadiplosis, similarities, and differences. By providing a suitable definition in a descriptive-analytical way, the border between this figure of speech and other figures of speech that are intertwined with it has been separated. [ABSTRACT FROM AUTHOR]

This work tries to demonstrate the importance of Saussurean concepts both when it comes to identifying symptoms in neurolinguistic pathology and devising resources that allow carrying out a therapy based on verbal humor. A sense of humor and laughter are attributed important physical, psychological and social benefits. The joke is a short saying or sharp and funny occurrence that contains a verbal or conceptual game capable of causing laughter and that is often illustrated by a drawing. In aphasic syndrome, the loss of verbal understanding not only affects internal communication and with others, but also prevents the enjoyment of verbal humor because it is based on lexical ambiguity. In this paper we analyze jokes involving puns from the concepts of structural linguistics, in order to propose them a therapeutic resource in the last stage of aphasic patient's recovery, according to the level of severity. The speech therapist must have linguistic and neurolinguist training. [ABSTRACT FROM AUTHOR]

Riwayat hidup Ibn `Ata’ Allah dan hasil karya beliau telah diterokai oleh pengkaji di dalam dan luar negara. Menurut Ibn `Ata’ Allah bahawa sesiapa yang tadbir bersama-sama Allah SWT adalah syirik. Ini adalah kerana bagi Ibn `Ata’ Allah sekiranya tadbir kita bersama dengan tadbir Allah maka ianya syirik kerana mengadakan sekutu bagi Allah. Allah SWT itu bersifat dengan wahdaniyah yang bererti Allah itu Esa pada zatNya, sifatNya dan perbuatanNya. Ini bermakna tiada sesuatu pun yang akan menyamai zat, sifat dan perbuatan Allah SWT. Ianya telah menjadi pemikiran dan kepercayaan dalam perspektif ilmu tauhid yang diamalkan sebagaimana pegangan ahli sunnah wal Jamaah. Kajian ini bertujuan untuk mengkaji tentang Maqamat al-Yaqin yang dilihat daripada sisi pemikiran seorang tokoh sufi yang terkenal iaitu Ibn `Ata Allah. Artikel ini menyentuh tentang konsep pemikiran beliau di dalam bidang tauhid dan tasawuf, hujah-hujah beliau dalam kitab al-Tanwir fi Isqat al-Tadbir dalam menonjolkan penghayatan terhadap Maqamat al-Yaqin tersebut. Pendekatan kualitatif yang digunakan dalam kajian ini disusuli metode pengumpulan data dan kemudian metode analisis data. Manakala kaedah penganalisisan data menggunakan reduksi data bagi memilih dan memfokuskan pada hal-hal penting berdasarkan data yang ada bagi menggambarkan sesuatu data dengan lebih jelas Hasil kajian menunjukkkan perbahasan Maqamat al-Yaqin yang digunakan Ibn `Ata’ Allah telah memberi manfaat kepada orang Islam dengan mengalihkan tujuan pembaca daripada isu syirik semata-mata kepada penghayatan bagaimana untuk resiliensi di dunia. Di samping, hasil kajian ini dapat mengurangkan tekanan dalam kehidupan. [ABSTRACT FROM AUTHOR]

Adopting the bounds of Sperber and Wilson's relevance-theoretic framework, this paper examines the emergence of humor in puns and the way puns are used in phatic communication. It argues that there is a so far unrecognized factor, which underlies their perceived humorousness, and which allows them to function as rapport builders. This factor, dubbed interpretative non-prototypicality, directly follows from the relevance-theoretic stand on utterance comprehension, and refers to the way the interpretation process plays out in puns, yielding utterances that go against what we have come to expect based on the default interpretative mode observed in the meaning derivation of non-punning utterances. The objective of the article is to argue, based on examples from English and Chinese, that it is the departure from the interpretative benchmark that can translate into the perceived humorousness of puns, whether linked to incongruity, the element of surprise or the manipulation of strategies used to inferentially work out utterance meanings. This departure, manifested in the low informative content characterizing puns used in such social practices as ping-pong punning, can also make them ideally suited for phatic communication. [ABSTRACT FROM AUTHOR]

Punning, either monolingual or bilingual, is a significant action in creating literal humor and rhetorical jokes. Notwithstanding, there is a dearth of linguistic studies on punning, particularly bilingual punning. Therefore, this study aims to conduct a sociolinguistic appraisal of Chinese-English bilingual puns in Guangzhou, an international Chinese metropolis, by presenting and analyzing the data collected from the linguistic landscapes of Guangzhou. A qualitative method was employed in analyzing the data collected from 18 commercial signages with visible bilingual puns that were located in two popular commercial centers of Guangzhou. Resultantly, Chinese-English puns largely occurred at the word level with bilingual homophones as the core of the puns on Guangzhou's commercial signage. The wide use of the word Fun showed the conventionalized, context-dependent, and intertextuality features of bilingual puns. Furthermore, bilingual puns displayed an emerging feature of translanguaging in the public space. Hence, this study sheds light on the features of Chinese-English bilingual puns and contributes to existing literature by discovering the sociolinguistic dynamics of bilingualism in Chinese communities. [ABSTRACT FROM AUTHOR]

The document titled "Acknowledgements" from the journal Global Media & China expresses gratitude to the reviewers who contributed throughout 2024. The list includes a diverse group of individuals from various backgrounds and expertise, highlighting the collaborative effort in reviewing content for the journal. The acknowledgment demonstrates the importance of a wide range of perspectives in the field of global media and China. [Extracted from the article]

The translation is one of the most crucial and great cross-lingual and multicultural practices. One of these practices is the translation of Arabic puns into English in general and Quranic Arabic pun tawriya in particular which are the most vivid and sparkling parts of any tongue. Rendering Quranic Arabic pun tawriya into English increases many critical stylistic and cultural problems and challenges in renderings; these problems and challenges are attributable to the varying renditions of Arabic and English puns and the misunderstandings between the obvious references of a pun with obscure references, which could lead to a predetermined amount of ambiguity. This research paper assays to search stylistic and cultural problems confronted in translating Quranic Arabic pun tawriya التورية into English and to determine the translation procedures exerted in rendering the Quranic Arabic puns from Arabic into English. The study displayed translating the Quranic Arabic pun tawriya التورية into English and the equivalence of this Qur'anic Arabic pun is arduous and tricky. The results of the research paper also revealed that literal translation, zero translation, and a pun to non-pun translation are not always relevant and apt for rendering Quranic Arabic pun tawriya التورية into English because they have not efficiently maintained the dual meaning of the Qur'anic Arabic pun (QAP) into the Qur'an English pun (QEP). [ABSTRACT FROM AUTHOR]

With humor, which has long been known as a coping mechanism in extreme crises, punning memes, armed with words and images, have become weapons of 'mass disruption' influencing the hearts and minds of a target audience. This invites the examination of how memes detailing Russian-Ukrainian war employ verbo-visual puns as a strategic tool of information warfare to counter president Putin's military aggression and misleading political messaging. This article1 proposes an interdisciplinary template for the analysis of puns drawing on multimodal social semiotics, cognitive linguistics, critical discourse analysis and crisis communication analysis. The data sampled for this research comprises 87 memes about Russian-Ukrainian war that employ verbo-visual puns with 6 cases described in this paper. The article proposes a taxonomy, in which verbo-visual puns can be classified in accordance with mechanisms that are used to classify wordplay (homonymy, polysemy, and paronymy). Evidence is thus provided to show that this typology is applicable to the taxonomy of multimodal signs as well. The results of this research reveal cognitive and semiotic triggers of puns as well as their potential to serve as a tool generating public reaction to Russia's military aggression in Ukraine and reaching the intended goals of crisis communication. [ABSTRACT FROM AUTHOR]

The text of a vexed passage in Plautus' Persa, Saturio's laudatio to his parasitic ancestors (vv. 53-64), variously emended by editors, is first established paleographically after examining the manuscript tradition. Next, Saturio's expression duri capitones is explained as a calque of νήστιδες κεστρεῖς "fasting mullets" - a proverbial expression in Greek for starving parasites often found in New Comedy. It is argued that the joke survives translation into Latin only because alternate connotations are recruited to facilitate the creation of a pun on the Roman cognomen Capito. Alternately, the expression duri capitones is interpreted as a word play on caput durum, a phrase synonymous with impudens, which enables Saturio to differentiate himself from other parasite-types, especially from the quadruplator who represents in the Roman context the comic stock character of the sycophanta. [ABSTRACT FROM AUTHOR]

A group of sixth- and seventh-century Gallic and Iberian texts written in the context of the First Plague Pandemic (541 -- c. 766) uses the same pun on the name of this epidemic disease. The Gallo-Roman historian Gregory of Tours, the drafters of two Visigothic conciliar preambles, and the author of an anonymous sermon on the plague juxtapose the verb ingruere with common names for bubonic plague (inguinaria lues, inguinalis plaga). Postclassical phonetic change suggests that this juxtaposition entailed greater aural similarity in Late Latin than would have been the case in Classical Latin. The article argues this paronomasia was intentional, and not intended by its authors as lighthearted, but as a serious rhetorical and moral observation. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper sketches a taxonomy of Aristophanic puns and explores the strategies employed by 'faithful' English translations for rendering such jokes. No pun is untranslatable. At the same time, there is no perfect translation but a range of options, more or less effective for a certain context, audience, and type of pun. The challenges which translators face with Aristophanic jokes, as well as the ingenious solutions they offer on occasions, invite us to reappraise the original puns, whose wittiness is too often denied by scholarship. [ABSTRACT FROM AUTHOR]

In this article, I discuss Wittgenstein's conception of music, musical understanding and the sense of comparing music to language. I argue that for Wittgenstein, musical understanding is describable as a specific kind of experience that is public and sharable. I then reject any formalist view, which asserts that musical understanding is exclusively an ability to follow a set of established rules. Second, I illustrate the scope of Wittgenstein's comparison between languages and posit that music is useful for clarifying the concept of linguistic understanding in the case of certain specific language‐games, such as making jokes or puns. I will finally show that no thesis on the nature of language parallels and follows such a comparison. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pa pa pa is a 1980s Chinese novella. It is a work belonging to China’s “root-seeking literature”, which looks into society’s hopeless collapse and chaos. Its author, Han Shaogong, expresses ideas through his imagination and a colloquial language close to readers and full of wordplays/puns. This study aims to investigate the mechanisms of wordplay, the translation techniques adopted and whether the translation keeps the original function of wordplay in the source-language text. As the basis of the definition and categories for the wordplay we used Delabastita (1996) and Hsu (2013), and we also consulted Marco (2010), Wang (2012) and Xu (2013) for contrast; we also used Hurtado Albir’s (2013) translation techniques for analysis. [ABSTRACT FROM AUTHOR]

This study examines how participants in Korean media talk, specifically talk show interviews, interactively construct puns as and through joint actions. Going beyond puns as humorous wordplay, the study illustrates their interactional and pragmatic functions. A close examination of the sequential positions and interactional contexts of puns in 16 different interviews shows that they recurrently emerge when participants are placed, socially or interactionally, in delicate or difficult situations. Through puns, the participants not only recontextualise the local meaning of a particular target word, but also globally transform the focus and frame of the troublesome ongoing interaction, as well as managing their identities and roles in the interaction. The analysis shows that the participants creatively design puns based on Korean words as well as utilising English words, formulating multilingual puns. The study also demonstrates that puns are often accompanied, triggered or entirely performed by nonlinguistic devices (e.g. body movements, gestures, facial expressions). These multimodal resources play a key role in formulating creative puns, in understanding and responding to puns, and in diverting the trajectory of ongoing interaction. [ABSTRACT FROM AUTHOR]

Recent advancements in transformer-based language models have demonstrated substantial progress in producing good translations. Despite these achievements, challenges persist in translating playful requests, especially when users intentionally introduce humor. Deciphering the hidden pun among such playful requests is one of the major difficulties for modern language models, which causes user dissatisfaction. This paper targets a specific niche of humor translation, which is the translation of English-named entities containing puns into French using small-scale open-sourced transformer models. The transformer architecture serves as a foundation for popular language models like chatGPT. It allows learning long-range contextual relationships within sequences. The main novelty of the paper is the proposed extractive question/answering (Q/A) styled technique based on the transformers to find relevant translations for the provided English nouns using the openly available parallel corpora. To evaluate the effectiveness of our method, we utilize a dataset provided by the JOKER CLEF automatic pun and humor translation 2022 team. The dataset contains single-word nouns from popular novels, anime, movies, and games, each containing a pun. The discussed methodology and experimental framework are adaptable and can be extended to any language pair for which an open, available parallel corpus exists. This flexibility underscores the broader applicability of our findings and suggests the potential for enhancing humor translation across various language combinations. • The paper presents a novel method for pun translation to French. • It focuses on English-named entities containing puns. • Utilizes open-sourced small-scale transformer models. • Employs an extractive question-answering style for translation. • Evaluated on the JOKER CLEF 2022 dataset by expert translators. [Display omitted] [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic is found to be one of the external stimuli that greatly affects mobility of people, leading to a shift of transportation modes towards private individual ones. To properly explain the change in people's transport behavior, especially in pre- and post- pandemic periods, a tensor-based framework is herein proposed and applied to Pun Pun–the only public bicycle-sharing system in Bangkok, Thailand–where multidimensional trip data of Pun Pun are decomposed into four different modes related to their spatial and temporal dimensions by a non-negative Tucker decomposition approach. According to our computational results, the first pandemic wave has a sizable influence not only on Pun Pun but also on other modes of transportation. Nonetheless, Pun Pun is relatively more resilient, as it recovers more quickly than other public transportation modes. In terms of trip patterns, we find that, prior to the pandemic, trips made during weekdays are dominated by business trips with two peak periods (morning and evening peaks), while those made during weekends are more related to leisure activities as they involve stations nearby a public park. However, after the first pandemic wave ends, the patterns of weekday trips have been drastically changed, as the number of business trips sharply drops, while that of educational trips connecting metro/subway stations with a major educational institute in the region significantly rises. These findings may be regarded as a reflection of the ever-changing transport behavior of people seeking a sustainable mode of private transport, with a more positive outlook on the use of bicycle-sharing system in Bangkok, Thailand. [ABSTRACT FROM AUTHOR]

As Mersad al-Ebad is a mystical book, its most important subject is theology, and the names of God are mentioned in it frequently and in different forms. There has been a lot of research on the names of God, but there is no linguistic or rhetorical research on the names of God in Mersad alEbad. In this descriptive-analytical study, the names of God in the Persian expression of Mersad al-Ebad are examined to determine the most widely used ones, the properties of their uses, and their semantic application. The investigation of God's names in Mersad al-Ebad showed that their most important property is the infrequent metaphorical names and the frequent metonymical (Majazi) ones are made particularly by derivation and pun (Jenase Eshteqaq); the most frequent cause of using God's metonymical names is the mighty of God's high position as the creator and heavenly God. From a semantic point of view, the results showed that every holy name has a specific meaning and application and some of them possess aesthetic use in Mersad al-Ebad. In addition, some of the names of God in Mersad al-Ebad are Asmae Jamali (Aesthetic Names) and Asmae Jalali (Glory Names). [ABSTRACT FROM AUTHOR]

Punning is an important means of creating humorous effects by intentionally exploiting semantic ambiguity. Previous psycholinguistic research on puns has mainly focused on the process of meaning retrieval in homograph puns, while it is still not entirely clear how readers dynamically utilize contextual information to understand homophone puns. In the current investigation, 68 native Chinese participants were recruited to read three types of experimental sentences while their eye movements were recorded: (1) the homophone-pun sentences where the less salient homophone was visually presented, (2) the homophone-salient sentences where the salient homophone was used, and (3) the homophone-error sentences where the critical context noun in the homophone puns was replaced with an unrelated word. Humor rating results of the homophone puns and the homophone-salient sentences demonstrated that the less salient homophones rather than the salient ones elicited much larger humor responses when presented visually in the same potential pun context. In addition, the reverse fixation pattern in the homophone area and the spill-over region also suggested that meanings of the salient homophones were more recoverable even when not presented visually. Statistical analyses of the homophone puns and the homophone-error sentences showed that the semantic relatedness between the critical context noun and the less salient homophone could significantly predict the humor rating scores of Chinese readers. Taken together, less salient homophones need to receive more contextual support to balance out the advantages of salient homophones before generating a humorous pun interpretation. [ABSTRACT FROM AUTHOR]

An essay is presented which explores the use of literary tropes and rhetorics in student writing. Topics discussed include the characteristics of troping such as the use of inventive metaphor and puns, the tendency of troping to distort verbal solutions due to distinct language selection, and observations on the study of composition writing by freshmen writers.

This study aims to investigate to what extent Swedish upper secondary school learners of L2 English understand the meanings of polysemous words and whether puns can be used to teach such words. A test and two questionnaires were constructed to retrieve data from both students and teachers. The results of the study show that Swedish upper secondary school learners of L2 English generally have an acceptable knowledge of polysemous words, but that the students’ comprehension depends on the program they attend. Based on these results, it was also concluded that puns can be used to teach students about the meanings of polysemous words. The results of the questionnaires display that students in general have a positive attitude towards using puns in the classroom, and that they find them entertaining and humorous. In addition, the students also saw this approach as beneficial to their motivation and retention. Lastly, the teachers expressed that using humor can strengthen the learning process, and if the students find the teaching situation enjoyable, they learn faster, and their retention is thus increased. [ABSTRACT FROM AUTHOR]

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This article is the result of research and reflection undertaken in the process of translating Vercoquin et le plancton. Focusing on music-related references in Boris Vian's first published novel, this article will discuss different layers of meaning and a variety of techniques that can be discerned in Vian's punning and wordplay. The complexity and compactness of his writing make for an exceptional case study. Whilst much of the wordplay may justifiably be classed as 'juvenile', its many facets also reflect life in Occupied France, document the Zazou movement, voice a manifesto for jazz, and stage playfulness that can be viewed as ranging from the very silly to a form of resistance. Such sophistication – largely overlooked, hitherto – justifies re-evaluation of Vian's early work. Analysis of a number of challenges to translation gives rise to discussion of possible solutions, based on different considerations – genre, function and audience – and using different 'tools'. This article seeks not to justify my own choices in translation. Rather, it should illustrate the point that research is essential, and that interpretation and creativity are necessary if one's strategy in literary translation is to try to provide a new audience with similar opportunities for their own readings as a Francophone audience might have. [ABSTRACT FROM AUTHOR]

In Quevedo's poetic corpus, the function of the sight conforms to a great variety of themes, registers and perspectives and we can distinguish two basic typologies: one, with a rhetorical nature, is based on the argumentative schemes of evidentia; the other, with a thematic character, presupposes the elaboration of topical motifs through ingenious puns. Besides being important compositional techniques, strategies of visualization are also a way to contemplate the world through literary memories and establish a peculiar intertextual dialogue with the authors of the past. [ABSTRACT FROM AUTHOR]

This article examines two manga, Stop!! Hibari-Kun! and No Bra, which prefigure the increasingly popular anime and manga genre of otokonoko from a queer studies perspective. Otokonoko, also known as otoko no musume, is a genre of manga in which persons assigned male at birth (AMAB) wear women's clothing and are perceived as attractive women. The term otokonoko (1) is pronounced identically to the term, meaning boy-child; however, due to a pun in the kanji which replaces "child" (1) with "daughter"/"girl" (1), it translates to "boy-girl", "boy-daughter", or sometimes "boy-princess". It is often translated into English as "cross-dresser". The genre emerged in the early 2000s and has since become a popular point of reference and conversation both within and outside of anime and manga communities. Both the genre, and its titular characters have become iconic within both Japanese and Western online culture. As with most genres, the otokonoko genre is trope heavy, so I decided to look at works that prefigure the genre to better understand the appeal without the weight of the traditions of the genre weighing too heavily on the content. Both Stop!! Hibari-Kun! and No Bra follow the story of a boy who becomes increasingly attracted to a gender ambiguous character assigned male at birth, but who appears female to most. Both manga are centrally about this conflict between the love interests' perceived maleness and the protagonists perceived heterosexuality. The article analyses the appeal of each work to both male and trans feminine readers, because what would later become the otokonoko genre is popular with both male and trans feminine readers. It also argues that these manga offer something unique from Western depictions of transgender lives, based on the popularity of manga and anime among Western trans feminine readers. [ABSTRACT FROM AUTHOR]

We call artisans of comic, ironic, satirical language all writers of the stature of Boris Vian, Jacques Prévert, Jacques Audiberti, Eugène Ionesco who denote an awakened linguistic curiosity for the riches of literary, popular or spoken language. They actualize everything: phoneme, afixoid, pun, oxymoron, logogriph, etc. Ionesco in this pleiad is still at the head. His characters, their language must make people laugh, cry, die of happiness, otherwise they become dumb, deaf, deaf-mutes. And so Ionesco invents and puts on their tongues anagrams, antimétaboles, bouts-rimés, homéotéleutes, mots-valises to accomplish his essential task: “to create a new language”. This one will live as much as its heroes speak a neo-language where the absurdities become syllogisms, where the approximations are only true axioms. In this article, we are going to submit to a more or less detailed analysis the linguistic nature of the puns of Ionesco's theatrical language. [ABSTRACT FROM AUTHOR]