An ambiguity-based theory of the linguistic verbal joke in English

Instytut Filologii Angielskiej

Społeczna interpretacja wybranych wczesnośredniowiecznych cmentarzysk rzędowych w perspektywie gender studies i lifecycle analysis

Wydział Historyczny: Instytut Prahistorii

Exploitation of linguistic ambiguity in Polish and English jokes

English & Polish jokes based on linguistic ambiguity are constrasted. Linguistic ambiguity results from a multiplicity of semantic interpretations motivated by structural pattern. The meanings can be "translated" either by variations of the corresponding minimal strings or by specifying the type & extent of modification needed between the two interpretations. C. F. Hockett's (1972) translatability notion that a joke is linguistic if it cannot readily be translated into other languages without losing its humor is used to interpret some cross-linguistic jokes. It is claimed that additional intralinguistic criteria are needed to classify jokes. By using a syntactic representation, the humor can be explained & compared cross-linguistically. Since the mapping of semantic values onto lexical units is highly language specific, translatability is much less frequent with lexical ambiguity. Similarly, phonological jokes are not usually translatable. Pragmatic ambiguity can be translated on the basis of H. P. Grice's (1975) cooperative principle of conversation that calls for discourse interpretations. If the distinction between linguistic & nonlinguistic jokes is based on translatability, pragmatic jokes must be excluded from the classification. Because of their universality, pragmatic jokes should be included into the linguistic classification by going beyond the translatability criteria & using intralinguistic features to describe them.

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.