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Verbal irony is a common phenomenon in communication, but its convoluted nature makes it difficult to translate. This book expands on previous studies of the translation of irony by examining the mechanisms of verbal irony in its translation from Catalan and Spanish into English. It accentuates the importance of ironic cues not only in processing irony but also in rendering it across cultures. It also interrogates its translatability in the narratives of two Latin American authors, Julio Cortázar and Juan José Arreola, and two Catalan writers, Pere Calders and Quim Monzó. Comparative analyses of the source and target texts further reveal obstacles in the cross-cultural communication of irony. Based on a proposed classification of ironic cues, this book provides guidelines for the effective translation of irony. The corpus, which is subject to an interdisciplinary analysis rooted in Discourse Stylistics, comprises a compelling range of short stories that tacitly bespeak the authors'stances towards twentieth-century sociohistorical events as well as more general contemporary issues. The connection between Calders's and Cortazar's exiles and their ironic styles is equally explored.

Although the figure of irony has enjoyed extensive attention through important contributions to the diverse literatures addressing figurative thought and language, it still remains relatively in the background compared to other figures such as metaphor and metonymy. The present volume, together with a 2017 collection by Angeliki Athanasiadou and Herbert L. Colston, aims to the further exploration of verbal and situational irony, its gestural accompaniments, its comprehension and interpretation, its constructional diversity and its cooperation with other figures such as metaphor and hyperbole. The present volume is a highly interesting collection of chapters dealing with both theoretical investigations and descriptive applications of a central figure pervading human thought and language. Its aim is to draw more attention to irony's diversity and its concomitant connections to other aspects of figurativeness.

The corpus-based approach to humor offers innovative and more than plausible objectives, supported by sound arguments, which underline the need to analyze humor both verbally and non-verbally. The cognitive linguistic account of humor sets to analyze a corpus of humorous meanings in interaction and to present the elements that help to create the humorous effects: common ground, intersubjectivity, facial expressions, speakers'attitude, etc. The large corpus of examples annotated in ELAN offers a much-needed multimodal perspective of humor, which encompasses all the different techniques used by speakers. The present analysis offers inspiring insight for future research, in different fields of study: multimodality, humor, and psycholinguistics. The study reveals the need of analyzing both verbal and non-verbal elements in discourse in general and humor in particular as co-speech gestures are essential for the understanding of the message as intended by the speakers.

This book offers fresh perspectives on untruthfulness entailed in various forms of irony, deception and humour, which have so far constituted independent foci of linguistic and philosophical investigation. These three distinct (albeit sometimes co-occurring) notions are brought together within a neo-Gricean framework and consistently discussed as representing overt or covert untruthfulness. The postulates that represent the interface between language philosophy and pragmatics are illustrated with scripted interactions culled from the series House, which help appreciate the complexities of the three concepts at hand. Apart from affording new insights into the nature of irony, deception and humour, this book critically examines previous literature on these notions, as well as relevant aspects of Grice's philosophy of language. Giving a state-of-the-art picture of untruthfulness, this publication will be of interest to both experienced and inexperienced researchers studying Grice's philosophy, irony, deception and/or humour.

Es probable que todos nos hayamos encontrado alguna vez en la situación de no saber si la persona que tenemos delante habla en serio o bromea. Nuestra expresión de sorpresa acaba por dar lástima a nuestro interlocutor, y al final, resuelto el equívoco, los dos terminamos riéndonos. La ironía y el sarcasmo forman parte del lenguaje y de nuestra existencia desde etapas muy primitivas. Con la ironía hacemos frente a las tristezas, a las situaciones que no nos gustan, o simplemente, nos divertimos un rato. Porque la ironía – no lo olvidemos – es un juego, lo practiquemos nosotros o lo practique el destino. Este libro intenta ofrecer respuestas a algunas de las preguntas que plantea su análisis. Su alumbramiento ha sido promovido por el grupo GRIALE (Grupo de la Ironía. Alicante, Lengua Española), pero en el camino nos han acompañado otros colegas y amigos, preocupados también por el mismo tema. Desde una perspectiva pragmática, se ha estructurado en tres grandes bloques: I. Las teorías, II. Indicadores y marcas de la ironía y III. Más allá de la ironía. Cada bloque se compone a su vez de diversos capítulos, y todos ellos se han concebido como un conjunto integrado que favorece la consulta y garantiza la coherencia.

Putting aside questions of truth and falsehood, the old'talk is cheap'maxim carries as much weight as ever. Indeed, perhaps more. For one need not be an expert in irony or sarcasm to realize that people don't necessarily mean what they say. Phrases such as'Yeah, right'and'I couldn't care less'are so much a part of the way we speak--and the way we live--that we are more likely to notice when they are absent (for example, Forrest Gump). From our everyday dialogues and conversations ('Thanks a lot!') to the screenplays of our popular films (Pulp Fiction and Fargo), what is said is frequently very different from what is meant. Talk is Cheap begins with this telling observation and proceeds to argue that such'unplain speaking'is fundamentally embedded in the way we now talk. Author John Haiman traces this sea-change in our use of language to the emergence of a postmodern'divided self'who is hyper-conscious that what he or she is saying has been said before;'cheap talk'thus allows us to distance ourselves from a social role with which we are uncomfortable. Haiman goes on to examine the full range of these pervasive distancing mechanisms, from clichés and quotation marks to camp and parody. Also, and importantly, this text highlights several new ways in which the English language is evolving (and has evolved) in response to our postmodern world view. In other words, this study shows us how what we are saying is gradually separating itself from how we say it. As provocative as it is timely, the book will be fascinating reading for students of linguistics, literature, communication, anthropology, philosophy, and popular culture.

The Romantic Irony of Semiotics: Friedrich Schlegel and the Crisis of Representation (Approaches to Semiotics [As]).