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Artists based in the United Arab Emirates (UAE) are pressured by international art elites to critique the illiberal regime under which they live. But doing so is illegal. It can lead the state to retaliate with harassment, detention, cancellation of residency visas, and expulsion. Nonetheless, gatekeeping curators and critics validate UAE‐based artists' work as worthwhile and good if these artists critique the UAE state. How do these artists balance the perils of retaliation and deportation with an exhortation to critique the state for the sake of career success and international visibility? They do so by deploying a form of critique predicated on omission and ambiguity; I term it conspicuous omission. This practice reveals norms of critique, and the normative expectations placed on contemporary artists based on their place of residence or origin. [ABSTRACT FROM AUTHOR]

In recent years Russia has changed rapidly from a socio-economic point of view. The economic changes have led to the development of slang phraseological units (herefrom, PUs) in the business communication. The Russian jargon PUs are taken from the dictionary Pochti seryoznyj slovar’ delovogo obscheniya (Pogrebnyak: 2007) and are translated into Italian, mostly via English, functioning as Intermediary Language (herefrom, IL). The materials consist in Russian slang PUs that are ambiguous, as it appears hard to understand, whether they are calques from IL or properly Russian expressions. The study underlines the importance of the IL to avoid ambiguity and of the idiomatic translation to both understand business culture and language. The functional equivalence is also taken into account as an interlinguistic equivalence strategy needed to find a communicative coincidence between Source Language (herefrom, SL) and Target Language (herefrom, TL) contexts. To conclude, the work attempts to facilitate informal business communication between Russian and Italian partners and to mitigate misunderstandings that may arise in the presence of cultural differences between the two countries.

This paper proposes a discursive and semiological analysis of some examples of gestural and proxemic manifestations of the faithful engendered by pragmatic ambiguity in certain statements of the Orthodox Liturgy, in the Romanian language. On a diachronic level, the translation of Christian Orthodox liturgical texts, mostly from Slavonic in Romanian culture, has also had to take into account the management of ambiguity, particularly lexical ambiguity. While the vast majority of the words used in these texts are well interpreted today, at the pole of their reception, some statements still retain an ambiguity related to a diachronic translation, an ambiguity that can be qualified as pragmatic in the immediate synchronicity. In the discursive and ritual context of the Eucharistic Liturgy, they trigger certain gestures by the faithful, who interpret them as speech acts or "first-degree" illocutionary and perlocutionary statements. Because of the consequences of their ambiguity on the gestural actualization of the speech acts they carry, we will call this type of ambiguity pragmatic. [ABSTRACT FROM AUTHOR]