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Discusses the relationship between linguistic analysis of a legal text and the various possible interpretations of the same text. An example is taken from civic duties ideology. (AM)

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.

In this article, I investigate the discursive field of the digital transformation of higher education and research policy in Switzerland. The qualitative analysis of political strategies and documents shows that actors in this policy field use open, ambiguous terms to characterise digitalisation. By building on this discursive strategy, the political actors aim not only to reduce uncertainty about the digital transformation as a complex phenomenon but also to build political consensus about the future development of this discursive field.

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]

The concept of "constraint" is central to Oulipo's work, yet the group has introduced this term into modern literary criticism without providing a consistent definition. The resulting ambiguities create challenges for researchers studying Oulipian constraints. This paper reviews Oulipo's attempts to theorize constraint and legitimize its literature, examining these efforts through the lens of the group's struggle for literary legitimacy. Indeed, the concept of constraint represents not only Oulipo's poetic uniqueness, but also an important tool for the group to legitimize itself and gain power within the literary field. This paper argues that "constraint" has served as both an expression of Oulipo's aesthetic singularity and a strategic lever in its bid for legitimacy. [ABSTRACT FROM AUTHOR]

Our main objective is to provide an account of the meaning of the polysemous adjective real that is theoretically grounded in post-Gricean pragmatics (Carston [2002], Recanati [2003], Sperber & Wilson [1996]). Combining lexical semantics and linguistic pragmatics is not new (see, e.g., Depraetere [2014] and Carston [2021]) and we believe that it can lead to a better understanding of the actual use of lexemes in context – especially when they are polysemous. Drawing on two pragmatic mechanisms, modulation and disambiguation (or lack thereof), we show how they interact with the lexical content of real and illustrate with genuine occurrences taken from ICE-GB (all of which we systematically annotated semantically). Little attention has been paid to the adjective real in the literature (with some exceptions: Bolinger [1972], Magnusson [2003]). Real is an untypical adjective. Its meaning is scalar when it causes a potentially gradable head noun (Filippi-Deswelle [2014], Moreau [2022]) to be semantically adjusted by indicating that a high (or high enough) degree is reached for a property or set or properties associated with that noun while, syntactically, it shows a very strong bias towards the attributive function – which we measure within ICE-GB and then explain.

This article focuses on how digital platforms mediate disasters in the form of storm maps generating struggles over knowledge and authority. We focus on the dissemination of storm maps during Hurricane Dorian, one of the most severe hurricanes on record, as an example of an environmental disaster event that was widely circulated for public consumption. The storm map has become one of the most significant artifacts of the information age. Digital means now transcend the typical uses of the storm map as a guide to disaster planning, leading to two forms of digital ambiguity: hegemonic ambiguity and popular ambiguity. Hegemonic ambiguity refers to the uses of political power through digital tools to disrupt knowledge circulation and scientific legitimacy. Popular ambiguity involves digital technologies increasing the sheer number of perspectives by localizing representations. Actors incorporate smart phones, drones, and photogrammetric, remote-sensing, and GIS software into heterogeneous manifestations of the storm map. The comparison between these two forms of ambiguity demonstrates how digital platforms transform the underlying structure of authority, alter connections between knowledge production and dissemination, and multiply how disaster-related events are represented and interpreted throughout society.

Model and Assignment for Lexicon Disambiguation Any communication shall relate to the parties from whom it requires cooperation and contribution. In this sense, communication is optimal only when it is cooperative or contributory. But some sentences or phrases called ambiguous make this task quite complex. The interlocutor is then asked to choose between at least two possible interpretations. So how does the interlocutor manage to opt for one interpretation against another? The aim of this study is to propose models and assignments as satisfactory ways of dealing with ambiguities. To do this, we submitted a corpus of 100 sentences elaborated in French, to Baoulé speakers for a translation in this language. If we consider for example, in an isolated way the baoulé sentence [kófī sū sí àblé] which can be gloated by "Koffi dance" or " Koffi hits the corn ", we realize that communication becomes non-contributory because the receiver will have difficulty in choosing the proper interpretation. Being syntactic and semantic, the ambiguity will be treated from the angle of interpretation (meaning) since all syntax aims to convey a message that is endowed with meaning. Models and assignments provide useful information for this purpose. Indeed, in the model, area A identifies all potential individuals affected by the statement. The semantic value of a predicate constant is then an F function of an individual or set of individuals, depending on the arity of the predicate. However, this model for interpreting the constants of individuals does not associate the variables on which the ambiguity may sometimes be based. It could be personal pronouns or common names. It is at this level that the assignment finds its interest. Through the function g, a value of the domain A is assigned to the variable in order to conduct the interpretation.

In my article, I will discuss Gregory’s view of beauty from a theological-anthropological perspective, focusing on why beauty is deceptive and where the limits and boundaries lie between beauty as a theological category and beauty that becomes an idol and does not lead to God. The key question will be how beauty, whose source is God – the essential beauty – can be deceptive. I want to emphasise that although Gregory sometimes speaks about the deceptiveness of beauty, the ambiguity lies not in the beauty itself but in the ability or inability of the human being to discern the beautiful. Here I draw on the foundation of Gregory’s anthropology, namely the creation of human beings in the image and likeness of God. I will further analyse Gregory’s concept of the knowledge of beauty and its relationship to desire and passion in Gregory. I will conclude by reflecting on the moment when beauty becomes an idol that leads people away from the path of knowledge of the truly beautiful. [ABSTRACT FROM AUTHOR]

Rethinking the history of literature implies considering this field of studies as a source of narrations (Wellek, Ceserani) and ideological discourses (Asor Rosa) on literature in general and, more precisely, on national literatures. It is from this perspective, that this paper aims to analyze the specific case of Swiss Italian literature and of the very few (and nowadays out-of-date) works narrating the history of this particular literary region, mainly those of Guido Calgari and Giovanni Orelli. The purpose of this analysis, that considers textual and paratextual elements of their works, is to underline the fundamental ambiguity of both their discourses and their readings of the relation between Swiss Italian literature and Italian literature. If on the one hand, their works - that are still a reference tool for those who want to discover this little-known universe - aspire to enhance the value and notoriety of this "minor" literature, on the other hand, by reinstating its dependence from, or belonging to, Italian literature, they inevitably end up marginalizing this unique literature whose history demands, and deserves, to be rethought and recounted differently. [ABSTRACT FROM AUTHOR]

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The dialogue section in Isocrates Panathenaicus (§199–266) contains the earliest reference to amphiboly in rhetorical literature. The Laconophile former student introduced as advocatus diaboli in this section describes Isocratean arguments as logoi amphiboloi (§239f). In a way very similar to Aristotle’s notion of amphibolia, he understands these to be arguments that are meant to obscure the moral implications and dissimulate the intentions of a speech. This article argues that by introducing a rhetorical concept like this in an educational (and literary) setting, Isocrates sets his students (and readers) the task to identify the moral ambiguity of arguments they are presented with. Thus, they are enabled by training to critically assess the moral problems underlying the issues under discussions and unmask the flattery or slander involved in public speech. While Aristotle introduced amphibolia as a (weak) type of argument from the perspective of rhetorical composition, Isocrates is focused on audience reception and rhetorical criticism.

Abstract In this Forum, six scholars reflect on Rahul Rao’s recent book Out of Time: The Queer Politics of Postcoloniality from other geographies, themes and radical possibilities. Part III explores the way Out of Time traces out its argument, focusing especially on Rao’s meaning-making, the care by which he makes distinctions and ambiguities, and the intimacy of his prose. In the first section, Laleh Khalili shows that generosity is key to the book’s method and style. Khalili takes Rao’s brief treatment of Freddie Mercury as emblematic of how Out of Time dwells in ambivalences and thematic echoes across its chapters. Chamon shows how disorientation remains a central question of the book, ‘but not only,’ since Rao also finds key ways to orient politics at the same time. In the second section, Chamon sensitively explores how Rao tries simultaneously to hold together multiple temporalities and permanences, mutations and grammars, and conviviality and oppositionality—all in order to understand how Rao’s lines of prose, first lines and last lines, exist in productive tension with the sovereign lines that make international politics possible.

Some pioneering lexicographic research, notably that published in Volume IV of the Dictionnaire Explicatif et combinatoire (Mel'čuk et al. 1999), proposed a formalized treatment of some prefabricated polylexical units frequently mobilized in informal exchanges. In the same way, our paper focuses on expressive formulae commonly used in conversation and aims in particular to examine their illocutionary functions and their interactional roles, by specifying the type of clues (lexical co-occurrents, syntactic structures) allowing disambiguation. The formulae have been selected based on a frequency criterion, in the ORFEO oral database, with the addition of examples found on social media. We first look at the problems posed by pragmatic disambiguation, and then present – through the examples of bon courage and tu m'étonnes – a methodological approach, based on the notion of pragmatic framework. [ABSTRACT FROM AUTHOR]

This paper presents new data on the interpretation and processing of homonymy in Spanish. The objectives are to define the theoretical concept of homonymy and to offer experimental data on how these units are processed. Firstly, the definition of homonymy is reviewed, from a diachronic and synchronic point of view. Then a brief state of the art on the processing of homonymous words, considering different psycholinguistic studies that have found an ambiguity effect on word processing. Due to the fact that the material of English experiments may be problematic regarding the concept of homonymy that they use, and that the results in Spanish are not consistent, in this paper two experimental studies are presented. They aim to answer two research questions: how homonymy is interpreted in Spanish and how it is processed. All these data have implications for the models of mental representation.

In response to a complex world, radicalized individuals tend to retract into black-and-white thinking, preference for easy solutions for complicated problems, or belief in conspiracy theories. These individuals are often characterized by low cognitive complexity, lack in ability for perspective taking, as well as intolerance of ambiguity. Hence, it stands to reason that successful deradicalization processes might require addressing such patterns of thinking, ideally resulting in improved critical thinking skills. With this goal, a governmental deradicalization program in the state of Baden-Wurttemberg in Germany (Competence Centre Against Extremism, konex), is field testing innovative cell phone application-based methods since June 2021. The utilized tool is a news aggregation application that presents different perspectives on current (socio-) political topics based on editorial curation. Since deradicalization work is recommended to be tailored to individual needs, the application allows for context specific discussions and creative interventions (e.g., storytelling) based on the featured topics. This article presents the theoretical framework and underlying theories of change for the application’s implementation in day-to-day deradicalization work, especially focused on the improvement of critical thinking skills, tolerance of ambiguity, and perspective taking. Furthermore, the tool is being used to address existential uncertainties, conspiracy beliefs, as well as a lack of media literacy skills.

In this study I analyse the ghost story “Harry” (Timperley 1955) within the paradigms of embodied cognition (Gallese 2005, 2017), cognitive ambiguity (Zeki 2006), and storyworld possible selves theory (Author, 2014, 2018). My aim is to find out which storyworld possible selves, or “imagings of the self in storyworlds” (Author, 2014: 119) are likely to be projected by readers, and the extent to which these interact with the ambiguity that characterizes ghost naratives. The findings suggest that, in “Harry,” ambiguity (Zeki 2006) contributes to the mental construction of two alternative, equally certain, storyworlds, which I call multi-stable storyworlds, respectively connected to uncanny and rational meaning constructions. The storyworld possible selves projected in these mental scenarios seem to predominantly involve emotional responses associated with fear, family relations, and ethical perceptions of social justice.

Translation solutions for dealing with ambiguity in Alice’s Adventures in Wonderland. This paper shows how different types of ambiguity embedded in the matrix of Lewis Carroll’s Alice’s Adventures in Wonderland (the 1993 edition) are dealt with in two prestigious Romanian translations – Frida Papadache’s Peripeţiile Alisei în Ţara Minunilor (1976) and Antoaneta Ralian’s Alice în Ţara Minunilor (2007) – as a tribute to the international appeal of Alice. My focal aim is to present a comparative analysis of the methods employed in translating Carroll’s equivocal lexical items, which make it increasingly difficult to match grammatical categories with function. This paper also aims at describing disambiguation techniques applied primarily in determining if the two translators managed to reinforce the original textual leeway at their disposal in the pure spirit of Carroll. My analysis relies heavily on Dirk Delabastita’s translation strategies as precautionary measures to cope with Carroll’s specialized type of literary discourse. The findings submitted by this paper are consistent with the idea that translating Carroll’s craft unavoidably entails a partial loss of meaning, brought about by the yawning gap between the intended message and interpretation, which can result in either overtranslation or undertranslation. The extensive use of double-entendre in the source-text cannot be recoded entirely in the target language, despite the translators’ excellent command of English. Article history: Received 8 June 2022; Revised 21 November 2022; Accepted 25 November 2022; Available online 20 December 2022; Available print 30 December 2022. REZUMAT. Soluții de traducere a ambiguității din Alice’s Adventures in Wonderland. Acest articol arată că modul în care diferitele tipuri de ambiguitate încadrate în matricea textuală a lui Lewis Carroll în Alice’s Adventures in Wonderland (ediția din 1993) sunt tratate în două traduceri românești de vază – Peripețiile Alisei în Țara Minunilor (1976), tradusă de Frida Papadache, și Alice în Țara Minunilor (2007), tradusă de Antoaneta Ralian – aduce un omagiu notorietății internaționale de care se bucură Alice. Scopul acestui articol este să prezinte o analiză comparativă a metodelor alese în traducerea termenilor echivoci care împiedică formarea corespondenței formă-funcție. Un alt obiectiv rezidă în descrierea tehnicilor de dezambiguizare aplicate pentru a determina în ce măsură traducătoarele au împrumutat, în manieră carrolliană, atmosfera lingvistică a textului-sursă, având în vedere strategiile de traducere propuse de Dirk Delabastita ca măsuri de precauție în explorarea discursului specializat al lui Carroll. Constatările acestei lucrări arată că încercarea de a-l traduce pe Carroll inevitabil implică omisiuni lexicale cauzate de distanța mare dintre mesajul scriptic livrat de autor și interpretarea ulterioară. Aceasta duce, în cele din urmă, fie la supratraducere, fie la subtraducere. Folosirea deasă a calamburului în textul-sursă nu poate fi oglindită integral în textul-țintă, în ciuda nivelului excelent de limbă engleză deținut de cele două traducătoare. Termeni-cheie: umor carrollian; ambiguitate; soluții de traducere; tehnici de dezambiguizare; provocări textuale

A current trend in multinational corporations (MNCs) is a strong focus on diversity management in order to attract andretain talent. The present study investigates the linguistic manifestation and justification of a very recent company policyintended to facilitate this trend, viz., global paternity leave. The study aims to contribute to the linguistic turn inorganisational studies. As a theoretical point of departure, Corporate Communication, and specifically links betweenCorporate Social Responsibility (CSR) and Diversity Management communication are discussed. Concepts and tools fromtext linguistics are then applied to investigate the communication strategies employed when introducing the new familyleave policy in four MNCs headquartered in the UK and Norway, respectively. The material consists of a set of texts onglobal parental leave produced by the four companies. The linguistic analysis identifies similarities as well as differencesbetween the British and Norwegian companies in how the new global leave policy is presented. The findings alsodemonstrate a tension between focussing on the CSR efforts gender equality and inclusion in the justification of the newmeasure intended to support the MNCs’ diversity management efforts.

En els darrers anys, s’ha produït un debat jurídic, filosòfic i doctrinal sobre la taxonomia de la vulnerabilitat des de l’angle ontològic i el del "plantejament col·lectiu", així com des de les perspectives crítica, relacional i interseccional. Això no obstant, aquesta àmplia reflexió teòrica no ha aconseguit incorporar completament la tan necessària revisió semàntica dels conceptes de vulnerabilitat i migrant, sobretot pel que fa a la interpretació jurídica d’una de les col·locacions que més s’està veient últimament: vulnerabilitat de les persones migrants. En concret, les definicions que se n’han fet fins ara han provocat problemes d’interpretació jurídica, incloent-hi ambigüitats i vaguetats. També han portat a elaborar arguments basats en fal·làcies o hipòtesis sobre com s’identifica les persones vulnerables o no vulnerables en els contextos migratoris. En aquest article s’analitzen aquests problemes conceptuals i s’exploren les limitacions de la interpretació jurídica de l’expressió vulnerabilitat de les persones migrants. L’objectiu és demostrar que l’ambigüitat i la vaguetat conceptuals tenen conseqüències jurídiques i polítiques pel que fa a l’ús de categories exclusives per identificar les persones vulnerables en el sistema europeu d’immigració i asil.

The concept of fragmentarity not only constitutes the central idea of Ernst Bloch’s philosophy of music, but also the whole of his aesthetics, even of his entire ontology – which can already be characterized as a Marxist ontology of creative, utopian imagination. In spite of the fact that the focus of his musical interest was chiefly classical, tonal music and that, unlike Adorno, he gave relatively little attention to atonal and dodecaphonic music, we would like to show that Schönberg’s atonal music occupied, by way of the problem of fragmentarity, a specific place in Bloch’s socio-utopian ontology. At the same time, we want to highlight problematic aspects of Bloch’s concept of fragmentarity. This concept is perhaps overly connected with the aesthetics of romanticism, and its use to describe new music is in this way limited. The last part of the text is then a corrective of this position using the thinking of Emmanuel Levinas, especially his aesthetics and some of his notes on the event nature of music. In fact, from the point of view of Levinas’ critique of ontology, Bloch’s fragmentarity too is overly connected with the idea of ​​totality, albeit only utopianly sketched. In the conclusion itself, we will then attempt to point out the possible combination of Bloch’s conception of new music as a fragment and Levinas’ event approach to music in the broader framework of the aesthetics of ambiguity.

The goal of this paper is to introduce and elucidate the concept of “productive ambiguity” for the study of Homeric poetry and other literary texts. After the introduction, I present a theoretical elucidation of the concept, starting from a general notion of ambiguity and identifying three features of productive ambiguity: its irresolvable character (no alternative can be ruled out on textual or linguistic grounds), its persistence (both alternatives are appropriate to the context and contribute to the interpretation of the text), and its productivity (the ambiguity itself contributes to the interpretation of the text). In the third section, I analyze four passages from Iliad 2: 2.73, 285, 340-9, and 807, studying in each the source of the ambiguity and demonstrating that it fulfills the three features to be considered productive.

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This article examines Muslim interpretations in the mass media public discourses in German-speaking Switzerland. It focuses on the period from the moment of the adoption of the initiative against the construction of minarets untill mid-2017. On the basis of a discourse analysis four fields of positions are presented. It can be shown that there is a considerable variety of inter-Muslim interpretations. Those positions with the highest reception are characterized by an intolerance of ambiguity and an incorporation of hegemonial interpretative patterns.

This article analyzes the ideological rupture and the ambiguity of the narrative voice at work in the French noir novel of the 21st century, in particular through the texts of the writers Jérôme Leroy, Antoine Chainas and DOA. Through a stylistic and sociological approach to these novels rooted in the crises of the 3rd millennium, the study points out the aesthetic confusions and the formal paradoxes – which very often border on a sarcastic negation of any moral value – with which the narrators and characters play. If the observed irony and disillusionment are a conscious legacy of the classic American noir novel and the ‘‘neo-polar’’, the denial of progressivism dear to the ‘‘left-wing whodunit’’ contributes to the emergence of an unprecedented expression of disillusion: ‘‘ironihilism’’, a point of view that is at the same time impertinent, distanced, misleading and compromising on the speeches and gestures of the enunciators as well as the actors of the narrative.

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This study addresses the different types and implications of linguistic indeterminacy in Chinese law. It firstly draws on the studies of scholars of different disciplines, such as linguistics and philosophy of language, to provide a taxonomy of indeterminacy in language. It then provides examples of each type, highlighting the implications in law and legal interpretation. It uses linguistic data from various texts, such as statutory laws and judgements, and analyses them with various methods, including discourse analysis and corpus linguistics. This study argues that when the language of the law is indeterminate, the legal outcomes may be particularly uncertain. It suggests that although it is difficult to ascertain whether the degree of indeterminacy is higher in some languages more than in others, some linguistic mechanisms at the word-formation level in Chinese, such as portmanteaus and the modifier-modified structure, are remarkably ambiguous. When uncertain terms are in key parts of the law, the consequences may be more serious. The study of linguistic indeterminacy in Chinese has implications for the study of forensic linguistics, and Chinese studies in general.

Abstract Legal texts are a subfield of forensic linguistics involving the study of language and the law. This language is an arcane and often impenetrable category. The purpose of this present study is to identify the field of Legal Texts and distinguish their different aspects, moreover to discuss the distinctive field in homicide investigations in the Egyptian Supreme Court thoroughly. Therefore, this paper is supported by three cases from the Egyptian Supreme court. The paper analyzes the textuality with a focus on both the characteristics and criteria of forensic linguistics, linking text to context and types of ambiguity either lexical or structural features. Textuality integrated with ambiguity can constitute a totality of properties giving cohesion and coherence in any meaningful text. Textual analysis of these legal texts also involves understanding forensic language to gain information and providing cues to ways through which communication of social structures is understood. Textual analysis in legal studies operates at seven criteria of text. In addition to paying particular attention to specific lexical and structural ambiguity in forensic texts of cases under investigation. This paper aims to examine the textuality features and thematic structures embedded in the Egyptian Supreme legal texts, and to determine the most dominant causal factors of ambiguities in the Egyptian Supreme legal texts. All of these properties have consequences for research techniques to extrapolate the nature of legal texts and the relations involved between textuality and ambiguity.

’Ich werde eingetaucht/in vás’? Peter Waterhouse’s Prosperos Land as Dynamisation of T.S. Eliot’s The Waste Land. The assumption of the existence of well discernible national languages is at odds with the dynamic nature of language. It is part of the so-called “monolingual paradigm” and therefore implies inextricably linking people to their mother tongue, which is in turn tied to one respective ethnicity, culture and nation. However, languages are not always clearly discernible from one another and do not always appear in fixed, static forms. Instead, language is subject to dynamic changes, which are at the same time subject to political interests and language policies. The poems presented in this article exemplify how modern and contemporary poetry can use the conjuncture of multilingualism and ambiguity to create a sense of language dynamics themselves. Their poetics simultaneously question and make use of the assumption of static multilingualism. They unfold political problems from it and awaken in their readers a desire for proactive reading and (language) change. T. S. Eliot’s The Waste Land already problematizes the coexistence of the European languages as a challenge for understanding, suggesting that languages as well as their speakers might be untranslatably shut-off from each other. However, the poem also creates surprising synergistic effects from its multilingualism and ambiguity. This way, it invites its readers to connect and cross over (language) borders in an adaptive and poetic manner, stressing the importance and capability of poetry and learning for intercultural understanding. Prosperos Land by Peter Waterhouse perpetuates and even surpasses this movement. As the ambivalent bilingual, intertextual and ambiguous title suggests, the poem challenges the possibility of linguistic as well as national demarcation from the start. Moving away from strict language borders and rules, the poem highlights the transformative magic of an almost childish exploration of language itself.

One must distinguish between the Enlightenment concept and the humanistic concept of humanity. The former indicates a universal deontological ideal; the latter a selective set of personal and social virtues. Kant is a champion of Enlightenment but inherits various aspects of the humanistic tradition that began at the end of the fourteenth century. This tradition, which largely coincides with the so-called Hofliteratur, eclectically combines elements of ancient and Christian ethics and adds a strong pedagogical, aesthetic and socio-political trait to outline a secular morality of self-government. After briefly presenting the Enlightenment “humanist family”, the article examines some figures of the humanistic tradition present in Kantian ethics: the Weltbürger, self-improvement and humanitas. Through them I show the substantial role of education, taste and social interplay. They converge in the sphere of pragmatic anthropology, the moment morals become involved in the dramatic theatre of the world with its dialectic and rhetoric of appearance. Here the ethics of the imperative intersect with ethics as prudence and the art of living. Rational freedom intersects with the contingency of reality and the inscrutability of the psyche. Morality becomes more impure, but also richer and more suited to take up the challenge of being human.

Thomas Aquinas treats specifically of rights and natural rights in his exposition on the virtue of justice (Summa theologiae, IIa-IIae, q. 57). He does so principally in reference to Aristotle, whose Nicomachean Ethics he had just commentated, but he also draws inspiration from Roman jurists, in particular Ulpianus. This happy synthesis however is not without ambiguity. What connection is there, in particular, with the treatise on laws (Ia-IIae, q. 90 ff.) ? On one side, Thomas refuses to confuse right and law, but on the other, he does not cease to bring them together. In the same way, if he bases natural right on the "nature of things" (which seems to distance him from the natural law, for this flows from "human nature"), he nevertheless considers that natural rights change because human nature is subject to change and that "everything that reason dictates to man is the natural law". It is for the elucidation of such aporias that this article is dedicated. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Social Sciences & Humanities Researches is the property of Mugla Sitki Kocman University, Institute of Social Sciences 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.)

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Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) 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 Enfances, Familles, Generations is the property of Enfances, Familles, Generations 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 Mélanges francophones is the property of Galati University Press 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 study deals with the linguistics and poetics of the translation of “The Twelve” by Alexander Blok, a leading poet of the Russian “Silver age” concerning three levels of analysis :a) lexical-grammatical challenges of translating, b) challenges of translating poetical pictures (and poetics of headlines in the original and the translation), c) phonical-rhytmical challenges of translating. Taking into account the fact that the headline “Двенадцать“ in the Russian original has three levels of meaning, thematical “twelve people “, genre-compositional “twelve poems” and cultural-historical “twelve hours of the old world,” the only lexeme adequate to Serbian translation is the lexeme “дванаест” in a headline and it has to be used as a leit-motiv in three lines of the three poems of the epic. A special aspect of the study is represented by the explanation of the new recension of the Serbian translation of the poem “The Twelve”, with a grapheme “yat” (ѣ), that can be read in ekavian and yekavian dialects (with a monosyllabic reflex of a long yat pointing to the preceding apostrophy).

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak 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.)

İçinde bulunduğumuz ve geçmişle kıyaslanamayacak hızda değişen, birbirle-riyle karşılıklı ilişki içinde pek çok faktörün oluşturduğu karmaşık, oynak, muğlak ve belirsiz ortam, ABD’de VUCA olarak isimlendirilmektedir. VUCA, volatility, uncertainty, complexity ve ambiguity kelimelerinin baş harflerin-den oluşan bir kısaltmadır. Bu çalışmada VUCA, dilimize KOMB (karmaşık-lık, oynaklık, muğlaklık, belirsizlik) olarak uyarlanmıştır. KOMB dünyasının, geçmişin nispeten istikrarlı iş dünyasından çok farklı özellikler göstermesi, bu yeni durumla baş etmek durumunda olan yöneticilerde yeni beceriler ge-liştirme zorunluluğunu ortaya çıkarmıştır. Bu kuramsal (teorik) çalışmada öncelikle, KOMB olarak nitelendirilen bu yeni iş dünyasının bileşenleri ve özellikleri ele alınmış, ardından Bob Johansen tarafından geliştirilen ve KOMB dünyasında başarılı olabilmek için günümüz üst düzey yönetici ve liderlerinin taşıması gereken yeni liderlik becerileri açıklanmıştır.

The paper comments on our new translations of E.A. Poe’s “The Tell-Tale Heart” (1843) and “The Black Cat” (1843). The introductory section reviews retranslation theories since the birth of the so-called Retranslation Hypothesis. We consider Lawrence Venuti’s idea of retranslation as best fitting our strategy. According to his point of view, each retranslation is, in fact, a reinterpretation. Besides correcting or debating other translations of Poe, we preserved what we thought to be insightful and eloquent in them. Our major objective was to retain the cognitive obstacles, the contradictory meaning of Poe’s prose, rather than to avoid its ambiguity, discrepancies, and repetitiveness. The non-native reader’s verdict, his or her assessment of the narrators’ sanity at the moment of crime and the validity of their post-crime narratives, would largely depend on the translator’s effort to savor both gothic undertones and numerous indications of mental instability in Poe’s tales. Such indications allowed numerous critics to diagnose the narrators with a variety of mental disorders. Another goal of our translations was to savor a distinctiveness of Poe’s prose, its affectiveness – the diction and phrasing of the oral spontaneous speech of “The Tell-Tale Heart” narrator and the penned account given in “The Black Cat”. We made it a point to preserve where possible the authorial syntax and punctuation i.e. the numerous dashes, as well as italicized words and phrases, in order to project a tone of voice and sketch the psychological contours of the characters, especially that of the first narrator, whose pathological reactions could be caused by external or delusory sensory overload.

Spanish proverbs are general prescriptive principles, since they systematically induce a directive act. Guardians of a natural logic, they admit exceptions and are therefore flexible didactic norms. Nevertheless, they remain rules of life, which are exceptional because they prove to be potentially irrelevant for communication. Indeed, not only the fixity of their form may resist the natural evolution of languages and the speaker’s intentionality, but their meaning can be ambiguous in synchrony or diachrony.

The interpretation of Ps 139 remains a deeply contested matter. In particular, the psalm’s genre and integrity continue to be debated, with the key issues related to the place of vv. 19-22. Do these verses constitute the key to interpretation, or are they a later interpolation? If they are an interpolation, can we trace the psalm’s development back through the material in vv. 1-18 (possibly with some minor expansions), so that vv. 23-24 are seen as a unit displaced from the introduction? Conversely, if vv. 19-22 are original, how do we account for marked change of tone present so that instead of the seemingly bucolic reflections found in vv. 1-18 the text then shifts to an imprecation against the wicked? This paper proposes a unified reading of the psalm which uses ambiguity as a central technique for developing different experiences for those who pray this psalm within the subgroup of the prayers of the accused. It will be argued that ambiguity is an intentional compositional strategy within the psalm, with the effect of the ambiguity different for those who read the poem from the perspective of innocence as opposed to the experience of those who read from the perspective of guilt.

All translation tends towards an appropriation of the translated text by the target language. This is the starting postulate of this paper which tries to identify the Latinization of the Aesopic fable in the translation given by Phaedrus (I, 2), in particular in relation to the aesthetic criteria established by Horatius and which predominated in the poetry of the 1st century AD. Phaedrus plays with this appropriation of the model, insofar as he chooses to stage Aesop as the narrator of this poem in a Greek context. The Latin fabulist is indeed all the more easily able to divert Aesopic material, as it is very familiar to the Roman reader, thus leaving him room for implicitness and ambiguity in his translation. However, this diversion of the Aesopic model is not gratuitous: Phaedrus tries to found the Latin genre of the fable. Hence his use of fable-type epithets which help to standardize the Aesopic bestiary into a coherent system, especially with regard to the symbolism of the frog, the embodiment of both the inconsistency of the people and the impudence of weak beings. Phaedrus gives a satirical tone to the symbolic dimension inherent in the fable and which allows it to convey popular wisdom, thus forcing the reader to take on interpretive responsibility. However, up to La Fontaine, satire was a constitutive element of the genre which leads us to say that, though he borrows his material from Aesop, Phaedrus nevertheless founded the modern genre of the fable.