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Regardless of recent arguments about the wide-scale capabilities of artificial intelligence introduced into machine translation systems, some professionals still underestimate machine translation. However, other scholars see MT as an opportunity to develop and improve the translation industry. Apparently, there is no doubt that machine translation has massively impacted the translation profession and changed radically the way human beings interact through languages. Therefore, translators, university professors, and translation companies seek to adapt to these radical transformations in the field of translation studies. Regardless of the advantages of machine translation, it still confronts huge challenges especially when MT strategies and procedures are applied to specific texts in different contexts particularly colloquial Arabic extensively proliferated in contemporary literature and mass media. On this basis and in response to repeated claims about the high efficiency of machine translation and its extra-ordinary potentialities to render any text from one language into another with accuracy and precision, this paper emphasizes the inability of machine translation mechanisms to render Arabic texts into English and vice versa. The paper emphasizes the damaging impact of using machine translation in rendering into English not only colloquial Arabic dialects but also modern standard Arabic (MSA). The paper also underlines the translation errors resulting from the use of machine translation in rendering modern English texts into Arabic and vice versa with focus on the translation of idiomatic expressions and proverbs. As applied study, the paper will use a variety of texts selected from various literary and non-literary sources/contexts and translate them by “Google Translate” to underline the drawbacks of MT, which subsequently lead to the distortion of the meaning of the SL texts translated into TL. In other words, the paper aims to uncover the mistakes resulting from the use of machine translation when converting both MSA and colloquial Arabic expressions into English and vice versa. The argument of the paper consists of four parts including an introduction, which navigates contemporary translation theories, followed by a scrutiny of the challenges confronting Arabic-English translation, and examples of Arabic/English/Arabic carried out by machine and human translation in addition to a conclusion.

This article provides an introductory examination of Urban Dictionary, focusing on its attributes and distinctive features. In the article the functionalities of the webpage are explored, the structure of entries is analysed and a typology of definitions is proposed. Through detailed analysis of specific examples from the Urban Dictionary lexicon, the dynamics of this user-generated content platform is discussed. The paper highlights the significance of individual and social perspectives of users as well as the aspects of creativity, humour and narratives included in the definitions. The paper aims to contribute to better understanding of the phenomenon of Urban Dictionary in the context of social linguistics.

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Personal worldview can be subjected to linguistic modeling even if the person in question is a fictional character. This research featured the vocabulary invented by the contemporary American writer Dave Eggers for his dystopic dilogy, as well as the role of this fictional language in creating satirical mode. The study involved such methods of cognitive linguistics as component, transformational, and stylistic analyses, analytical description, and semantic fields. The article opens with a review of domestic and foreign publications on the connection between language, social processes, and thinking. The Circle (2013) and The Every (2021) were analyzed for satirical and stylistic devices. The dilogy turned out to be a new type of satire, which combines the postmodern irony and deconstruction with the metamodern openness and optimism. The vocabulary of the future as seen by the author was analyzed for its functions in creating the worldview. Its key features include: neologisms and occasionalisms coined in line with actual word-formation models; contrasting high and low-style vocabulary; euphemisms and modified set phrases. D. Eggers also satirized some real linguistic trends, which, in his opinion, deform the language and affect people’s mind and behavior.

[rec. di] F. PERLINI, L’Albertazzi. Dizionario, grammatica storie di slang bolognese in una variante di ballotta, Pendragon, Bologna 2023-2024

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يهدف البحث إلى إلقاء بصيصٍ من الضوء على إبداع كاتبنا الكبير "يوسف إدريس"؛ وذلك من خلال تسليط الضوء على اللغة بوصفها وسيلة تعبير عند يوسف إدريس، حيث بدأته بالحديث عن أهمية اللغة للعمل الأدبي، ثم عرضت لأبرز خصائص التعبير اللغوي في الأعمال الرواية والقصصية ليوسف إدريس. أما عن المنهج الذي اعتمدت عليه الباحثة فهو المنهج التحليلى في دراسة تلك الخصائص، ولتحقيق أهداف الدراسة فقد قسمت البحث ثلاثة مباحث وخاتمة، وفيما يلي إجمال للخطوط العريضة لهذه الدراسة: المبحث الأول بعنوان اللغة في روايات يوسف إدريس، وجاء المبحث الثاني اللغة في القصة القصيرة عند يوسف إدريس، وكان المبحث الثالث بعنوان بين استخدام الفصحى والعامية، وأنهيت البحث بخاتمة أوجزت فيها أهم النتائج وأهم التوصيات التي توصلت لها دراستي، وقد ذيلت ذلك كله بقائمة المصادر والمراجع التي اعتمدت عليها الدراسة. Abstract The research aims to shed light on the creativity of our great writer "Youssef Idris".And that was by shedding light on language as a means of expression for Youssef Idris, where she started by talking about the importance of language for literary work, and then presented the most prominent characteristics of linguistic expression in the novel and story works of Youssef Idris. As for the approach that the researcher relied on, it is the technical approach to study these characteristics and to achieve the objectives of the study, the research was divided into three sections and a conclusion. The following is a summary of the broad outlines of this study: The first topic was entitled Language in the novels of Yusef Idris, the second topic came the language in the short story of Yusef Idris, and the third topic was entitled The use of classical and colloquial, and I ended the research with a conclusion in which I summarized the most important results and the most important recommendations that my study reached.

Although standard Italian is taught from primary school and is widely prevalent in the media, dialects are still spoken in many households all over the country. This trend is captured by many popular video-on-demand providers such as Netflix and HBO, who are diversifying their offer by promoting their own non-English language productions via both subtitling and dubbing. This article analyses how language variation, particularly in the form of dialect and slang, is adapted for dubbing in the Italian Netflix series Baby (2018‒2020) and Suburra: Blood on Rome (2017–2020). Specifically, it examines the most common translational strategies that have been implemented in the dubbing of both series in English. In particular, dialectal elements are often translated directly or generalised, at times, with the addition of taboo words. Correspondingly, youth jargon is largely translated via direct translations or creative additions. Despite having two different age groups at the centre of the narration, similar translation strategies were used in the two series. The qualitative analysis demonstrates that dialect is used to define social disparity, since characters involved with criminality speak principally dialect whereas wealthy students, affluent characters, politicians, and churchmen draw on standard Italian primarily.

Copyright of Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)

In this article we propose to study the different ways in which three Greek translators have dealt with popular slang in Émile Zola's L'Assommoir. More precisely, using tools and methods used in CALT (Computer Assisted Literary Translation) and Translational Stylistics, we will examine the translation of popular slang drawn from the semantic field of alcohol, in the speech of three characters of the novel (Coupeau, Mes-Bottes, Bec-Salé/ Boit-Sans-Soif). Starting from the observation that popular slang is not only a central stylistic element of the novel but also an essential aspect of the very identity of the text, closely linked to the literary techniques practiced by the author, we try to identify the main techniques adopted to translate popular slang into Greek. Our main aim is to distinguish the strategies of the translators (in terms of their position on the domestication-exoticization continuum proposed by Venuti) and to put the translations in perspective with respect to the socio-cultural conditions and the initial norms (appropriateness or acceptability according to Toury) that govern the act of translating in each given period.

The article reveals the communicative and pragmatic parameters of the blog as a genre of personal Internet communication. On the material of the blog by Lyudmila Linnyk on the website «Galitsky Correspondent» it is proved that language means of different levels can participate in the process of text and character formation. They can acquire additional meanings in the process of unfolding the text, form an evaluative frame of the message, and facilitate the decoding of blog posts in the manner defined by the author mainstream. The purpose of the study is to reveal the communicative and pragmatic features of a blog as a specific genre of Internet communication. The following methods have been used in the work: descriptive (with its help we have collected and analyzed language means that are significant in the communication process), contextual (has allowed us to explore the environment of linguistic units and its impact on the result of communication) and the associative field method (has helped to identify associative links between in words, the implementation of a multilevel analysis of tokens). It is noted that various researchers base their understanding of a blog as a separate genre of communication in the network on its specific characteristics, but everyone agrees with the statement that a blog is a website with chronological, back-structured multimedia information presented in it, the content of which can be commented on. It has been found that the communicative and pragmatic potential of a blog as a genre of personal Internet communication is realized due to the actualization of linguistic means of different levels: pronouns and deictic structures, connotative and associative linguistic units, slang and pejorative elements, phraseological units, grafon, parcels, affix morphemes. It has been established that pronouns are used in blogs to intensify the text, dynamizing the storyline, and forming antinomies. Connotationally and associatively coloured linguistic units act as keywords that are nodes of a concatenation of the semantic structure of the text, the starting point for the development of the topic; they are emotionally evaluative components capable of semantically expanding the text, giving it new semantic dimensions, reflecting the blogger’s position and his individualized vision of certain social problems. Parcelled constructions perform attractively and meaningful reinforcing functions, actualize the blogger’s speech intentions. The use of grafon as a way of avoiding the graphic standard contributes to the actualization of the meanings of individual lexemes, providing them with new meanings. Slang and pejorative elements, like affixal morphemes, form evaluativeness (usually negative), expressiveness and euphemism. It is noted that different types of linguistic units can form the evaluative frame of the message, intensify the plotline, express the presentation of the material, establish connections between implications in the text and facilitate the identification of the associative meanings of the word

This paper analyzes the expressivity of popular language from the novels ”Iancu Jianu, Head of Administration” and ”Iancu Jianu, Captain of the Hajduks” by N.D. Popescu. The popular language is a language specific aspect, a language version and a main component of the oral version of the national language. In literary works, the popular language has a stylistic purpose. The aesthetic value of the text is the result of the process by which the expressiveness of the writer`s language is converted into an individual literary rule. The stylistic processes and brands encountered in popular language are national specific and they reflect the history, the way of thinking and the feelings of Romanian people. The popular language implies the release of constraints and limitations imposed by national language standard. I have chosen this study because it is an important matter that was not explored in Romanian hajduk novels and hajduk short fiction (novella, short-story, and tale).

The article analyses 246 hybrid verbs of Slavic origin with the suffixes -inti, -uoti, -yti, -ėti, -auti from the Lithuanian slang and non-standard dictionary. The study reveals that borrowings with affixal adaptation are always adapted to the linguistic system. The most popular suffix is -inti (190 hybrid verbs). There are some (64) derivative hybrids with this suffix, hybrids are formed from the adapted basic words, and therefore, in such cases hybrid verbs are derivations of the suffix -inti. There are twice as many adaptive hybrids (126), which are morphologically adapted by replacing the derivative suffix of the language donor with the suffix of the language recipient. Other suffixes are rare: -uoti (21), -yti (12), -ėti (12), -auti (11), with which derivative hybrids are usually formed from already adapted basic noun in slang.

The article analyses 200 nouns of Lithuanian slang with the three most common Slavic suffixes: -ka, -kė (Russ. -ка, Pl. -ka); -akas (Russ. -ак, Pl. -ak), -iakas (Russ. -як); -ščikas, -čikas (Russ. -щик, -чик). The majority of nouns in the slang are with the suffixes -kė, -ka. A part of the borrows with theses suffixes are the result of suffix univerbation; the univerbs usually are informal or slang words in Russian language. The borrowings with the suffixes -akas, -iakas are the second most common: these nouns are mostly slang words in Russian. There are many hybrids created with the suffixes -akas, -iakas in Lithuanian slang. The nouns with the suffixes -ščikas, -čikas are the third most common; the words with -ščikas are more ordinary in slang; the suffix -čikas is less common, but both forms are often used as synonyms. There are also few pseudo-borrowings with Russian roots and suffixes -ščikas, -čikas as well as hybrid derivatives.

In this article the phenomena of multiethnolect, ethnolect, contact language and pidgin has been analyzed, which are inherent in the speech of migrants. The peculiarities of this linguistic phenomena are based on the example of different languages (German, English, Norwegian, etc.). In particular, emphasis is placed on the reasons for their formation. The commonalities and differences between analyzed linguistic concepts are also outlined. The analyzed phenomena contains a large amount of foreign vocabulary, which is not in the literary version of the language. At the same time, they create new forms, build their specific grammar. The experience of foreign researchers working on this topic is taken into account, so examples from local realities are given. The focus is on multiethnolect as a language of modern European cities. The spread of this phenomenon beyond the narrow groups of migrants, where it was formed, is traced. For example, in Germany, a mixture of German and Turkish is popular among ethnic German youth. An attempt is made to compare the realities of migrant speech in Europe with the speech of migrants in Ukraine. Based on the sociological study «Prestige of Ukrainian language among foreign students in Lviv» the features of the language of foreign students of three largest Lviv universities: Lviv Polytechnic National University, Danylo Halytskyi Lviv National Medical University, Lviv National University have been analyzed. According to the study, almost all foreign students use Ukrainian words, both in literary language and in slang, dialect and «surzhyk» are common on the streets of Lviv. In fact, Ukrainian language is most often used in everyday situations outside the university: for example, in public places – transport (81.8%), shops (90.2%), cafes and restaurants (82.2%), health care facilities (68%). In contrast, in the academic environment, the language of communication is mostly English – 67.6%, and at the place of residence of students – their native language (67.6%). This is due to the fact that most university courses are taught in English, and most foreign students, as already mentioned, are not interested in staying in Ukraine after graduation, so they are not highly motivated to deepen their knowledge of Ukrainian. Thus, the primacy of the communicative function of Ukrainian language among foreign students is attested; the most typical situations in which foreigners use Ukrainian language are identified; an attempt has been made to explain the current state of affairs. The speech of foreign students is classified as a contact language and prepidzhin, which is caused by the temporary stay of these people on the territory of Ukraine, and hence the need for full integration with Ukrainian society. To increase the interest in Ukrainian language by foreign students, exercises with the use of slang vocabulary have been proposed.

In this article, we undertake a contrastive analysis of some slang words and expressions of the tennis lexicon in French and Italian. Using the notion of "lexiculture", coined by Robert Galisson, we will adopt - on the basis of a corpus of dictionaries of sports and sports slang in both languages - a comparative approach, reviewing some "culturally charged" terminological entries relating to the French and Italian tennis lexicon. Through this approach, we aim not only to bring out the culture sedimented in the selected lexical units, but also to show how these cultural references — being often specific to the idiom and civilization in which these slang lexical units were forged — pose many difficulties when translating.

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Building on the idea of a “word-creator”, a lexical machine that combines semantic devices like metaphor and metonymy and formal devices (mainly borrowed from Tournier’s lexicogenic devices) to produce new lexical items, a process that is especially observable in slang and colloquial language, both in English and in French, this paper focuses on series of synonymous slang and colloquial language words and expressions. Some of these are built around what we call a “semantic equation”, or a semantic trait that is brought into sharp focus. Other sets of expressions, which are much larger, are built around the iteration and slight deformation of a prototypical expression that ends up being forgotten in the rather mechanical re-use of the expression’s general outline. It is argued here that this mechanism illustrates the notion of slang as wordplay as the expressions thus created seem to echo one another over time and to build upon one another in a sort of attempt at being funnier, or more original or more absurd than those who came before.

La langue des jeunes est une variante de la langue « standard » qui est utilisée par des pairs et qui fait partie de la variation diastratique de la langue. L’utilisation d’un sociolecte propre aux jeunes locuteurs de la langue est un signe d’appartenance à un groupe dont l’âge est le facteur déterminant. Il est vrai que l’utilisation de certains lexèmes est conditionnée par la situation linguistique dans laquelle les gens se retrouvent (variation diaphasique), mais il n’est pas moins vrai que certaines formes lexicales sont plus utilisées par des jeunes, surtout dans des échanges au sein d’un groupe de pairs. Notre recherche aura comme objectif de présenter le vocabulaire dit « jeune » qui touche le domaine de la boisson (les noms des boissons, les types d’alcools, les verbes utilisés pour parler de l’action de boire). Notre corpus sera constitué à la base du lexique que nous retrouverons sur le site du parler jeune (www.miejski.pl ; langue universelle des jeunes). Les résultats obtenus seront classés selon les procédés lexicogéniques responsables de la création de nouvelles formes lexicales (de forme, de sens, emprunts). Dans notre analyse nous nous occuperons des formes lexicales néologiques contemporaines comme les mots wudżistu ‘vodka’ (mot-valise de wódka ‘vodka’ et jujutsu ‘ju-jitsu’), zibol ‘personne qui est en train de boire’ (onomatopée de zib ‘bruit produit pendant l’ingestion d’un liquide’), tankować ‘faire le plein d’essence’ (métaphore) ou sztela ‘gnôle’ (emprunt au parler de Silésie).

Although our early grammarians acknowledge the existence of different ways of speaking the Portuguese language, it seems to be Contador d‘Argote the first to employ dialect and slang (about Portuguese varieties) words in a grammatical work. This occurred in the second impression of its Rules of the Portuguese language, to which he added informations to the first impression, necessaries “for Portuguese idioms comprehension”, and the fourth part “for the most polite teaching and the noble people”. This part consists of a dialogue between M(aster) and D(iscipule), which begins with: “M. What does Dialect mean? Following this, the author begins to identify the main “castes of dialects”: local dialects, of time and profession. More than naming them, he points out their differences, characterizing them, to end the exhibition by speaking of the Rustic Dialect and the Overseas Dialects. In the latter (from India, Branil, &c), he points out that there are “many terms from Barbarian languages and many words from ancient Portuguese”. And, as a close to the “sociolinguistic lesson”, he speaks about another genre of Dialect, which they call Giria (slang) that, in Lisbon, men “what they call eventually workers… which sometimes they employ among themselves” and also of another Giria, that of the “Gypsies”.

This paper frames the concepts of foreignization and domestication, so fervently discussed in the field of Τranslation Studies, within a selection of theories put forward by theatre studies scholars and literary theorists. After exploring the definitions of foreignization and domestication as proposed by Lawrence Venuti (1995), as well as the modes of textual engagement advanced by Rita Felski (2008), namely recognition, enchantment, knowledge, and shock, we address parallel discourses in other fields and make a case for conceiving of the act of translation as both a form of performance and a type of writing. In aligning Bertolt Brecht’s aesthetics of estrangement, or “V-Effect”, with foreignization and shock, and, conversely, Constantin Stanislavsky's System with domestication and enchantment, we are able to consider more broadly how textual choices made in the writing and translating process can contribute to soliciting various forms of audience response. In an effort to apply these discussions to fictional texts, the example of non-standard language, and especially the youth slang of the banlieue parisienne used in Kiffe kiffe demain (Faiza Guène, Hachette 2004), is adopted. This backdrop allows us to consider the choices made to transcribe and subsequently translate the linguistic features of this performance for readers generally unfamiliar with this language in its raw state raise a number of questions related to the authenticity and accessibility of their (re)presentation.

The problem of the contemporary writer is the range of his/her vocabulary and idiomatic phrases. In spite of the Romanian slang being so rich, the corresponding literature manifests a sort of deafness in this regard. There is an incapacity of capturing the spoken language at many writers as they are enclosed in tiny circles. The consequence is that the slang in many oeuvres is sketchy, unimaginative. If we look at the terms in G. Volceanov’s Dictionary of Argot, we perceive instantly the gap between trendy contemporary writers’ language and the language in use at the outskirts of society. The linguistic scarcity becomes more obvious with the forceful advent of political correctness. Writers seem to resort more and more to self-censorship.

The article reports that to classify a set of data, it is necessary to agree on a certain number of criteria. Topics include considered that in the case of the "literary caricature", a particularly vague object, this is not self-evident and if roughly agree on the notion of "caricature", this kind of plastic slang this mode of expression which comes under the epideictic genre the forms it can take are not easy to describe.

The object of analysis in this article is the Macedonian translation of Salinger’s novel The Catcher in the Rye. It is considered to be one of the most controversial novels of the last century due to the themes the author elaborates, but also due to the use of mid-twentieth-century slang then common to young Americans. For that reason, our study will be conducted through the prism of Berman’s theory of text deformation systems, and special attention will be paid to the destruction of vernacular networks and tendency towards ennoblement. We will also take into consideration Eco’s views on translation as an act of negotiation, being aware that when translating slang the translator is obliged to negotiate between domestication and foreignisation. In order to analyse the offered equivalents, we will also examine the use of different translation techniques and, in certain contexts, offer more appropriate solutions from a translatological point of view. The research will be done on phonological, lexical, idiomatic and syntactic levels. On a phonological level, we will examine the solutions offered for deletion of phonemes and word contraction. On a lexical level, the focus will be placed on the slang vocabulary, but the study will also include interjections, particles as well as the use of augmentatives and diminutives in the target text. We will also analyse different translation solutions offered for idioms and some specific syntactic structures. The analysis reveals both successful solutions and also, certain inadequacies, thus preparing the way for improved translations in the future.

This article is one part of the research of adverbs in Lithuanian slang. Although there is no systematic and comprehensive research into the Lithuanian language slang, slang is commonly believed to be chaotic and have no grammatical system. The purpose of this article is to morphologically examine the derivatives formed with suffix -ai from the adjectives with suffix -iškas and from the primary adjectives without suffixes. The material (79 adverbs) is collected from the dictionary of Lithuanian slang and the dictionary of non-standard Lithuanian. The study aims to identify the systematic morphological features. To achieve the aim the research words are classified according to their suffixes, their origin is determined and morphological analysis is performed. The research reveals that a foreign language unit that emerges in the context of another language undergoes assimilation - it is transformed in one way or another by adapting it to the linguistic system. In Lithuanian slang, adverbs with the suffix -ai are mostly made up from hybrid adjectives of Russian origin with the suffix -iškas. There is also a number of adverbs formed from English hybrid adjectives. A few are derived from semantically neologic adjectives. The majority of suffixal -ai derivatives that are formed from primary adjectives are Russian origin. Adverbs which are derived from the adjectives with the suffix -iškas always retain the accent in the root: this pattern is common to all slang adverbs. All forms of adverbial degrees have accented suffixes. The findings of the reseach reveal that the morphological features of the studied slang adverbs have undergone certain transformations and follow the regularities of the Lithuanian language system: the slang adverbs copy derivative models of the standard language.

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Copyright of Synergies Europe is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 main goal of this paper is to compare a sample of neological loanwords from the gastronomic sector in French and Czech. The idea of the comparative conception mentioned in the title of the article is based on the international project entitled "EmpNéo" (Neological Loanwords), which aims to compare the diffusion of neological loanwords in various languages. In this study, we would like to focus on the word fresh and its perception in Czech and French. Our aim is to find out if this word is known to the general public or, on the contrary, it works as an argotic expression, which is only known to a limited audience. To answer this question, we analyzed the different kinds of corpus and also studied in detail the occurrence of this word in the press. [ABSTRACT FROM AUTHOR]

This study explores the semantic area of ‘mistake’ in contemporary English, with a special focus on slang in general English dictionaries (e.g. OED) and dictionaries of modern slang (e.g. Green 2010/2016, Urban Dictionary 1999-2016). While the ‘mistake’ area already abounds in standard lexical items concerning misconceptions, misunderstandings, errors of judgement, gross mistakes, or even blunders, the negative connotations that it entails are even more evident in slang. Slang items designating ‘mistake’ range from regular formations, such as the compound party foul or the derived word floater, to extra-grammatical words, such as clippings (e.g. boob ← booby), acronyms (e.g. snafu ← situation normal, all fucked up), reduplicatives (e.g. boo-boo), and even to rhyming slang (e.g. penny banger for ‘clanger’) (Mattiello 2008, 2013). The origin of these items is often specialised or restricted to small speech communities – e.g. military world, theatre, students’ campus – but their use has extended to common language nowadays. The study both investigates the morphological peculiarities of slang items of the ‘mistake’ area, and shows how they are often tinged with offensiveness, vulgarity, and rudeness due to their semantic associations to negative, vulgar or abusive standard meanings. Diachronically, the emphasis is on the twentieth and twenty-first centuries.

The present paper aims at investigating both morphosyntactic and semantic headedness of 60 (61 senses) contemporary English slang blends, as well as some of the blends’ formal properties, namely the patterns by which they are formed and the syntactic categories they and their input words belong to. The blends whose first use was recorded between 2000 and 2019 are excerpted from the online version of Green’s Dictionary of Slang. The reason why slanguage is chosen for blend excerption is the fact that slangy formations are conscious rather than spontaneous [Mattiello 2008: 16], the same way that blends are, and also because slang, like blending, has a tendency for clipping words [Mattiello 2008: 141]. Among 9 formation patterns identified, half of the blends are formed from two shortened rather than whole words, which results in their greater morphotactic opacity. A qualitative and quantitative analysis of morphosyntactic headedness of the slang blends shows that in most cases it is the right-hand member that functions as the head. On the other hand, a qualitative and quantitative analysis of semantic headedness shows that the preference of the slang blends for the semantic right-headedness is not that prominent, since only 21 out of 61 examples can be said to be semantically right-headed, which may in part be explained by the cryptic character of the slang register. Also, only 15 out of 32 endocentric slang blends appear to have the longer of the two words as the semantic head. Finally, although the slang blends analyzed here are for the most part no more than the semantic alternatives to the existing standard words and phrases, they nonetheless increase the potential of a language, as well as the area of word-formation research [Mattiello 2005: 18].

This article discusses problems involved in the literary representation of argot and spoken language in the context of the First World War based on the analysis of a multilingual corpus including the French novel Le Feu, written by Henri Barbusse in 1916, its German version, Das Feuer, translated by Leo von Meyenbourg in 1918, as well as the German novel Im Westen nichts Neues, written by Erich Maria Remarque in 1929, and its French translation À l’Ouest, rien de nouveau by Alzir Hella and Olivier Bournac published the same year.

This study is part of a series of research studies relating to the terms and expressions that French soldiers used at the front during the period 1914-1918. In World War I, the first large-scale mechanised war, intensive use of previously known as well as new weapons took place. To these weapons, as well as to other death machines of the time, correspond both old designations and neologisms used by the soldeirs. In this article, the names of military devices are presented along with the trems referring to injuries caused by them.

Flagellate because considered as the language of some thieves, delinquents and even criminals, burglars, the nouchi' gains more and more ground in the communicative situation of the Ivorian public at large. Today, it is spoken by almost all the strata of society in Cote d'Ivoire. Raising up some critics in the centre of the great scientific studies and literary debates. Today, the 'nouchi' occupies a seat of choice, honour. So to speak its preponderance, constant use in the verbal exchanges we make us thinks that the slang 'nouchi' could be the common language to Ivorians. Indeed, the almost totality of the Ivorian speakers can't express themselves without using a word or an expression of this slang. [ABSTRACT FROM AUTHOR]

The most remarkable difficulty of audi- ovisual translation is related to the transla- tion of dialogues, which are supposed to reproduce the features of a more or less spontaneous oral language. This paper aims to analyze the difficulties and the strategies adopted for the translation into Spanish of the film Entre les murs (2008). This film, which depicts the daily life of a group of students and their teachers, is known for being a reflection of a French social reality, namely the reality for young people who live in the suburbs, which constitutes a particular universe. From a linguistic point of view, this reality is defined by the use of an oral register, a language characteristic of young people and by the presence of slang, specially the so-called verlan.

Slang is certainly one of the aspects of language that are the most difficult to translate, even if we do not agree with those who consider language or even slang as untranslatable. In this paper we will present the case of the Hungarian translation of BorisVian’s last novel published under the pseudonym of Vernon Sullivan, Elles serendent pascompte. The main the difficulty for the translator consisted in expressing in contemporary Hungarian the essentially playful French general slang used by Vian towards the end of the 1940’s.

Copyright of Synergies Mexique is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)