This study investigated the interconnected relationship between playful metaphors and sex jokes at the linguistic, conceptual, and discourse levels. Two ontological conceptual metaphors and two specific-level metaphors emerged. They demonstrated that variations in the form of empty metaphors and the creative invention of metaphors are still fundamentally iconic. The conceptual representation of sex acts is closely related to the cultural and ethnic specificity embedded in folk knowledge, such as food culture, the broader context of the physical environment and historical traditions, (...) and the conception of family relationships. Metaphors in sex stories showed that the shared values of Hakka people have pragmatic and socio-cultural implications. Seen as an in-between other by their blood family and their in-laws’ family, Hakka women are under dual strict cultural disciplines for their expected behaviors as women and for their expected roles as daughters-in-law. Metaphors in sex jokes serve as covert and humorous carriers to get around the uneasiness of socially tabooed and embarrassing topics regarding Hakka women and at the same time maintain relational and social harmony. (shrink)

Many scholars have claimed that satire is a genre. At the same time, however, it is also widely acknowledged that satire has changed over the centuries, that it has taken various forms and that it still appears in a variety of other genres. Far from being a drawback in identifying satire as a genre, I will claim that variability is a natural property of genres if the latter are conceived of as dynamic cognitive categories that emerge out of a complex (...) interplay of heterogeneous factors which cluster differently under the effect of different contextual and cotextual attractors. I will assume that, in satire, these factors include a range of linguistic and rhetorical devices which interact in different ways to dynamically bring about specifically intended effects. I will further claim that understanding satire is a context-sensitive complex process which implies setting up and maintaining multiple mental representations, and drawing pragmatic inferences. (shrink)

In this essay we discuss a class of apparently metaphorical idioms, exemplified by “fine as frog's hair,” that do not afford any obvious interpretation, and appear to have originated, at least in part, in language play. We review recent trends in both play theory and metaphor theory, and show that a playful approach to language is often an important element in the use and understanding of metaphors (and idioms generally), even when metaphors can be readily interpreted by means of a (...) vehicle-to-topic mapping. Based on this evidence we call for a more deliberate inclusion of language play in metaphor theory and analysis. (shrink)

The article discusses the cognitive-linguistic technique of frameshifting and its potential for deliberate impoliteness in antagonistic politically charged discourse. Frameshifting involves the construction of utterances in such a way that their comprehension involves two stages: the reader is first led to invoke one mental frame and then is forced to discard it and to invoke a different frame, with the final message being deliberately insulting. The article demonstrates that frameshifting, which has been studied predominantly in humorous discourse, can also be (...) used in aggressive communication to intensify the insulting potential of utterances and to simultaneously increase prominence and memorability of the message. The article argues that the effects of impoliteness can depend on the manner of expression, and if the speaker chooses a particularly innovative and conspicuously intentional means of expression, the intent to insult comes to the forefront, the insulting meaning is amplified, and the resulting negative message is strengthened. (shrink)