In arguing against a supposed ambiguity, philosophers often rely on the zeugma test. In an application of the zeugma test, a supposedly ambiguous expression is placed in a sentence in which several of its supposed meanings are forced together. If the resulting sentence sounds zeugmatic, that is taken as evidence for ambiguity; if it does not sound zeugmatic, that is taken as evidence against ambiguity. The aim of this article is to show that arguments based on the second (...) direction of the test are misguided: ambiguous expressions, and in particular philosophically contested ones, do not reliably lead to zeugmaticity, so an absence of zeugmaticity provides no meaningful evidence for an absence of ambiguity. (shrink)

Use of rhetorical figures has been an element of persuasive speech at least since Gorgias of Leontini, for whom such deliberate deviations from ordinary literal language were a defining feature of what he called the ‘psychagogic art’. But must we consider figures of speech limited to an ornamental and merely stylistic function, as some ancient and still many modern theorists suggest? Not according to contemporary cognitive rhetoric, which proposes that figures of speech can play a fundamentally argumentative role in speech (...) by evoking a level of shared meaning between speaker and listener, and simultaneously by affording the possibility of reorganizing this common ground. This paper argues that, in Latin literature, zeugma—the ‘linking together’ of two elements with a third that is semantically compatible with only one of them—can and very often does operate argumentatively, and that it does so by surfacing figurative relationships that normally remain below the conscious awareness of Latin speakers and by imparting a certain structure to these relationships. What very often motivates the selection of elements within zeugma—and what makes zeugma more than simply a stylistic device—are in fact metaphorical structures that are highly conventionalized in Latin's semantic system. In tapping into symbolic associations that are deeply entrenched in the language and thought of Latin speakers, zeugma therefore provided a ready-made device for constructing arguments in context. (shrink)

Zeugma (“The storm sank my boat and my dreams”) is a well-recognized figure of speech whose mechanism of operation is less well understood. We suggest treating zeugma as a breach of syntactic iconicity: the syntactic form of the coordinative construction statement implies an equivalence or semantic proximity between the two objects of the verb (boat and dreams), while the objects supplied are semantically very distant. Unlike nominal metaphors and similes, in zeugmas two metaphorically-related, nonsymmetrical objects are put in (...) syntactically symmetrical positions. This feature, the breach of iconicity, registers as a surprise, an effect wholly different from that of metaphors and similes. Seeing zeugma in these terms makes it possible not just to explain its functioning beyond broad pronouncements about yoking together different items, but to tease apart syntactic and semantic factors that contribute to the level of the breach of iconicity and subsequently to the zeugma’s strength. Moreover, understanding zeugmas as a surprising breach of iconicity leads to the question of how this breach may be accommodated or made sense of. In the second part of the essay, we introduce three types of accommodation strategies, each with a distinct focus: the language, the objects, and the speaker. (shrink)

Zeugmatic oddness is a linguistic intuition of oddness with respect to an instance of zeugma, i.e. a sentence containing an instance of a homonymous or polysemous word being used in different meanings or senses simultaneously. Zeugmatic oddness is important for philosophical debates as philosophers often use it to argue that a particular philosophically interesting expression is ambiguous and that the phenomenon referred to by the expression is disunified. This paper takes a closer look at zeugmatic oddness. Focusing on relevant (...) psycholinguistic literature on homonymy and polysemy processing and representation, I argue that there are two different ways in which zeugmatic oddness can arise. Philosophical upshots concerning zeugmatic oddness are then drawn. (shrink)

Ambiguity is not the polysemy most words display as dictionary entries but results from the context's blocking of the reader's choice among competing meanings, as when, to use an example from Derrida, a French context hinders the reader from deciding whether plus de means "lack" or "excess" .1 In this case, the undecidability is due entirely to the fact that the reader is playing a score, the syntax, that will not let him choose. This must be because the score is (...) badly written; yet it is precisely this sort of willful neglect that critics have labeled poetic license, thereby underlining its literary nature. Undecidability has become a central feature in Derrida's analyses of literariness, and it is also the main underpinning of his creative writing.2 Better still, his own critical discourse has put undecidability to use, not a rare case of metalanguage imitating the very devices of the language it purports to analyze. My example are therefore drawn from Derrida on the assumption that his conscious practice of écriture, backed up by a sophisticated theory, will be particularly illuminating. For my own analysis of these phenomena, I shall be using a special word that Derrida has adopted and adapted from the terminology of ancient rhetoric. He proposes it in his commentary on this sentence of Mallarmé's: "La scène n'illustre que l'idée, pas une action effective, dans une hymen . . . entre le désir et l'accomplissement, la perpétration et son souvenir."3 Our critic points out that the grammar prevents the reader from choosing between hymen as "marriage," a symbolic union or fusion, and as "vaginal membrane," the barrier is broken through if desire is to reach what it desires. Undecidability is the effective mechanism of pantomime as an art form since from mimicry alone, without words, the spectator cannot tell whether a dreamed, or a remembered, or a present act is being set forth. This, in turn, Derrida shows to be fundamental to Mallarmé's concept of poetry. It is simply a pun or, as Derrida prefers to call it, a "syllepsis,"4 the trope that consists in understanding the same word in two different ways at the same time, one meaning being literal or primary, the other figurative.5 The second meaning is not just different from and incompatible with the first: it is tied to the first as its polar opposite or the way the reverse of a coin is bound to its obverse—the hymen as unbroken membrane is also metaphorical in both its meanings is irrelevant to its undecidability. What makes it undecidable is not that it is an image but that it embodies a structure, that is, the syllepsis. · 1. See Jacques Derrida's La Dissémination , p. 307.· 2. Because Derrida is a philosopher by trade, one would expect his undecidability to reflect the very precise logical and mathematical concepts of that discipline - which is to say, the limitations inherent in the axiomatic method. Kristeva, for example, tries to do this in her Le Texts du roman: Approche sèmiologique d'une structure discursive transformationnelle , pp. 76-78. So far as I can make out, however , Derrida's critical theory and reading practice do not pack more into the word "undecidable" than does the definition I offer in this paper.· 3. Stephane Mallarmé, Mimique, Oeuvres complètes , p. 310: "the scene [a drama, or rather a pantomime] bodies forth only an idea, not an action: it is like a hymen between desire and its realization, or between an act committed and the memory of it"; here and elsewhere, my translation unless otherwise cited. Derrida's commentary, "La Double Séance," has been rpt. in La Dissémination, pp. 199-317; see esp. pp. 240 ff.· 4. See La Dissémination, p. 249.· 5. This definition has prevailed ever since Dumarsais' treatise, Des Tropes . That syllepsis must be distinguished from the so-called grammatical syllepsis or the zeugma is apparent in Heinrich Lausberg's Handbuch der literarischen Rhetorik , pars. 702-7; on the acceptation chosen by Derrida, see pars. 7-8. Michael Riffaterre, Blanche W. Knopf Professor of French Literature and chairman of the department of French and Romance literatures at Columbia University, is the editor of Romantic Review. He is the author of Semiotics of Poetry, La Production du Texte, Typology of Intertextuality and A Grammar of Descriptive Poetry. "Syllepsis" developed out of seminars he led at the Irvine School of Criticism and Theory and at Johns Hopkins University. (shrink)

Several recent theories of linguistic representation treat the lexicon as a highly structured object, incorporating fairly detailed semantic information, and allowing multiple aspects of meaning to be represented in a single entry (e.g. Pustejovsky, 1991; Copestake, 1992; Copestake and Briscoe, 1995). One consequence of these approaches is that word senses cannot be thought of as discrete units which are in one-to-one correspondence with lexical entries. This has many advantages in allowing an account of systematic polysemy, but leaves the problem of (...) accounting for effects such as zeugma and the absence of crossed readings, which have traditionally been explained in terms of multiple lexical entries, but which can also arise in examples where other criteria demand that a single entry be involved. Copestake and Briscoe (1995) claimed that these cases could be explained by discourse coherence, but did not describe how this might work. We remedy this here, by formalising a general pragmatic principle which encapsulates discourse effects on word meaning. We demonstrate how it contributes to the creation of zeugma and the non-availability of crossed readings. (shrink)

Empirical evidence suggests that perceptual‐motor simulations are often constitutively involved in language comprehension. Call this “the simulation view of language comprehension”. This article applies the simulation view to illuminate the much‐discussed phenomenon of copredication, where a noun permits multiple predications which seem to select different senses of the noun simultaneously. On the proposed account, the (in)felicitousness of a copredicational sentence is closely associated with the perceptual simulations that the language user deploys in comprehending the sentence.

On οδ γγελός τίς κτλ. Jebb writes: ‘The sentence begins as if γγελός were to be followed by λθε:but the second alternative, συμπράκτωρ όδοû suggests κατεȋδε [had seen, though he did not speak]: and this, by a kind of zeugma, stands as verb to γγελος also.’ In support he cites only an atrocious zeugma from the MS. text of Hdt. iv. 106; but this has been corrected, as anyone may now see who will examine the text and apparatus (...) of chs. 106 and 107 as presented in Hude's edition. (shrink)

These lines from the second book of the Aeneid introduce the night on which Troy falls. They have always been felt to be impressive: rich in allusion, noteworthy for the monosyllabic ending of the first line, and memorable for the majestic zeugma of the last two lines. Line 250 opens by incorporating a half line from Ennius: vertitur interea caelum cum ingentibus signis and closes with a near-translation of the substance of a half-line from Homer.

The coding function of semiotic-systems in literature is explored as an example of Umberto Eco’s real and fictional protocols in the play of discourse formation (lector in fabula). The intricate phenomenological levels of intersemiotic translation (apposition, opposition, chiasm, zeugma) are illustrated by analyzing a rhetorical passage (semiotic object) from Charles Dickens’ novel Bleak House. The passage on the logic of series (“lists”) allows us to explore fact/fiction, real/imaginary, normal/abnormal, sane/insane, neurotic/psychotic choices as discourse voice protocols (active, middle, passive) for (...) the axiological interpretation (ethic, moral, aesthetic, politic, and rhetoric) of meaning formation (tropes) and signification function (figures). Models of discourse are drawn from Benveniste, Foucault, Greimas, Lévi-Strauss, and Wilden. (shrink)

This article deals with a mosaic from ancient Zeugma on the Euphrates found in 2002 and recently published with interpretive commentary. Its subject is the story of Theonoe and Leukippe preserved only in Hyginus and nowhere in Greek. Despite this, the authors argue that the myth, in its unique form, can for over one thousand years be connected with romance, mime, pantomime, tragedy and derives ultimately from early Cretan rituals of transvestism. Its immediate inspiration however is imperial pantomime along (...) with the transvestism notorious in that genre, as can be argued from the layout of the mosaic and the iconography of Theonoe, our first clear picture of a pantomime. But the main thrust of the article, especially in appendix B, is to demonstrate that the Hyginus story must now be considered to represent the plot of a lost tragedy, which derived many of its elements from late Euripides, but in its over-enthusiasic use of these represents a post-Euripidean artificially complex plot-type, for which hitherto we had limited evidence. (shrink)

This is one of the Horatian passages most tormented by the critics. Four points, I think, may now be safely regarded as established. First of all, the lectio tradita can hardly be sound : those who have tried to defend it—their Nestor is Porphyrio himself—have encountered insuperable difficulties. Magnum—to use Kiessling—Heinze's word—is patently ‘sinnlos’. Secondly, none of the proposed conjectures really satisfies. Maga non, as Kiessling-Heinze rightly note, is excluded by metrical reasons alone, not to mention its stylistic harshness ; (...) magica, favoured by Kiessling-Heinze, is scarcely better : the epithet is tautological after venena, and if we accept the emendation we are compelled to postulate a very awkward zeugma . Thirdly, the corruption is pre-medieval, because Porphyrio already read magnum : if we have to apply palaeographical methods for the solution of the problem, we must reason in terms of Roman cursive. (shrink)

Nevertheless, Marx's essay ["On the Jewish Question"] has a profound bearing upon The Jew of Malta; their conjunction enriches our understanding of the authors; relation to ideology and, more generally, raises fruitful questions about a Marxist reading of literature. The fact that both works use the figure of the perfidious Jew provides a powerful link between Renaissance and modern thought, for despite the great differences to which I have just pointed, this shared reference is not an accident or a mirage. (...) "On the Jewish Question" represents the nineteenth-century development of a late sixteenth-century idea or, more accurately, a late sixteenth-century trope. Marlowe and Marx seize upon the Jew as a kind of powerful rhetorical device, a way of marshalling deep popular hatred and clarifying its object. The Jew is charged not with racial deviance or religious impiety but with economic and social crime, crime that is committed not only against the dominant Christian society but, in less "pure" form, by that society. Both writers hope to focus attention upon activity that is seen as at once alien and yet central to the life of the community and to direct against that activity the anti-Semitic feeling of the audience. The Jews themselves in their real historical situation are finally incidental in these works, Marx's as well as Marlowe's, except insofar as they excite the fear and loathing of the great mass of Christians. It is this privileged access to mass psychology by means of a semimythical figure linked in the popular imagination with usury, sharp dealing, and ruthless cunning that attracts both the sixteenth-century playwright and the nineteenth-century polemicist.1 · 1. Anti-Semitism, it should be emphasized, is never merely a trope to be adopted or discarded by an author as he might choose to employ zeugma or eschew personification. It is charged from the start with irrationality and bad faith and only partly rationalized as a rhetorical strategy. Marlowe depicts his Jew with the compulsive cruelty that characterizes virtually all his work, while Marx's essay obviously has elements of a sharp, even hysterical, denial of his religious background. It is particularly tempting to reduce the latter work to a dark chapter in its author's personal history. The links I am attempting to establish with Marlowe or the more direct link with Feuerbach, however, locate the essay in a far wider context. Still, the extreme violence of the latter half of Marx's work and his utter separation of himself from the people he excoriates undoubtedly owe much to his personal situation. It is interesting that the tone of the attack on the Jews rises to an almost ecstatic disgust at the moment when Marx seems to be locating the Jews most clearly as a product of bourgeois culture; it is as if Marx were eager to prove that he is in no way excusing or forgiving the Jews. Stephen J. Greenblatt is the Class of 1932 Professor of English Literature at the University of California at Berkeley. He is the author of Sir Walter Raleigh: The Renaissance Man and His Roles, Renaissance Self-Fashioning: From More to Shakespeare, Marvelous Possessions: The Wonder of the New World, and the editor of a collection of essays, New World Encounters. (shrink)

This article stems from a sense of discontent and frustration that the cultural position of Eastern/Central European feminisms have not been theorized enough in comparison with other non-First World feminisms. To construct my argument, I use a rhetorical figure, zeugma, which is able to underpin the specificity and the commonalities of the post-Communist area feminisms as compared to the hegemonic feminisms of the world or to Third World feminisms. Zeugma (from an ancient Greek word meaning “bridge”) is a (...) figure of speech that relies on balance and acceptance of grammatical difference. An almost perfect cultural space shifter, Eastern/Central Europe produces feminist discourses that constitute, in my opinion, zeugmatic spaces in the worldwide concerto of world feminisms.I suggest that many of the problems of contemporary feminist theory arise from the context that has defined feminist theory. Only if we fully understand this context will we be in a position to understand how to escape from the dilemmas posed by this context” (Joan C. Tronto, Moral Boundaries. A Political Argument for an Ethic of Care)“Which is why the critique of all discourses concerning gender, including those produced or promoted as feminist, continues to be as vital a part of feminism as is the ongoing effort to create new spaces of discourse, to rewrite cultural narratives, and to define the terms of another perspective—a view from ‘elsewhere’” (Teresa de Lauretis, Technologies of Gender). (shrink)