This article focuses onsarcasm, for which the definitions have often been loose and confusing, integrating it into the concept ofirony. My approach is based on a large corpus of examples taken from two contemporary television-series, which help identify the wide range of linguistic processes at the core of sarcastic utterances. I present a quantitative and descriptive analysis of the main processes found in two American television-series:House M.D.andThe Big Bang Theory. The results show the intricate meanings created in sarcasm through various (...) linguistic mechanisms, such as repetition, explicitation, metonymy, metaphor, shift of focus, reasoning, and rhetorical questions. This more holistic analysis, including a broad corpus of instances and a more detailed analysis of the examples, aims to fill the unexplored gaps in more classical analyses, emphasizing the complexities and implications that can be drawn in interaction. (shrink)

Within the framework of Viewpoint Spaces (Dancygier, Barbara. 2012. The language of stories: A cognitive approach. Cambridge: Cambridge University Press), this paper investigates viewpoint interactions in a mobile game’s plot to show how the game’s structural framing leads to meaning construction, specifically the construal of irony. The notion of (meta-)Ground Viewpoint Space is proposed not only to provide a generalized account of a global mental space where local spaces and viewpoints relate to one another, but also to elucidate how the (...) invoked genre-specific expectation makes a significant meaning contribution to the player’s overall construal of the game. This study presents a case study of the mobile game Liyla and the Shadows of War (Abueideh, Rasheed. 2016. Liyla and the Shadows of War) as a viewpoint phenomenon whose construal involves the interaction of multiple viewpoints. The game depicts the consequences of the 2014 Gaza conflict from the perspective of an unnamed Palestinian father struggling to escape the war zone with his daughter Liyla. It deviates from prototypical games in that it is impossible to complete the expected narrative, regardless of the player’s skill, although its ostensible goal is to let the protagonists survive and escape to a safer place. The mismatch between the player’s goal to clear all the stages, the character’s goal to survive, and the developer’s goal to convey a message is a source of ironic meaning, and this study focuses on how the network of multiple viewpoints – of the game developer, the character, and the player – constructs the intended meaning for players. (shrink)

The aim of this paper is to shed some light on the linguistic concept of implicit offensiveness. On the one hand, implicitness will be juxtaposed with indirectness as the two concepts are not conceived of here as synonymous. On the other hand, a typology of offensiveness (vs offensive language and vs offendedness) will be proposed, as well as the overarching term ‘covert meaning’ that will span figurative implicitness and non-figurative implicitness. The gradability of various forms of covert meaning and its (...) overlap with overt meaning (subsuming explicit literal meaning and implicit literal meaning) will also be discussed. In the analysis, two sample implicit concepts will be examined (irony vs sarcasm) based on corpus data (of general English and dedicated offensiveness corpus) and using non-contextual embeddings. Theory-wise, the paper demonstrates that implicitness is a complex term which is fuzzy and gradable; methodology-wise, it shows how computational tools can be used to attest theoretical assumptions related to offensive covert terms. (shrink)