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Stupid as a Coin: Meaning and rhyming similes in Vietnamese

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Abstract

Similes emphasise affinities between different objects, and they occur in many cultures. Vietnamese similes can be classified into two types: Meaning Similes and Rhyming Similes. This paper analyses and compares their structure and their semantic and phonetic requirements. It also draws innovative parallels between Vietnamese rhyming similes and Cockney Rhyming Slang, Multisourced Neologization of the Phonetic Matching type, and English, Italian and Israeli euphemisms.
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȋǤͻ͹ǦͳͳͺȌ
ͻ͹
Stupid as a Coin: Meaning and rhyming similes in Vietnamese
ǡǡ
Ǯ ǡ   ǡ  Ƭ 
ǡ
     ǡ  
  Ǥ      ǣ
    Ǥ    
       
Ǥ       
     ǡ 
    ǡ  ǡ  
Ǥ
Keywords:  Ǣ  Ǣ Ǣ 
ǢǢ
1. Introduction
Ǥ 
Ǥ 

ȋcfǤǡͳͻ͹ͻǢǡͳͻͷͷȌǤ
ǣ ȋȌ 
ȋȌ  Ǥ       
  Ǥ
          Ǥ 
          
  Ǥ       
Ǥ
2. Meaning and Rhyming similes in Vietnamese
         
ȋcfǤ ǡ ͳͻͻͺǡ Ǥ ͳͳͳȌǤ    ȋʹͲͳͲǡ Ǥ ͳͻͲȌǡ  
          Ǥ 
 ǡ    ǡ     
Ǥ  
ǣ
ͳǤ
Ǯዘዏዛ¯ñ×¯Øǯ
ǣ
ȀᖠǣăᖪᖩȀ
ͻͺȁƬǮ
ǣ
Ǥ
ǣ
Ǥ
ǡ
  nhрǮǯǤǡ Ȅ
ǡȄǤ

Ǥ
 ǯ    Dz  dz  Dz
dzǡ  
ȋi.e.ǡȌǤ
ʹǤ
ǮØኸØዛዓዛǯ
ǣ
ȀǣăᖩᖪᖩȀ
ǣ
Ǥ
ǣ
ȋǤfresh as a daisyȌǤ
 ǡ    ǡ     
Ǥ
Ǥǣ
͵Ǥ
Ǯèoዛèoǯ
ǣ
ȀăᖡᖪᖩȀ
ǣ

ǣ
ȋsemanticpoor as
a church mouseȌ
ͶǤ
Ǯ²áiáiǯ
ǣ
ȀᖠᖲᦵᢛᖜᦵᢛȀ
ǣ

ǣ
    ȋ    semantic
cunning as a foxȌ
͵ǡ Ǯ°ǯȀȀ  Ǯ°ǯDzdz Ǯ°ǯ
DzdzǤ       
Ǥsemanticpoor as a
church mouseǤ
ͶǡǮǯȀᦵᢛȀǮǯDzdzǮǯDzdzǡ
   Ȃ      foxǡ  
Ǥ
2.1. Analysis of Meaning Similes
2.1.1. Meaning choice
           Ǥ
    ǡ    
Ǥǡ
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͻͻ
ǡǡǡ
 Ǥ   ǡ       
Ǥ
ǣ
ͷǤ
Øኸ¯ዂዛ²
ǣ
ȀᖪᖩȀ
ǣ

ǣ
ȋȌǤ
ǡǤ  
 ǡ    ǡ ǡ ǡ    
ȋǡͳͻͻͺǡǤͳ͹ͺȌǤ
ǣ
͸Ǥ
ኸዛዊ
ǣ

ǣ
ȋcfǤǣugly as sinȌ
͹Ǥ
ዛዘ
ǣ

ǣ
ȋcfǤǣstupid as an assȌ
ͺǤ
Øዛï
ǣ

ǣ
ȋcfǤǣsmelly as a skunkȌ
ǣ


Ǥ

ኹዛ°

ȋcfǤ
thin as a bean poleȌ
ዛዠ

    ȋcfǤ  
fast as lightningȌ
×ዛዛ

   ȋcfǤ  
cry like a babyȌ
×ዛ


ኸዛዊ

    ȋcfǤ 
ugly as sinȌ
ዎ¯ዛዠ

   ȋcfǤ  
black as inkȌ
ͳͲͲȁƬǮ
       Ǧ    
        
 Ǥ  ǡ   ǡ 
ǣ
0ዂ ዛ ² ȋǣ    Ȍ   
ǣ
0ዂዛȋǣȌ
0ዂዛȋǣȌ
Ǯኹዓዛዓǯ
ǣ

ǣ
ȋǤǣȌǢ 
ǣ
ኹዛ°ȋȌ
ȋȌȋȌ
¯×ȋȌ
2.1.2. Structure
Full structure
        
ǡ  
Ǥǡǣ
ͳȌ 
ʹȌ 
͵Ȍ          
ȋǡͳͻͻͻǡǤͳͲ͹ȌǤ
ǮØኸǯȋǣȌǤ  
ǡǮØኸǯȋȌǡǮǯȋȌ
ǮዛǯȋȌǡǮǯȋȌ
Ǥ
Grammatical structures
ǡǣ
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ȋȌ
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ȋȌ
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͲͳ
ǣ

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ȋȌ


ǣ

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0ዕዛዕ
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
ȋȌ
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
ǣ
ǯ
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ȋȌ
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

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
ǣ

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
ǡ
ǣ
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
Ȁ
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Ȁ
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Ȁ

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Ȁ
ǦǦ
Ȁ
Ǧ
General structure
ȋȌ ȋȌ
ȋȌȋǡȌǮǯǮǯǤ
    ȀȀȀ   
ȋǡȌǡǮǯ ǮǯǤ
ǡ          
Ǥ
ǡǣ
ͳͲʹȁƬǮ
ǣ
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Ȁ

ǣ
2.1.3. Elements
ǡ
ǣ
ǣ
×ዛዛ
ǣ
ȋǤǣcry like a babyȌ
ዛኸ
ǣ
ȋǤǣsnore like sawing logsȌ
ኼዛî
ǣ
ȋǤǣslow as a snail, slow as a
tortoiseȌ
ǣ
ኡዛዘ
ǣ
ȋǤǣnoisy as crowsȌ
×ዛ኷
ǣ

኶ዛ¯ዐ
ǣ
ȋǤǣrun as fast
as a windȌ
Ȁ
ȋȌ
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͲ͵
ǣ
×ዛ×ኽ
ǣ

ǣ
ዛዟ¯×¯²ዛ
ǣ

ዓዔዛ኶
ǣ

ዛ኶
ǣ
ȋǤ
like a headless chickenǡȌ
ǣ
ዛዕØዌዛዌØ
ǣ
Ǥ
×ዛዏÖ×
ǣ
Ǥ
2.1.4. Connecting words
          
ǣ
x ǮዛǯǮዛ዇ǯǡǮኾǯǡǮዠዛǯǡǮǯȀǮǯ
x ǮዓǯǮǦǯ
x ǮØኾǯǡǮ኿ኾǯǡǮØǯǡǮ኿ǯǡǮǯ
ǣ
ዛ
ǣ

ͳͲͶȁƬǮ

ǣ

ዓ
ǣ

2.2. Analysis of Rhyming similes
2.2.1. Meaning choice
ǡ
Ǥǣ
ዛ²
ǣ
ȀăᖪᖩȀ
ǣ

ǣ


Ǯinhዛinhinhǯ
ǣ
ȀăᖪᖩăăȀ
ǣ

ǣ

Ǥ
ǡ   ǡ   Ǥ  ǡ
       Ǥ ǡ Ǯ ǯ
ȋȌǮǯȋǮȌǤ
ǣ
éoዛéo
ǣ
ȀᖪᖩȀ
ǣ

ǣ

       Ǥ
      ǡ   
Ǥ    Ȅ     
 Ȅ bite
the bulletǡas dead as a doornail, snug as a bug     
ȋȌas dead as a Dodoǣ
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͲͷ
лȋዛȌ኷¯¯л
ǣ
ȀȀ
ǣ

ǣ

ǣ

Ǥ

eoዛeo


аnዛаnаn


iêuዛiêu


Йtዛ኷Йt



          ǡ   
Ǧ Ǥ       
ǡǤ
2.2.1.1. Phonetic Matching
ȋǡʹͲͲ͵ǡǤʹͶǦʹͻȌ  
     Ǧ     

 Ǥ     myth
ȋΪȌ      
 
  Ǥ   ǡ     
          
 Ǧ  Ȁ   
Ǥǡ
          
Ǥ
          maydayǡ 
  m’aiderǮȋȌ  Ǩǯ ȋ    
 ͳͻʹ͹Ǣ Oxford English DictionaryȏOEDȐȌȀ
 m’aidezǮǨǯȋaidez moiȌ 
 venez m’aiderǮ  ǨǯȋǤ OEDȌǤ     Ǧ
May day ǮǯǤ
          au secoursǮǨǡ
ͳͲ͸ȁƬǮ
Ǩǯaidez moi ǮǨǯ
ǡȋȌ
ahuakatl, ǮPerseagratissimaǡǯȋǤǮǯȌǡ
aguacateȋ Ǯǯ
agua ǮǯȌǤǡ
      avocadoǡ Ǥ Ǯǯ ȋcfǤ
  abogado Ǯǯǡ Ǥ  evocado Ǯǡ
ǡǯȌǡǡ Ǯǯ 
Ǧȋǡ
    ȌǤ      avocado
        alligator (pear)ǡ  
Ǥ
      Ǥ  
   bimbo ȋǮǯȌ Ǯǯǡ giuro ȋǮǯȌ Ǯǯǡ 
grasso ȋǮǡǯȌǮǯȋǡͳͻͳͺǡǤʹʹͷȌǤ 
Austin Waco ȋȌHastaluego ǮǢǯȋǤ
ǮǯȌǤ
2.2.1.2. Euphemisms
partial
ǤǦ
ǣ
x gosh!ȋͳ͹ͷ͹ǡOEDȌGod!ȋͳ͵ͶͲǡOEDȌǤ
x darn!ȋͳͺͶͲǡOEDȌdamn!ȋͳ͹͸ͲǡOEDȌǤ
x frigȋǤfrig you! ͳͻ͵͸ǡOEDȌfuckǢ frigging hell!fuckin’ hell!
x (What the) dickens! ȋͳͷͻͺǡOEDȌdevil!
x heck ȋͳͺ͸ͷǡOEDȌhellǤ
x blooming ȋǤǮǡǨǯͳͺͺʹǡOEDȌbloodyǤ
x blinking (ͳͻͳͶǡǡǤbleedingǡballyruddy) bloodyǤ
x shoot! ȋ ͳͻ͵Ͷǡ OEDȌ  sugar!shit! ȋ ͳͻʹͲǡ
OEDȌǤ
Ǧ cavolo!ȋǤǮǯȌ cazzo!ȋǤǮǯ
         shit!Ȍǡ incavolarsi ȋǮ
ǡ  ǯ      Ȍ  incazzarsi ȋǮ
ǯȌǡmercoledì!ȋǤ ǮǯȌ  merda! ȋǮǯȌǡ   porca
mattina ȋǤ Ǯ ǯȌ     porcaMadonna ȋǮDzdz
ǯȌǤ
     ʤʣʥʱ ʱʥʫkos sódaǡ Ǥ Ǯ   Ǧ
ǯǡ˗ʺʧʠ ʱʥʫkus ókhtakǡǤ
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͲ͹
Ǯǯǯ˗ʮʠ ʱʥʫkus émakǡǤǮǯǯǤ
2.2.1.3 Cockney Rhyming Slang
ǡ 
  ȋȌ   
         ǡ   
ǮǯǤǣ
x Adam & EveȂeve
x Jelly BoneȂone
x Sharp & Blunt Ȃunt
x Donald Duck ȂuckȀuck
x Tea LeafȂief
x Buckle My Shoe Ȃew
ǡ
    ȋ Ȍ     
Ǥ ǡ     Ǧ  ȋ
ǡ ʹͲͲ͵ǡ ȚͳǤʹǤͶȌ      
ȋǡ ʹͲͲ͵ǡ ȚͳǤʹǤͷȌǡ      tout courtǤ
ǣ
x Trouble & StrifeStruggle & StrifeȂife
x Sorry & SadȂad
x Sorrowful Tale Ȃail
x Edward HeathȂeethȋ  ǯ  
  Ǣ Ǥ    Edwardsǡ  
ǮǯȌ
x Ten to TwoȀFour by TwoȂewȋǮ
     ǡ   ǯǡ ȏcfǤ ǡ ͳͻͻʹǡ
͸͸ȐȌǤ   Four by Two ȋȌ      
 ǡ  Ͷʹǡ   
ȋǡȌǤ
   ǡ    ǡ    
  
Ǥǣ
ЯtЯt
ǣ
ȀᖪᖩȀ
ǣ
ȋȌ
ǣ

ͳͲͺȁƬǮ
  ǡ ǮЯtǯ  ǮЯtǯ       
  ȀȀǤǡanimals
 ȋe.g.ǡȚʹǤʹǤ͵ȌǤǡ
          
Ǥ
2.2.2. Structure
ǣ
ǡǤǣ
u
ዛ
¯ዏuȋͳȌȀᖜăȀ
ȀăȀ
ȀăᖩȀ
u ȋʹȌȀȀ
uȋ͵ȌǯȀȀ
ǮǯǮuǯǮuǯǡǮuǯǮuǯǤǡ
          Ǥ
          
          
ǮǯǤ
Full structureǣ
ǡ   
ǡ   ǡ    ȋȀȌǡ  
ǤǮ×ዏዛዏዏǯȋǣ
ȀȌǡǮ×ǯȋȀȌǡǮዏǯȋȌ
ǡǮዏዏǯȋȌǡ
ǮዛǯȋȌǤ
Grammatical structures:
ǣ
Ȁ
ȋȀȌ
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͲͻ
ua
ዛ

ua
ȋȌ
ȋȌ
ǣ

Кy
ዛ

Кy

ȋȌ
ǣ

General structureǣ
ǣ
ǣ
anh
ዛ
anh



ǣǡǤǣquick as a winkȌ
2.2.3. The elements of rhyming similes
  ǡ        
Ǥǡǡ
   Ǥ       
ǮȀǯǡǮዏዛዏዏǯȋǣ
ȌǮዏዏǯǡǮዛǯ
ȋȌǤǣ
ǣ
ͶͲǤ
ǮeoዛeoǯȋǣȌ
ͶͳǤ
ǮЮዛЮǯȋǣȌ
ͶʹǤ
ǮЙuዛЙuǯȋǣȌ
Ȁ

ȋȀȌ
ͳͳͲȁƬǮ
ǣ
Ͷ͵Ǥ
ǮØЫዛЫǯȋǣȌ
ͶͶǤ
ǮôngôngዛôngǯȋǣȌ
ͶͷǤ
ǮውoiዛoiǯȋǣȌȋȌ
ǣ
Ͷ͸Ǥ
ǮØinhዛinhinhǯȋǣȌ
Ͷ͹Ǥ
Ǯዏnhiênዛ×¯iênǯȋǣÃȌ
ͶͺǤ
Ǯ² àoዛ  àoàoǯ ȋǣ    Ǧ
Ȍ
2.2.4. Connecting words
    ǡ      
ǮዛǯǡǮǯǮǯǤ
ǣ
ͶͻǤ
aoዛaoȋǣȌ
ͷͲǤ
0áዛáȋǣȌ
3. Meaning versus rhyming similes

 ǡ
 Ǥ
     ǡ      ȋǦȌǤ  
            
   ȋǦȌ 
ȋȌǣ
ȋǦȌǤ
ǣ
×
ዛ
±



Ǧ

ǣ


ዛ
¯ዊ
¯×


Ǧ

ǣ

ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͳͳ
ǡȋǦȌǡ
ȋȌ
ǣ
ͷ͵Ǥ
óc
ዛ
¯ዎ
óc



ȋȌ
ǣ

ͷ͵Ǥ
¿мжng
ዛ

¯мжng



ȋȌ
ǣ

ͷͶǤ
б
ዛ

б



ȋȌ
ǣ

ǡ
ǡ     ǡ     
 ǮǯǤ           
Ǥ  ǡ  
ȋǡ Ȍ         
Ǥ
ǮǯǤǣ
ͷ͸ǤǮ኶ ዛ²ǯȋǣ    Ȍ 
Ǯዛዐ²ǯǡǮ኶ǯDzdzǤ
ǣ
ͷ͹ǤǮ²ዛ዆዁×ǯȋǣȌ
Ǯዛ዆዁×ǯǡǮ²ǯǤ
ǡǣ
x ȋǡȌ
x ȋǡȌ
     Ǥ
ǡǤ
ǣ
ͷͺǤǮuዛ¯ዏuǯȋǣȌ
ͳͳʹȁƬǮ
ǮǯȋȌǡǮዛ¯ዏǯ
ȋ  ȌǤ ǡ      Ǥ   in
contradistinction      ǡ 

Ǥme Germansare coldǮ 
ǯǡGermanGerman bandsǡ
handsǤ      ǡ   
   berk Ǯǯ    
Berkeley Hunt Berkshire Huntǡcuntȋ
you silly cuntȌǤ
ǮǯǣǮዙዛî
ዙǯ ȋǣ     Ȍ   Ǯዙ  î ዙǯǤ
ǡǮኡዛǯȋǣȌ
ǮኡǯǤǡǡ
ǮǯǤ
Ǥ
ǡǮዛǯȋȌ
ǮዛǯǮዛ዇ǯǡǮኾǯǡǮዠ
ዛǯ ǮǯȀǮǯǡǮዓǯ ǮǦ ǯǮØ ኾǯǡǮ኿
ኾǯǡǮØǯǡǮ኿ǯǡǮǯǤ
4. Borrowings in meaning and rhyming similes
Ǯ    ǡ      
 ǯȋǡͳͻ͹͵ǡ ǤͻͷȌǤ  
ǣǡi.e.,     
    ȋcfǤ ǡ ͳͻͷ͵ǡ Ǥ ͵͹͵Ǣ ǡ  Ǥǡ ͳͻͻͺǢ Ǧ
ǡ ͳͻͻ͵ǡ Ǥ ͳ͸͹Ǣ ǡ ͳͻͺͻǡ Ǥ ʹͳʹǢ ǡ ͳͻͺͻǡ Ǥ ʹ͹ͲǢ
ǡͳͻͺͻǡǤ͸ͷǢǡͳͻͺʹǡǤ͵͵͸ǢƬǡͳͻ͹͸ǡǤ
ͳ͸Ȍǡ ǡ 
ǡȋcfǤƬǡͳͻͺ͸ǡ
ǤͳͳͺǦͳʹͲǢǡͳͻͻͶǡǤͳͻͶǦͳͻͷǢǡͳͻͻ͸ǡǤ͵ͻǢǡͳͻͺͻǡ
Ǥ ͶͻǦͷͳǢ  Ƭ ǡ ͳͻͺͻǡ Ǥ ͵Ͳ͵Ǧ͵Ͳ͹Ǣ ǡ ͳͻͺͻǡ Ǥ ͵ͳͺǢ ǡ
ͳͻͺͻǡǤ ͳͳʹǢƬǡͳͻͺͺǡǤͶͶǢǡͳͻͺʹǡǤ͵͵͸Ǧ
͵͵͹Ȍǡ          
ȋǡ ͳͻͺͻǡ Ǥ ʹ͹͹Ǣ ǡ ͳͻͺͻǡ Ǥ ͸͹Ǣ ǡ ͳͻͻͳǡ Ǥ ͳͲʹǦͳͲ͵Ǣ
ǡͳͻͺʹǡǤ͵ͳͳǦ͵ͳ͵ȌǤ
ǮǯǮǯ
ȋǮǯȋǡͳͻͷ͵ȌǢǮ
        ǯ ȋǡ ͳͻͺͺǢ cfǤ ǡ
ͳͻͻ͸ǢǡʹͲͲ͵ȌǮǯǮǯ
 ȌǤ ǡ     Ȃǡ
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͳ͵
ǡȂǤ
  Ǯ       
ǯȋǡͳͻͷͲǡ ǤʹͳʹȌ Ǯ
ǯǯȋƬǡ
ͳͻͺͺǡǤʹͳȌǤ
ǡ 
   ǡ      Ǥ 
Ǣ
Ǥǣ
Ǯኺኺዛ዆ኼǯ
ǣ
ȀᖪᖩȀ
ǣ

ǣ

 Ǥ
            Ǣ
ǡ      ǡ      
ǤǮኺኺዛ዆ኼǯ
ǡǤ
ǣ
Ǯ±ዛǯ
ǣ
ȀᖪᖩȀ
ǣ

        Ǥ ǡ
Ǥ
 ǡ 
 ǡ  Ǯǯ 
Ǥ
           
Ǥ     
    Ǥ     
ǡ
Ǥ
ǣ
ͳͳͶȁƬǮ
inዛin
ǣ
ȀᖪᖩȀ
ǣ

ЙtዛÀЙtȋȌ
ǣ
ȀᖪᖩȀ
ǣ

£mዛ±£mȋȌ
ǣ
ȀᖪᖩȀ
ǣ

ȂiȋȌi
ǣ
ȀȀ
ǣ
ȋȌ
5.Concluding remarks
     ǡ    
Ǥǣ
Ǥͳ
Ǥ
ͳ
Summarizing Meaning and Rhyming Similes
Characteristics
Meaning similes
Rhyming similes






Ȁ
Ȁ





ዛǡዛ዇ǡǡዠዛǡ
ዓǡØኾǡ
ǡØǡǤ
ዛ


ǡ



Ǯǯ



Ȁ




ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͳͷ

    ǡ    
ǡǡǤ
The Authors
   ȋǣ ǤǤǤȌ   
        ǡ 
  ǡ Ǥ     
ǡ  ǡ  ǡ    
Ǥ
Ǯ  ȋǣ ǤǤǤȌ

ǡǤ   
ǡǡǡǡ
  Ǥ       
     ǡ ǡ  
    ǡǤ 
      Journal of Language ContactǤ 

     ǡ  ȋǮǯȌǡ ǡ
ǡǡǡǡ Ǥ

   ȋȌǡ    ȋȌǡ 
ȋȌǡǤ
References
ǡ Ǥ ȋͳͻͻͺȌǤ Language Change. Progress or decay?ǣ
Ǥ
ǡ Ǥ Ǥ ȋͳͻ͹͵ȌǤ Structural Aspects of Language ChangeǤ ǣ
Ǥ
ǡǤǤȋͳͻͺͻȌǤǤǤ
Ǥ  ȋǤȌǡ Investigating obsolescence. Studies in language
contraction and deathǡ ȋǤ ʹ͸͹Ǧʹͺ͸ȌǤ ǣ 
Ǥ
ͳͳ͸ȁƬǮ
ǡ Ǥ ȋͳͻ͹ͻȌǤ   Ǥ  Ǥ ȋǤȌǡ On Metaphorǡ
ȋǤʹͻǦͶ͸ȌǤǣǤ
ǡ Ǥ ȋͳͻͺͻȌǤ    ǣ      
ǤǤǤȋǤȌǡInvestigating obsolescence: Studies in
language contraction and deathǡ ȋǤ ͵ͳ͵Ǧ͵͵ͳȌǤ ǣ
Ǥ
ǡ Ǥ ȋͳͻͺʹȌ. Life with two language: An introduction to bilingualismǤ
ǡǣǤ
ǡ Ǥ ȋͳͻͷͲȌǤ     Ǥ Language 26, ʹͳͲǦ
ʹ͵ͳǤ
ǡǤ ȋͳͻͷ͵ȌǤ The Norwegian Language in America: A study in bilingual
behaviour. ǣǤ
ǡǤȋͳͻͺͻȌǤ  ǣ
Ǥ  ǤǤ  ȋǤȌǡ Investigating obsolescence: Studies in
language contraction and deathǡȋǤ͸ͳǦ͹͵ȌǤǣ
Ǥ
ǡ Ǥ Ǥǡ Ƭǡ Ǥ Ǥ ȋͳͻͺ͸ȌǤ Speaking Mexicano: Dynamics of syncretic
language in central MexicoǤǣǤ
ǡǤǤȋʹͲͳͲȌǤTuyЬn tСp Ngôn Ngф HбcǤȋȌǤ
ȋȌǤ
ǡǤȋͳͻͻͳȌǤAn introduction to bilingualismǤǡǤǤǣǤ
ǡ Ǥ Ǥ ȋͳͻͺͻȌǤ      
  ǦǤ  Ǥ Ǥ  ȋǤȌǡ Investigating
obsolescence. Studies in language contraction and deathǡ ȋǤ ʹͳͳǦ
ʹʹ͸ȌǤǣǤ
ǡǤȋͳͻͻ͵ȌǤMorphologyǤǣǤǯǤ
ǡǤ Ǥǡ Ƭ ǡǤȋͳͻ͹͸ȌǤNahuatl in the middle years: Language
ȋȌǡǤ͸ȋͶȌǡʹͲͳʹȁͳͳ͹
contact phenomena in Texts of the Colonial PeriodǤ ǣ
Ǥ
ǡǤ ȋͳͻͳͺȌǤ Ǥ The Romanic Review, 9ǡʹͲ͸Ȃ
ʹʹ͸Ǥ
ǡ Ǥ ȋͳͻͺͻȌǤ  ǣ   ǯ 
DzdzǤ  Ǥ Ǥ  ȋǤȌǡ Investigating obsolescence. Studies in
language contraction and deathǡ ȋǤ ͳͳ͹Ǧͳ͵͹ȌǤ ǣ
Ǥ
ǡǤǡƬǡǤȋͳͻͺͻȌǤ ǣ
    Ǥ Ǥ Ǥ  ȋǤȌǡ  Investigating
obsolescence. Studies in language contraction and deathǡ ȋǤ ʹͺ͹Ǧ
͵ͳʹȌǤǣǤ
Ǧǡ Ǥ ȋͳͻͻ͵ȌǤ Duelling languages: Grammatical structure in code
switchingǤǣǤ
ǡǤȋͳͻͻͻȌǤThành ngф bгn yЪu tг trong TiЪng ViЮt hiЮn ¯ЛiǤȋFour
element proverbs in modern Vietnamese).  Ǥ
ȋȌǤ
ǡ Ǥ Ǥ ȋͳͻͻͺȌǤ Phong cách hбc TiЪng ViЮtǤ ȋ  ȌǤ
ǤȋȌǤ
ǡǤǡǡǤǡƬǡǤȋͳͻͺͺȌǤ
    Ǥ Linguistics, 26ǡ Ͷ͹Ǧ
ͳͲͶǤ
ǡ Ǥ ȋͳͻͻʹȌǤ Cockney rabbit: A dick’n’arry of rhyming slangǤ ǣ
Ǥ
ǡǤȋͳͻͷͷȌǤEnglish Prose StyleǤǣǤ
ǡǤǤȋͳͻͻ͸ȌǤHistorical linguisticsǤǤ
ͳͳͺȁƬǮ
ǡ Ǥǡ Ƭ ǡ Ǥ ȋͳͻͺͺȌǤ Language contact, creolization and
genetic linguisticsǤǣǤ
ǡ Ǥ ȋͳͻͺͻȌǤ    ǡ  ǯ ǤǤǤ
 ȋǤȌǡ Investigating obsolescence: Studies in language
contraction and deathǡ ȋǤ ͶͳǦͷͻȌǤ ǣ 
Ǥ
ǡ Ǥ ȋʹͲͲ͵ȌǤ Language contact and lexical enrichment in Israeli
HebrewǤȀǣǤ
... It suggests a preference for literal translation in the Arabic renditions of English similes but also underscores the diversity in translation methods, opening avenues for further research on a broader range of literary works and translation techniques. In their insightful study, Nguyen & Zuckermann (2012) explored the intricacies of Vietnamese similes, focusing on their structural, rhyming, and semantic characteristics. Their objective was to highlight the distinctions between Vietnamese similes and those prevalent in British culture. ...
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Full-text available
This paper presents a comprehensive analysis of the English translation techniques applied to Arabic similes in Mustafa Lutfi al-Manfaluti's seminal work, "Al-Abrat." Utilising Pierini's (2007) theoretical framework, the study examines the complexities and nuances involved in translating Arabic similes into English, focusing on the translation by Majid Khan Malik Siddiqui. The research methodically analyses a selection of 200 similes from the book, exploring the various strategies employed in the translation process. The study reveals a predominant use of literal translation, reflecting a strong commitment to maintaining the integrity of the original text. Additionally, it discusses the role of creative adaptation and simile reduction in addressing cultural and linguistic challenges, emphasising the translator's role as a cultural mediator. The findings contribute to the understanding of translation practices in literary contexts, highlighting the importance of cultural and contextual awareness in the translation of figurative language. This paper underscores the significance of translation in bridging linguistic and cultural divides, enriching the appreciation of Arabic literature in the English-speaking world.
... Furthermore, the described quality or characteristic can be either unrelated to the compared object as the example of sexy and Ri hen or related as tattoo and Beckham because Beckham has quite a few tattoos on his body. However, the aim of this comparison is to create humorous and entertaining expressions rather than giving the precise comparison between comparing and compared objects (Nguyen & Zuckermann, 2012). ...
... rhyming similes). Bu terim literatürde Vietnam diline has, fonetik olarak uyumlu, genellikle uyaklı ifadelerin bir benzetme yapısında bir araya gelmesiyle oluşturulmuş, kalıplaşmış, anlamsız yapılar için kullanılır (Nguyen ve Zuckermann 2012;Pilten Ufuk 2015). Pilten Ufuk (2015: 328, 338) Vietnam diline özgü bu benzetmeleri "ritmik benzetmeler" adıyla tanıtmış ve içerik açıdan Vietnam benzetmelerine benzememekle birlikte Türk nesrinde kelimelerin fonetik uyumunun yanı sıra anlam özelliklerinin de dikkate alınarak oluşturulan ve ritmik benzetme olarak adlandırılabilecek benzetmelerin varlığından söz etmiştir. ...
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Full-text available
Özet: Türk edebiyatı metinlerinde Sait Faik hikâyeleri örnekleminde " gibi " edatıyla kurulmuş benzetmelerin incelenmesiyle daha önce literatürde yer verilmemiş yeni bir benzetme türünün varlığı tespit edilmiştir. Bu çalışmada yapısında ritmik bir etkinin doğmasına yardım eden söz figürleri bulunduğu için " ritmik benzetmeler " olarak adlandırdığımız bu benzetme kategorisinin tanımlanması, incelenmesi ve tasnifi amaçlanmaktadır. Anahtar Kelimeler: ritmik benzetmeler, benzetmeler, üslup bilim, retorik, söz figürleri A New Category Of Simile in Modern Turkish Literature: Rhytmic Similes Abstract: By investigating similes with the postposition of " gibi " in Turkish literature in the sample of Sait Faik's stories a new category of simile which has not been taken part in litterateur is determined. In this study it is aimed to define, investigate and classify this category of simile which is called as " rhytmic similes " as in the structure of those similes figures of speech are used to create a rhytmic effect. Keywords: rhytmic similes, similes, stylistics, rhetoric, figures of speech
... Furthermore, the described quality or characteristic can be either unrelated to the compared object as the example of sexy and Ri hen or related as tattoo and Beckham because Beckham has quite a few tattoos on his body. However, the aim of this comparison is to create humorous and entertaining expressions rather than giving the precise comparison between comparing and compared objects (Nguyen & Zuckermann, 2012). ...
... Furthermore, the described quality or characteristic can be either unrelated to the compared object as the example of sexy and Ri hen or related as tattoo and Beckham because Beckham has quite a few tattoos on his body. However, the aim of this comparison is to create humorous and entertaining expressions rather than giving the precise comparison between comparing and compared objects (Nguyen & Zuckermann, 2012). ...
Article
The experiment reported in this paper investigated tonal transfer in Vietnamese perception of English stress. 95 Vietnamese subjects including 17 advanced Vietnamese speakers of English and 80 beginning learners of English from four regional dialects (Hanoi, Saigon, Hue and Nghe An, 20 speakers of each dialect) participated in a perception test. The subjects listened to English words and marked each syllable with the nearest Vietnamese tone that they perceived. The results indicated that an English syllable could be perceived as a certain Vietnamese tone depending on the syllable structure (a closed syllable ending in an obstruent or a syllable ending in a sonorant) and stress levels (stressed and unstressed). Regional dialect differences in the expression of tonal contrasts also affected subjects’ performance on the tone identification task. It is argued that the results of the experiment support a stress to L1 tonal transfer strategy in Vietnamese learners’ initial adaptations to English stress and accent patterns.
... rhyming similes). Bu terim literatürde Vietnam diline has, fonetik olarak uyumlu, genellikle uyaklı ifadelerin bir benzetme yapısında bir araya gelmesiyle oluşturulmuş, kalıplaşmış, anlamsız yapılar için kullanılır (Nguyen ve Zuckermann 2012;Pilten Ufuk 2015). Pilten Ufuk (2015: 328, 338) Vietnam diline özgü bu benzetmeleri "ritmik benzetmeler" adıyla tanıtmış ve içerik açıdan Vietnam benzetmelerine benzememekle birlikte Türk nesrinde kelimelerin fonetik uyumunun yanı sıra anlam özelliklerinin de dikkate alınarak oluşturulan ve ritmik benzetme olarak adlandırılabilecek benzetmelerin varlığından söz etmiştir. ...
Article
Full-text available
By investigating similes with the postposition of "gibi" in Turkish literature in the sample of Sait Faik's stories a new category of simile which has not been taken part in litterateur is determined. In this study it is aimed to define, investigate and classify this category of simile which is called as "rhytmic similes" as in the structure of those similes figures of speech are used to create a rhytmic effect.
Preprint
This is a bibliographical list of (applied) linguistics research in Iran and by Iranian and foreign professors.
Article
Simile is one of the most important literary devices. It is widely used as a figure of speech in literary works. However, simile can pose significant challenges in literary translation since different languages might use and interpret similes differently. The present research aims at investigating the translation strategies employed in Arabic to render English similes in a literary text. The translation model proposed by Pierini (2007) is utilized as a framework of this study. The researcher selected "The Old Man and The Sea" novel by Ernest Hemingway and its two Arabic translations as a case study. The novel's two Arabic translations are by The United Publishers referred to later as target text 1 (TT1) and Zyad Zakaria referred to later as target text 2 (TT2). First, the researcher randomly collected 40 similes as the study data. Then, their Arabic translations are identified. Next, the data is compared and analyzed to determine their translation techniques. After analysis, the research found that literal translation is a prominent strategy in rendering English similes to Arabic.
Chapter
Languages die for political, economic and cultural reasons, and can disappear remarkably quickly. Between ten and fifty per cent of all languages currently spoken can be considered endangered, but it is only in the past ten years or so that due importance has been given to the study of contracting and dying languages. This volume represents the first attempt to give a broad overview of current research in a developing field, and to examine some of the crucial methodological and theoretical issues to which it has given rise. It includes twenty studies by scholars who, taken together, have worked on a range of languages currently under threat across the globe. They occur in diverse speech communities where the expanding languages are not only those that are very familiar - English, Spanish, or French, for example - but also Swedish, Arabic, Thai etc. The final part of the volume is devoted to a consideration of the implications of research into language obsolescence for other aspects of linguistics and anthropology - first and second language acquisition, historical linguistics, and the study of pidgins and creoles and of language and social process. As a whole, this collection will certainly stimulate further and better co-ordinated research into a topic of direct relevance to sociolinguistics and anthropological linguistics.
Article
Morphology is a comprehensive introduction to contemporary morphological theory and analysis in generative grammar. It contains numerous in-text exercises which involve the reader in doing morphology by analysing data from English and numerous other languages. The book is divided into three parts. Part 1 surveys traditional notions of word-structure which remain fundamental to morphological investigations. Part 2 explores the relationship between morphology and phonology in current generative grammar, while Part 3 highlights issues in the interaction between morphology and syntax.
Article
Languages die for political, economic and cultural reasons, and can disappear remarkably quickly. Between ten and fifty per cent of all languages currently spoken can be considered endangered, but it is only in the past ten years or so that due importance has been given to the study of contracting and dying languages. This volume represents the first attempt to give a broad overview of current research in a developing field, and to examine some of the crucial methodological and theoretical issues to which it has given rise. It includes twenty studies by scholars who, taken together, have worked on a range of languages currently under threat across the globe. They occur in diverse speech communities where the expanding languages are not only those that are very familiar - English, Spanish, or French, for example - but also Swedish, Arabic, Thai etc. The final part of the volume is devoted to a consideration of the implications of research into language obsolescence for other aspects of linguistics and anthropology - first and second language acquisition, historical linguistics, and the study of pidgins and creoles and of language and social process. As a whole, this collection will certainly stimulate further and better co-ordinated research into a topic of direct relevance to sociolinguistics and anthropological linguistics.