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    Word Play

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    This is an excerpt from Mr. Gardner\u27s forthcoming book on word play. It will be Chapter 7 in that book entitled Entangled Words and Numbers

    THE STUDY OF WORD PLAY IN CAPEK COLOUMN

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    Language is a medium of communication which can be functioned to various aims, such as giving socialcriticism and factual issues, and showing attitude and perception of certain people to certain situation.The communication is sometimes spoken indirectly, meaning that the linguistic forms and the content canbe intrepreted to have more than one meaning. The speaker uses this way for the sake of his/herconvenience. Word Play as one kind of implicite communications which is packed in humour genre isoften used by the writer of coloumn Catatan Plesetan Kelik (CAPEK) in daily news Suara Merdeka torender criticisms on social, educational, economic, and ,even, sport issues. The main problems of this article are (1) how does the writer of CAPEK compose the Word FormationRules of his word play, (2) what are the language motivations behind the use of the Word Play, and (3)what are the reference deviations of the Word Play. The data to analyse are the words or phrases found in the CAPEK coloumn which contain word play. Thedocumentaion method was used in collecting data. The results show that, in making a word play, thewriter uses several systems of word formation rules, they are compounding, acronym, initialization,derivation, borrowing, inflection, clipping, and back formation. The word play in this coloumn isbackgrounded by different language motivations, such as phonetic, morfological, and semanticmotivation. The issues revealed are of politic, social, educational, and sport issues. The results alsoindicate the writer of of CAPEK coloumn uses reference deviation to reach his goal, that is, giving hiscritical opinion to certain situation

    Mathematics and Word Play

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    Many mathematicians enjoy wordplay, and for obvious reasons. it is almost a branch of combinatorial mathematics. The pleasure derived from solving a combinatorial problem is very much like the pleasure of solving a cryptogram or a crossword puzzle, or constructing a good palindrome

    Word-play in Shakespeare.

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    A careful perusal of Shakespeare’s works leads to one outstanding conclusion. Shakespeare was preeminently interested in words, as such. His every play shows a painstaking attention to words in their various shades of meaning. It is our interest to present some definite proof of this extraordinary emphasis on words, and to attempt in a small way to explain the reason for this particular trait of Shakespeare’s. Certainly as skillful a playwright as he would not have included so many carefully planned word-plays in his dramas if the audience of the time were not interested in the language itself as well as in the dramatic qualities of the play. In those days when the language was in its infancy there must certainly have been a keen interest in the flexibility of the English tongue. Shakespeare was reflecting the spirit of an age in which new words were being coined daily, and new meanings for old words constantly discovered. The clown in Twelfth Night expresses the spirit of the ages toward the language. After a lengthy word-play he says;’ “You have said, sir. To see this age. A sentence is but a cheveril glove to a good wit: how quickly the wrong side may be turned outward.” ((III.1.12) In Love’s Labour’s Lost we find a few lines which reveal much of the real state of the language at that time. The King has praised Armado as an entertainer. Biron answers :- “Armado is a most illustrious wight, A man of fire-new words, fashion’s own knight.” (I. :, 178-179) Fashion must, then, have favored the man who could coin new words, or make new linguistic discoveries. In a period when many scholars were denying the ability of the English language to adapt itself to the uses of the nation, and were persistently proclaiming the merits of Latin as the only language of true flexibility and beauty, Shakespeare, Lyly, Jonson, and others, fortunately gifted with the power to mould the language to their purpose, successfully illustrated the great resources of the English tongue to a public keenly alive to the literary conflict then going on. The present work does not attempt to prove or illustrate the great changes then taking place in the grammar, or to show the relation between Elizabethan grammar and that of the present day. It will not mention Shakespeare’s rhetorical or grammatical use of the language at all, or make any effort to show the relation of his vocabulary to that of his contemporaries. The present thesis is an attempt to show Shakespeare’s interest in words themselves by means of his word-play in the form of direct puns, phrases, pronunciation, and misused words. Some of these word-plays are known by the writer to be borrowed. In such cases the source will be given. In such places where a proverb, saying, or custom of the time is the source of the play on words it will be classified as such. Only the first ten plays of the author will be used for illustrative material:- Love’s Labour’s Lost, The Two Gentlemen of Verona, Midsummer Night’s Dream, The Merchant of Venice, The Taming of the Shrew, The Merry Wives of Windsor, Twelfth Night, Much Ado About Nothing, As You Like It, The Comedy of Errors. Some effort will be made to show that Shakespeare used certain types of characters for his play on words, but it is impossible to limit the illustrations of his interest in words to these characters, as our author never lost an opportunity to play upon the meaning of a word in any sense

    The Periodic Table\u27s 150th Anniversary

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    Word play using the names of the elements

    Prosodic constituents in the representation of consonantal sequences in Polish

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    The aim of this paper is to show what role prosodic constituents, especially the foot and the prosodic word play in Polish phonology. The focus is placed on their function in the representation of extrasyllabic consonants in word-initial, word-medial, and word-final positions. The paper is organized as follows. In the first section, I show that the foot and the prosodic word are well-motivated prosodic constituents in Polish prosody. In the second part, I discuss consonant clusters in Polish focussing on segments that are not parsed into a syllable due to violations of the Sonority Sequencing Generalisation, i.e. extrasyllabic segments. Finally, I analyze possible representations of the extrasyllabic consonants and conclude that both the foot and the prosodic word play a crucial role in terms of licensing. My proposal differs from the ones by Rubach and Booij (1990b) and Rubach (1997) in that I argue that the word-initial sonorants traditionally called extrasyllabic are licenced by the foot and not by the prosodic word (cf. Rubach and Booij (1990b)) or the syllable (cf. Rubach (1997)). For my analysis I adopt the framework of Optimality Theory, cf. McCarthy and Prince (1993), Prince and Smolensky (1993), in which derivational levels are abandoned and only surface representations are evaluated by means of universal constraints

    National Puzzler\u27s League

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    You probably noticed that some authors of anagrams use pseudonyms. Most of them are members of the National Puzzlers League (NPL), an Americna non-profit organization focused on puzzling, primarily in the realm of word play and word games. Founded in 1883, NPL is the oldest puzzlers\u27 organization in the world. it originally hosted semiannual conventions in February and September of each year, but conventions are now held annually, in July

    The Use of Word Play at Graphological Level in English and Georgian Languages

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    Word play is characterized by a wide variety of usage and possibilities occurring frequently in almost every sphere. Consequently, it has drawn the attention of scientists and become the object of an active research in recent years. Linguists try to define and classify it from different angles. The article analyzes graphological level of word play based on materials in English and Georgian languages, considers how the text, graphical illustration can provoke a special effect. Graphological level reveals the nature of word play and functions as the main tool of creativeness. The paper attempts to describe the structure of word play at graphological level in completely different languages. Keywords: word play, creativity, graphological level, poetr
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