Abstract Code-switching plays a central role in bilingual humour, generating comedic effects through language alternation. Anglo-French bilingual humour remains an under-researched field compared to other language pairs that have gained worldwide recognition. This research investigates how code-switching functions differ across three genres of Anglo-French bilingual humour: a comedy film, a stand-up performance, and a collection of bilingual jokes. A two-phase analytical approach was employed to explore how genre-specific conventions shape the use and purpose of code-switching. Each instance of code-switching was first assigned a single primary communicative function. Then, the frequency and distribution of these functions across the three genres were determined. The findings showed that code-switching in the comedy film appeared most frequently for expressive purposes along with referential and directive uses. The stand-up performance displayed a more balanced distribution with a notably high percentage of metalinguistic and phatic functions compared to the film. In contrast, the jokes overwhelmingly featured the poetic function of code-switching. These results demonstrate that communicative functions of code-switching are shaped by genre-specific goals and constraints. The study argues that functional models of code-switching, while useful for categorisation, should be extended to include genre as a predictive and explanatory component.

Introduction. Contemporary paremiology views paremies as complex semiotic and linguoaxiological units that reflect worldviews and values of a certain ethnic group. Chinese paremiology, with its rich tradition, constitutes a multifaceted system characterized by interactions between structural, semantic, and cultural levels. Goals. The article aims to identify some systemic properties of the Chinese paremiological corpus, determine the nature of interrelations among paremic units, and uncover their axiological and cultural-cognitive potentials. To facilitate these, the work shall describe the formal and semantic patterns of paremies, analyze their variants, identify universal and culturally marked components, and examine the pragmatic and metatextual functions of Chinese paremies. Materials and methods. The study focuses on approximately 1,500 Chinese paremies selected from authoritative dictionaries, the authors’ personal card indices, and literary texts (in particular, Cao Xueqin’s novel Dream of the Red Chamber). The research methodology is based on modern approaches rooted in postulates of the theory of phraseology, linguocultural studies, linguoaxiology, as well as the descriptive analytical method and those of component, comparative contrastive and pragmatic analyses. Results. The study reveals the presence of systemic relationships in Chinese paremiology, including synonymic, antonymic, and hyper-hyponymic connections, along with significant variability. Both universal (anthroponyms, toponyms, zoonyms, chrononyms) and ethnospecific elements are identified as carriers of cultural constants. The analysis demonstrates that Chinese paremias exhibit a high degree of functional flexibility, thus fulfilling normative, identificational, and poetic functions. Conclusions. Chinese paremiology shows properties of a semiotically closed and cognitively rich system, in which forms, meanings, and values are closely interrelated. Paremias function as tools for conceptualizing the world, preserving ethnocultural knowledge, and transmitting values. The findings of the study may be applied in cross-linguistic paremiological comparisons and in practices of linguistic and cultural mediation.

This paper explores the complexity of Plato’s approach to mimesis and poetry, focusing on his critique in Republic Books II, III, and X. While Plato dismisses poetry as ethically and epistemologically flawed, his arguments reveal a deeper tension between philosophy and artistic representation. Through an analysis of Plato’s tripartite division of reality, the critique of imitation, and the ethical concerns surrounding poetry’s influence, the paper examines whether his rejection of art is absolute or if it leaves room for an alternative poetic function. Drawing on Stephen Halliwell’s interpretation, the study highlights how Plato’s stance is shaped by a broader philosophical concern with truth, knowledge, and the role of art in society. The analysis considers whether Plato’s discussion of mimesis is not merely an attack on art but part of a larger philosophical negotiation over the intersection of aesthetics, morality, and epistemology.

Through a commented translation, this article examines the sonnet Se ne la selva Idea…, dedicated to the Princess of Sulmona and preceding the dance Villanella Balletto, one of the 80 poems included in Il Ballarino (1581), by Fabritio Caroso da Sermoneta (c. 1526/1531 – after 1605), one of the most important dance masters of the Italian Renaissance. More than simple choreographic manuals, his works intertwine music, etiquette, and poetry, presenting almost every dance preceded by laudatory sonnets dedicated to noble ladies. The reading of the sonnet demonstrates how Caroso, by integrating poetry and dance, transforms mythological narratives into instruments of courtly exaltation. Through the use of imagery and references to Greco-Roman mythology — especially the Judgment of Paris, the rivers of the Trojan landscape, and divine figures — he projects the addressee onto a symbolic and heroic plane, thereby condensing values and sensibilities of the sixteenth century. Thus, the proposed analysis not only highlights the poetic function in Caroso’s treatises, but also contributes to a broader understanding of the dialogue between literature, performing arts, and court culture in the Renaissance

This research investigates Indonesian–English bilingual practices in the teen drama Asmara Gen Z, focusing on code-switching, code-mixing, and the use of slang and idiomatic expressions. The study is situated within the broader landscape of multilingual youth communication in digital-era Indonesia, where bilingual speech functions as a marker of identity, emotion, and stylistic preference. The research aims to describe the structural patterns and sociolinguistic functions of bilingual alternation in selected scenes, and to interpret how these linguistic choices construct Gen Z stylistic identity. Using a qualitative descriptive design, purposive sampling was applied to select seven emotionally salient scenes. Data were transcribed and analyzed using Poplack’s code-switching typology, Muysken’s code-mixing model, and Appel and Muysken’s sociolinguistic functions, alongside an examination of slang and idiomatic expressions. The findings show that inter-sentential switching and insertional mixing dominate the characters’ bilingual repertoire, especially during moments of conflict, vulnerability, and romantic tension. Bilingual alternation frequently fulfills expressive, directive, and poetic functions, while Gen Z–oriented slang and idioms intensify emotional stance and index youth identity. Overall, the study demonstrates that teen dramas not only mirror but also stylize contemporary multilingual youth culture, highlighting how Indonesian Gen Z use bilingualism to navigate relational, emotional, and social dynamics.

Abstract This study investigates whether the poetic structure of terza rima, often considered a Dantesque invention, has been preserved in French translations of the Divine Comedy from the fifteenth century to the present. The analysis begins with the characteristics of terza rima in Dante's work and examines its varied historical reception, particularly the debates in the late twentieth century regarding translations into free verse and unrhymed verse. Versification prompts questions about the poetic function of the message and necessitates reflection on paronomasia and rhythm in translation. The study reviews the perspectives of Roman Jakobson, Henri Meschonnic, André Pézard, Jacqueline Risset, and Umberto Eco, among others. It then analyzes the translations by Kolja Mićević (1996-2017) and Danièle Robert (2016-2021), who have favored terza rima versification despite prevailing trends. The feasibility of translation is shown to depend on the dominant poetic conception within specific cultural contexts, and the translation process is closely linked to the translator's creativity. Recreating the original or a similar textual function in the target language is a complex and challenging endeavor; creative transpositions result from imaginative translations that challenge the notion of poetic untranslatability.

Pablo Neruda’s love poetry derives much of its poetic force from the deliberate use of repetition and parallelism, both of which constitute the poems’ emotional resonance and meaning. This essay examines the aesthetic, rhetorical, and affective valences of repetition and parallelism in the love poetry of Pablo Neruda, with particular attention to The Captain’s Verses. In this collection, Neruda’s iterative phrasing, syntax, and imageries act as the means through which desire, longing, and absence are intensified. These recurring patterns generate a rhythmic and musical cadence of repetition that is distinct. Guided by Roman Jakobson’s concept of poetic function, generative approaches of classical rhetoric, and stylistics based in contemporary scholarship, repetition and parallelism are analyzed as processes that assist interpretation and solicit interactivity as a reader. The strategies Neruda deploys mediate the porous boundary between private desire and communal emotion. This essay contends, through the close reading of Neruda’s emblematic poems and the integration of critical theory, that these poetic devices operate in synergistic concert as instruments of structural innovation, emotional amplification, and stylistic distinction.

This paper repositions the modern stakes of Keats's ethical vision through the twin lenses of semiotics and deconstruction, taking non-egotism and Negative Capability as its pivots. It argues that Keats's bracketing of poetic subjectivity anticipates Roman Jakobson's account of the poetic function, the projection of equivalence from the axis of selection onto the axis of combination, and that it also offers a corrective to Paul de Man's reduction of Keats to "cognitive failure" and "rhetorical illusion." Through close readings of Ode on a Grecian Urn, Ode to a Nightingale, and Lamia, the study shows how Keats, mediating perception through sensuous form, stages the persistent tension between aesthetic illusion and rational disenchantment while legitimating affect as a mode of meaning-production. Rather than evading self-reflection, Keats models a disciplined suspension of subjectivity that allows the poem's self-referential patterns and metonymic economies to generate ethical force beyond the individual. The paper concludes that Keats's practice exhibits genuine foresight: the "linguistic uncertainty" achieved by suspending certainty does not collapse into nihilism but reframes deconstructive undecidability as ethically productive, offering a path for contemporary theory to reconcile formal autonomy with ethical responsiveness.

Poetic language represents a distinct and elevated mode of expression that transcends conventional linguistic usage, aiming to convey the nuanced complexities of human emotion, aesthetic perception, and intellectual thought. In poetry, the communicative function of language goes beyond lexical semantics and is significantly enriched by prosodic features, including sound patterns, rhythm, intonation, and tone modulation. These phonetic elements play an important role in shaping the emotional and aesthetic dimensions of poetic discourse, thereby enhancing its expressive depth and influence. Among these prosodic features, intonation, especially tone modulation, plays a central role. It serves not only as a means of transmitting syntactic and emotional information but also as a structural tool that enhances the poetic function of language. Intonation in poetic texts embodies complex rhythmic and melodic patterns that critically influence both interpretation and perception. This study explores the main components of intonation in Azerbaijani poetic language. In Azerbaijani poetry, dynamic modulation of intonation emerges as a key aesthetic and rhetorical mechanism that contributes to both formal beauty and emotional resonance in verse. Ultimately, the study suggests that intonation serves as a crucial link between linguistic form and artistic function in poetry. The analysis of intonation patterns in Azerbaijani poetic texts facilitates the discovery of deeper semantic layers, helping to comprehensively understand the complex convergence of sound, structure, and emotion in poetic discourse.

This study aims to analyze the presence and distribution of Roman Jakobson’s six language functions (referential, emotive, conative, phatic, metalinguistic, and poetic) in the beauty-themed articles of Vogue magazine (January, February and March editions). The research adopted a qualitative descriptive approach. The results indicate a total of 71 occurrences of language functions within the corpus. The referential function proves to be the most dominant, representing 31% of the occurrences, which highlights the magazine’s priority to inform its readership. The conative (20%), emotive (18%), and poetic (17%) functions also play a significant role in the engagement and aesthetics of the message. The phatic (10%) and metalinguistic (4%) functions complete the picture. In conclusion, all Jakobson’s functions are present, with a clear predominance of the referential function, affirming Vogue’s informative purpose while utilizing varied and sophisticated communicative strategies.

This study analyzes the phenomenon of code mixing in TikTok video content from the account @salshabilazzahraa, better known as the “Jajan Bareng Lala” account, using a sociolinguistic approach. The purpose of this study is to explore and identify the types of code mixing using Muysken's (2000) theory, namely Insertion, Alternation, and Congruent Lexicalization. Additionally, it classifies their functions according to Appel & Muysken (1987), which include Referential, Expressive, Directive, Metalinguistic, Phatic, and Poetic functions. Using a qualitative research method, data was collected through transcription, classification, and analysis of selected videos. The results of the study indicate that the Insertion type is the most dominant type of code mixing. This indicates that the insertion of foreign words or phrases into the structure of the Indonesian language can be done easily without altering the grammatical structure. This strategy is considered more interesting and in line with the current communication style that is more understandable to many people. Congruent Lexicalization is the second most common type, while Alternation is only found in a limited number of cases in this study. Meanwhile, in terms of function, the referential function is the most dominant. This shows that speakers use code mixing to convey meaning more accurately, efficiently, and contextually. Additionally, the expressive function is also frequently found in this study, particularly for expressing personal opinions, emotions, and self-identity. Meanwhile, the directive function is very rarely found, and the metalinguistic, phatic, and poetic functions are not found at all, as the content in this study is descriptive rather than interactive. This study concludes that code mixing plays an important role in TikTok video content as a means of reinforcing meaning, expression, self-identity, and building closeness with viewers.

This study conducts a comparative analysis of sensory imagery employed in John Keats's "ode to psyche" and "ode on melancholy," alongside Siegfried Sassoon's "attack" and "base details," using an integrated framework combining new critical and cognitive trauma theory approaches. The findings reveal that Keats constructs a cohesive sensory ecosystem through a paradoxical structure, creating a unified, beautiful world. Moreover, his use of sensory paradox in the odes resolves the tension between beauty and pain, reflecting a special kind of magic known as aesthetic alchemy that helps readers see things in a new way. In stark contrast, Sassoon employs irony in his war poems to create a broken and disturbing world and to expose psychological trauma and social critique, leaving readers with a sense of discomfort and chaos. The interplay of paradox, irony and a carefully orchestrated imagery demonstrates the essential shift in poetic function from romantic aspirations of transcendence to modernist demands for testimony. The findings indicate that Keats's integrative imagery creates a unified, emotional connection with readers, particularly resolving the central paradox of "ode to psyche" through imaginative temple-building. On the other hand, Siegfried Sassoon uses disintegrative imagery in "attack" to paint a picture of chaos and trauma, mirroring the disintegration of the structural coherence. This study merges the traditional analysis with cognitive and trauma theories, offering a new framework for understanding how sensory language shapes poetry's impact across literary periods.

This study explores the stylistic and functional dimensions of language in The Age of Adaline movie by analyzing the types of language style and function used in the script. Grounded in Martin Joos’ theory of language style and Roman Jakobson’s theory of language function, the research adopts a qualitative method with a discourse and sociolinguistic analysis approach. The study aims to identify how various styles and functions of language are utilized to shape character interactions and support the narrative. The findings reveal the presence of all five language styles proposed by Joos: casual style occurred most frequently (35 instances), followed by consultative (8), intimate (8), formal (5), and frozen (1). This distribution indicates a dominant use of casual language to reflect everyday, spontaneous conversation among characters. In terms of language function, the study identified four out of six functions: referential (21 instances), emotive (19), conative (10), and phatic (7). However, metalingual and poetic functions were not found in the analyzed dialogues. The results suggest that the film emphasizes natural, expressive communication, with a strong focus on information sharing, emotional expression, and maintaining social interaction. These functions support the narrative’s romantic and dramatic elements, as well as highlight character development and relationships. Overall, this study offers valuable insights into how language is used effectively in film dialogue to reflect social relationships, convey emotional depth, and fulfill communicative intent. It contributes to the broader understanding of language use in media and provides a model for analyzing other films from a sociolinguistic perspective.

Zahiruddin Muhammad Babur does not use rhyme merely as a rhetorical device in his poetry, but rather, as an essential element for shaping the content and creating musicality. In Babur's quatrains, rhyme plays a significant role in ensuring harmony between melody and meaning, thus enhancing the aesthetic impact of the poem. This article analyzes the poetic function of rhyme in Babur's quatrains, its semantic position, and its rhetorical influence. The aim of the paper is to explore the role of rhyme in Babur's quatrains and its contribution to the poetic craftsmanship. The research examines the principles of rhyme usage, its aesthetic and emotional purposes, and applies analytical and comparative methods. Through the analytical approach. The study investigates the impact of rhyme in the quatrains, and using a comparative method, it identifies similarities and differences between Babur's and Navoi's quatrains. The findings of the research suggest that rhyme in Babur’s quatrains functions not only as an aesthetic device but also as a tool for expressing emotions and establishing musical harmony. Babur’s approach to rhyme differs from other classical Uzbek poets, as he also focused on strengthening the overall rhythmic structure of the poem when working with rhyme. In conclusion, Babur employed rhyme not only to enhance the rhetorical quality but also as a means of reinforcing the rhythmic and aesthetic distribution of the poem, contributing to its musicality.

“Poetic linguistics” is a branch of science that studies the poetic manifestations and aesthetic aspects of language. This branch of linguistics studies how and for what purpose words and expressions in language are used in poetic works. Poetic linguistics, unlike the natural and functional use of language, emphasizes the methods of artistic use of language materials.In this process, it also studies how the structure of language is changed for creative purposes. The science of “poetic linguistics” reveals the poetic power of language, its forms of manifestation and structure, and clarifies the relationship between literary figures and the reader or listener. This branch of science studies all poetic elements of language. Poetic linguistics holds special importance in revealing the poetic functions of language, its aesthetic value, and the expressive possibilities of language. The features that form the basis of the language of poetry are studied through the science of poetic linguistics. While traditional linguistics approaches language from a functional and communicative perspective, poetic linguistics studies language facts in relation to their aesthetic, emotional, and philosophical meanings. In this process, the poephonetic, poelexical, poegrammatical aspects of language, its affective pathways, and its internal semantics are clarified. The article examines the purpose, functions, relationships, and scope of poetic linguistics as a scientific discipline.

Language has many functions when it is used in communication, or literary works, as in Songs. As one of the literary works, songs are usually composed with language that will fulfil the aesthetic sense. Therefore, the language may consider has poetic function. This study aims to analyse the forms of language that has poetic function in Balinese songs. Qualitative method is applied in this study, and the data are collected by observation and note taking from Balinese songs that are famous nowadays in genre of Pop and Koplo. The poetic function of Jakobson (1966) is the basic theory of the analysis. The result shows that Balinese language that has poetic function in the songs can be in the form of figurative language, such as sesawangan and sesenggakan (metaphor and hyperbole), also peparikan (poem/rhyme).

The aim of the present paper is to examine the phenomenon of codeswitching, namely the linguistic repertoire, the frequency, and the social functions of codeswitching appearing in the spoken language of Lithuanian vlogs – a genre that has not been researched in Lithuania at all. The analyzed vlogs cover a wide range of topics, including fashion and beauty, online entertainment, housekeeping, and agriculture. 253 instances of codeswitching were identified in the corpus of 23,562 words, suggesting a predominantly monolingual speech community in Lithuania. To determine the social motivations behind codeswitching, Appel & Muysken’s (2005) six codeswitching functions were followed. The results show that the referential function of codeswitching is used the most in the speech of Lithuanian vloggers, appearing mostly in contexts where direct equivalents of words in Lithuanian were missing. Codeswitching for expressive purposes was also frequent, appearing in contexts where speakers’ emotions and sentiments were emphasized through language use. Other functions, i.e. directive, phatic, and metalinguistic, were not numerous in use, with the poetic function of codeswitching entirely absent from the corpus.

This article provides an in-depth analysis of the poetic function of nicknames and their role in the construction of literary characters in the works of prominent Uzbek writer Abduqayum Yuldoshev. The nicknames featured in his stories reflect the author’s satirical perspective, his response to societal issues, and his approach to portraying typical figures rooted in everyday reality. The study highlights the writer’s skill in imbuing nicknames with semantic weight, phonetic nuance, and psychological depth. The semantic potential, folkloric tone, and socially critical function of these nicknames are analyzed through specific literary examples.

This study examines the aesthetic of death in Emily Dickinson’s poem "Joy in Death," reinterpreting her unconventional portrayal of mortality as a source of beauty and human insight. By applying a three-level stylistic analysis grounded in Jakobson’s model of the poetic function of language and aesthetic theory, the research underscores how Dickinson transforms death into a reflective exposition on the human condition. Beyond literary analysis, this work advocates for enhanced cultural literacy and quality education, contributing to Sustainable Development Goal by fostering critical engagement with themes of life, death, and societal values, and ultimately supporting the promotion of understanding and dialogue on complex existential topics. The project finds out that in Dickinson's aesthetic of death, the subject is turned into an exposition on the human condition. She combines all this existential skepticism in perfect harmony with the beauty of poetry, which makes "Joy in Death" as timeless insight on life, death, and everything in between.

The gallery will select various forms of contemporary artworks based on a range of aesthetic criteria preferences ranging from concept, form, subject matter, relevance to social issues, symbolism, shocking materials, personal feelings, craftsmanship, innovation, current popularity, and others. The selection process for each exhibition dynamically considers these criteria, allowing the gallery to cater to market demands and introduce new aesthetic perspectives to advance Indonesian art. Therefore, this study aims to identify the parameters of aesthetic values used in collecting and exhibiting contemporary art in various galleries in Semarang and Yogyakarta, Indonesia. A descriptive qualitative method with a case study design explored art criticism, formalism, and deconstructivism. The sample population comprised contemporary art created by professional and emerging artists, which was exhibited between 2012 and 2022. Data were obtained from art samples, artists, appreciators, gallery owners, curators, and critics. Owners and curators were required to complete the questionnaire, followed by interviews, documentation, and observation. Conclusions were then drawn by examining the conceptual relationships in each choice of aesthetic value parameters selected by the gallery to identify aesthetic characteristics. The results showed preferences for contemporary reality, uniqueness attached to complex and complicated form processing, technical skills, and exploration of local idioms. Semarang Gallery presented art with unique dimensions beyond mainstream aesthetics. Intellectual ideas can be seen in Andy Dewantoro's 'Isolation', a work demonstrating a metalinguistic concept. The convention of landscape painting, typically characterized by vibrant colours, is challenged and interrogated through scenes rendered solely in black, white, and grey. The artistic mode of art at Semarang Gallery was also more innovative than that of Sangkring Art Space and Kiniko Art, which had several repetitions. Meanwhile, Sangkring Art Space and Kiniko Art focused more on the beauty of visualization than the criticality of visualization. The visual aesthetic in Nurhidayat's "Erotique, Toxique, Exotique" and Anton Afganial's "Uncertainty" present a visual aesthetic that emphasizes poetic functions. These paintings are complex, unified, and intense.