Swear Words

The present study was focused to find out the students' perspective in using the words that were included as socially impolite. The subject was the students of the fifth semester at the English Education Department, State Islamic University, Jakarta. The data were collected using a questionnaire that was given two times. The findings were gathered to get the information about the students' habits in using the profanity words, including which words that they used most to state their uneasy feeling or anger, how they acquired the words, and how did they feel after using them. The result showed that there were 10 swear words that were acknowledged by the students and several of them were considered very offensive, however, they admitted that it was difficult not to use them. It was also found out that the movie has the most influence in acquiring those words.

There are words that when uttered have the capacity to release power-packed blows that can make or break a person's life. There are words whose potentiality can lead people to act decisively or to get discouraged in the face of impending peril. There are words endowed with creative capability while there are those predisposed toward destruction. In simple terms, certain words have the power to effect goodwill whereas others tend to perpetrate evil.

Although the phenomenon of swearing is universal to nearly all languages and cultures, it has been ignored by the scholars for many years, due to its provocative nature. Currently, however, it is safe to say that the sphere of crude language is in a state of an intensive theoretical flux. The following paper contributed to the above-mentioned movement by investigating the attitude of the English Philology Students at the University of Rzeszów towards the most commonly encountered English and Polish swear words. The principal objective of the research was to confirm or reject the hypothesis according to which derogatory expressions in L2 are deemed less offensive than their equivalents in L1. The said premise was tested by dint of a questionnaire designed around the most popular English and Polish swear words, presented both in context and in isolation. Apart from examining the hypothesis, the data acquired via the research instrument provided an insight into the most tabooed concepts found among young Poles.

Lucrarea de faţă încercă să stabilească raporturile între principalele trei tipuri de cuvinte (disfemisme, eufemisme şi ortoepisme), modurile în care acestea se fomează şi îşi modifică valenţele, în funcţie de contexul social în care sunt folosite. VConcentrarea atenției are loc mai ales asupra termenilor licenţioşi. Lucrarea încercă să clarifice tabuul lingvistic şi cenzura ca principalii factori care justifică necesitatea existenţei acestor categorii de termeni.

The current definitions of interjections and onomatopoeias, which are mainly based on semiotic criteria (interjections are indexes, onomatopoeias are icons), are seemingly not precise enough to draw up a list of items belonging to these categories. This results in heterogeneous classifications in the literature and different data extraction strategies, which in turn entails the presence of items that some will regard as “false positives” or “false negatives”. We will defend the idea that the primary function of these words is to enable the speaker to reduce the distance between their actual speaking performance (the actual utterances) and their intended speech (the ideal utterances). We will devise the defining enterprise from the very beginning, starting with the intension of the words interjection and onomatopoeia. Then, we will focus on their extension and will classify different types of interjections and onomatopoeias. The classification will be based on the word formation process they stem from. We will show that interjections and onomatopoeias have different definitions “en langue”, “en parole” and “en corpus”. “En langue”, these words are tools, “en parole”, they are performances, since the speaker reshapes or moulds his/her vocal production, and “en corpus”, interjections and onomatopoeias are imprints of the above-mentioned performance. Our method will also reveal a word formation strategy that we call “Syntactic Adjustment” (“SA”), and which consists in incorporating interjections into syntactic structures. We will show that this SA is merely the syntactic version of a strategy that also exists at the phonemic and at the lexical level. In part III of our dissertation, we will describe the SA and will expose some of the rules that restrict its use. To do this, we will compare the SA with converted interjections (yuck! > yucky ; oh God! > to be oh-Godding at something) and will also analyze a corpus of syntactically integrated interjections. We will make use of concepts developed in different theoretical frameworks, mainly in Cognitive Grammar, Generative Linguistics and Theory of Enunciative Operations.

In English-Italian film translation swearing has always been a problem In English-Italian film translation swearing has always been a problem that has often been dealt with via self-censorship. Issues regarding self-censorship in the translation of imported audiovisual fictional products in Italy have been discussed by several authors, most notably Pavesi (2000) and Azzaro (2006). These studies have revealed that taboo terms and coarse language are either suppressed or reduced in dubbed films. In Italy dubbing is often carried out by two different professional figures, especially in the case of TV series. These are: the translator, who provides a preliminary translation, and the adapter, who is responsible for the final version. The aim of the present descriptive study is to identify a hierarchy of factors that determine the translation product. The examples presented in this paper confirm the results of previous research in the field and show that the translator usually prefers not to tone down taboos and terms of insult, whereas the adapter prefers to mitigate them.

In this paper the parallel excerpts of the source text in English and the target text in Polish of Ch. Bukowski’s novel “Factotum” are compared and analysed to display the phenomenon of standardisation of literary translation. Applied have been here the observations on the language itself (by Wittgenstein, Derrida) as well as its variations, i.e. nonstandard language (by Yule, Lewicki, Wolfram among others), the theory of translating literary texts containing nonstandard phenomena (by Lewicki, Hejwowski, Catford among others), and the Bakhtin’s methodology for interpreting literary texts.

Swearing among teenagers in the Malaysian setting is becoming normal although the Malaysian culture generally frowns on swearing. This societal phenomenon is understudied in the context of Malaysia and little is known about why teenagers swear, the kinds of swear words used, and their viewpoints of swearing. The present study was conducted on 51 female teenagers in Malaysia to investigate their swearing behaviour in English. Data was collected using a questionnaire and interviews were conducted to triangulate the findings of the questionnaire. The study showed that Malaysian female teenagers swear regularly using their favourite swearwords,shit, damn, and hellfollowedby bitch, fuck and bullshit. The findings show that swearing functions as a tool to deal with daily life affairs: firstly, to let off steam when experiencing negative emotions mainly anger and frustration, and secondly, to display solidarity when joking and storytelling with friends. The study shows they swear amongst themselves as girlfriends, rarely with their male friends and strangers, and seldom with parents and teachers.

Contrary to the idea which has been widespread for at least a hundred years that women differ substantially from men when they express themselves in English-speaking contexts (e.g. Jespersen, 1922, Steadman, 1935), empirical studies showed that these differences are often minimal and not due to gender alone (e.g. Eckert, 2008, Baker, 2014). This also frequently applies to the way they swear, despite certain preferences which have been documented in empirical studies. With the growing impact that social media now have in our everyday lives, these represent a unique opportunity to study vast amounts of written data. This article based on a corpus of about one million tweets is an attempt to go deeper into the analysis of gendered swearword habits by shedding light on two aspects. First, the goal is to show that even if there are certain gendered preferences in terms of the choice of swearwords, women and men frequently display similar patterns in using them, thus reinforcing the idea that they are not so linguistically different. Secondly, this article provides insights into how collocational networks can be used to achieve this, and thus how focusing on differences can be one way to also spot similarities across two sub-corpora.

Streszczenie Niniejszy artykuł jest próbą usystematyzowania metod stosowanych w filmowym tłumaczeniu wulgaryzmów z języka angielskiego na język polski. Przedstawione metody zostały wyodrębnione w toku szeroko zakrojonego badania, którego celem był opis praktyk translatorskich w dobie przemian językowych i socjolingwistycznych związanych ze wzrostem częstotliwości stosowania jednostek nacechowanych wulgarnie nie tylko w codziennej komunikacji, ale również w filmie. W poniższym artykule zaprezentowano badania ilościowe dotyczące przemian w zakresie częstotliwości występowania wulgaryzmów w komunikacji w języku polskim i angielskim, ponieważ stanowią one podstawę do rozważań nad tym, czy zmiany w języku wpływają na decyzje translatorskie w przypadku przekładu wulgaryzmów. Abstract Methods of Translating Vulgarisms in Film Translation in the Context of Transformations of Language Communication The article is an attempt at systematizing methods used in film translation of swearwords / (vulgarisms) from English into Polish. The methods presented in the study were arrived at through extensive research, which aimed at describing translation practices in the age of linguistic and sociolinguistic changes involving the increase in the frequency of usage of swearwords not only in everyday communication but also in film. The article presents quantitative research concerning the changes in the frequency of using vulgarisms in communication in Polish and English. The results constitute the basis for considering whether the changes a given language is undergoing can influence the translator's decisions with regard to vulgarisms.

We therefore logically suggest that our swearing was originally derived from the language of French protestant merchants and coureurs des bois who lived at the very beginning of the French presence (1620’s), and that these words would have been taken up by the inhabitants in general, all religions declared or hidden. As the repression of this vocabulary was sure to follow… Three to four hundred years being a possible time frame to create their thousand derivatives, a morphology and even a syntax with its own rules as we see in all its wonderful complexity and spread over the size of the territory.

This study was aimed at examining the use of swear word in the movies with different topics and characters. The objectives of this study were to find out the reasons of using swear word in the movies. This study was conducted by descriptive qualitative method. The source of data was transcript the movies. The findings of the study showed that : 1. There are three ways of using swear words such as (1) interjections, (2) emphasizers, (3)expletive slot fillers. 2. The reasons for using swear words in the movies are psychological and social factors.

This paper aims to discuss the case study of “What Happened” (Lena Merhej, 2015), from Geographia, the latest anthology of Samandal’s comics, a graphic novel on a controversial case of censorship. This comic uses different linguistic codes (verbal, iconic and graphics) to represent the gap between literal and figurative sense, focusing on the
figurative representation of idiomatic expressions and swear words.

The language of interlingual subtitles and the effect it has on viewers is a concern for viewers of
subtitled audiovisual content, subtitlers, and SVOD1 services such as Netflix2, as well as other
cable, national and commercial broadcasters that show subtitled content. Subtitles are a popular
form of audiovisual translation and their usage is growing worldwide. Conveying conversational
dialogues from one language via subtitles to another may not come without obstacles as subtitles
are a reduced, written, form of text, where many features of conversational, spoken language may
be lost. Skins, a British teenage series, containing fast-paced dialogues and slang, as well as an
abundance of expletives, will be used as an illustration of this topic. The subtitling of only one
expletive will be compared across all seven seasons of this television series, by analysing the
opening episode of each season, against different circumstances in which particular seasons were
subtitled. The study of the corpus of Croatian subtitles of this TV series, based on the analysis of
the opening episode of each season of this TV series has been conducted. The article aims to
show that the way subtitles are depends on how they were created, under what set of
circumstances.