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EN
The study aims to answer questions about the developmental trajectories of irony comprehension. The research focuses on the problem of the age at which ironic utterances can first be understood. The link between ironic utterance comprehension and early Theory of Mind (ToM) is examined as well. In order to approach the topic, 46 preschool children were tested with the Irony Comprehension Task (Banasik & Bokus, 2013) and the Reflection on Thinking Test (Białecka-Pikul, 2012) in three age groups: four-year-olds, five-year-olds and six-year-olds. The study showed no age effect in the Irony Comprehension Task and a significant effect in the Reflection on Thinking Test. On some of the measures, irony comprehension correlates with theory of mind. Also, an analysis of children’s narratives was conducted to observe how children explain the intention of the speaker who uttered the ironic statement. The children’s responses fall into four categories, one of which involves a function similar to a white lie being ascribed to the utterance.
EN
The aim of the described study was to check how preschool children justify using ironic statements. In the Irony Comprehension Task adopted for examining young children, the participants were asked to explain the use of six examples of verbal irony. There were 231 participants – 77 four-year-olds, 89 five-year-olds and 65 six-year-olds. The data revealed that with increasing age, children are more likely to indicate the duality of ironic statements. Younger children stop at noticing a dissonance between literal and intended meaning, whereas six-year-olds refer also to the inner states of the story’s main character or they introduce interesting metalinguistic explanations.
EN
The novelistic experimentation of Trabal in L’home que es va perdre is developed through the reflection of the uses and possibilities of the language as an instrument of expression of reality and the use of many literary references that warn the reader about the demystification of literature. L’home que es va perdre is anovel full of ironic techniques, although this paper emphasizes the most important one: the sense of irony that highlights the precariousness of language as an instrument to know the world, which we can follow in this novel through the exploration of the different uses of the verb to lose in Catalan (to get lost, to miss, to lose, etc.). Through the exploration of this resource, the paradigm of “humor pur” (pure comedy), Trabal shows the conventional nature of most of our communicative acts through aseries of our completely automated mechanisms which, in this case, reach its peak when Picàbia, victim of the funny game that he had started himself, assumes the internal logic from which it has developed, and consequently, gets lost.
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