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Cursing, Taboo, and Euphemism

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Abstract

Cursing is a universal and enduring human activity. As such it provides a window into human ethology, psychology, and culture. It is inherently related to taboo and its symbiotic other – euphemism. This chapter will begin with an overview of key scholarly insights on cursing, taboo, and euphemism, from psychology, anthropology, linguistics and related fields, to be followed by a review of research on these phenomena in Chinese, and conclude with brief suggestions of future directions.
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... Euphemism is known as the practice of altering or softening impolite, harsh, rude, or taboo expressions with more pleasant and polite ones for reasons of religious fear or moral sensibility (Burridge, 2012;Crespo-Fernández, 2020;Gomez, 2009;Kany, 1960). Most studies discuss euphemism and its correlation to verbal features (Asseel, 2020;Burridge, 2012;Halmari, 2011;Matusitz, 2016;Purnomo et al., 2020;Schmidt, 2010). On the other hand, the practice of euphemization can also be seen in visual features. ...
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... Violating this rule will result in punishment within the society. Likewise, in certain cases in China, discussing the Zodiac is considered taboo, as noted by Jing-Schmidt (2019). Similarly, in Arabian communities, the discussion of one's talking ability and talents is considered taboo (Sa'd, 2017). ...
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Taboo words is forbidden to talk about is connected or dealing of something that must be avoided. Taboo words are also used in the media especially a song. Some songs contain taboo words in their lyrics. Studying taboo words in song lyrics is crucial because it prevents misuse and misinterpretation, ensuring a more accurate understanding of the intended message and artistic expression. It also reveals the moral and cultural values reflected in the lyrics, exposing the societal norms and boundaries that may be challenged or reinforced. This qualitative research addressed the types of taboo words in Megan Thee Stallion songs. The data was analyzed based on Battistella (2005) about the types of taboo words. The researcher uses songs in “Fever” album as the object of the research. The researcher discovered about 21 taboo words in the eight songs on the fever album. The first type is characterized by epithets (6), profanity (2), vulgarity (6), and obscenity (7). According the data, obscenity was the most commonly used type of taboo words in song lyrics. It because there are many expressions involving sex-distinguish anatomy or sexual and excretory functions that is usually spoken harshly. While the research specifically examines Megan Thee Stallion's work, the findings may have broader implications for understanding taboo word usage in songs within the genre. By being aware of and responsibly engaging with taboo words in daily conversations and song lyrics, readers and song lovers can foster a respectful and considerate communication environment. This researcher hoped that readers and song lovers would avoid misusing taboo words that may appear in daily conversations and song lyrics.
... 60) [8] considers anger as "one of the most likely causes of cursing". When defining "curse words", Jing-Schmidt (2019: p. 392) [9] introduces the concept of "taboo", and says, "curse words with their lexical semantics rooted in the conceptual domains of sex and bodily effluvia, in particular, derive their potency from the violation of taboos that are deeply offensive yet humanly inevitable." Like Jay (1992 [10], 2000 [8]), Anderson and Trudgill (1990: p. 53) [11] associate swear words with emotions and attitude but goes further to introduce the concept of "taboo", and posit, "swear words refer to something that is taboo and/or stigmatized in the culture; should not be interpreted literally; and can be used to express strong emotions and attitudes". ...
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[This corrects the article DOI: 10.1016/j.heliyon.2022.e11953.].
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Psychiatrists, psychologists, neurologists, linguists and speech pathologists currently have no coherent theory to explain why we curse and why we choose the words we do when we curse. The Neuro-Psycho-Social Theory of Speech draws together information about cursing from different disciplines and unites them to explain and describe the psychological, neurological, cultural and linguistic factors that underlie this startling phenomenon. Why We Curse is divided into five parts. Part 1 introduces the dimensions and scope of cursing and outlines the NPS Theory, while Part 2 covers neurological variables and offers evidence for right brain dominance during emotional speech events. Part 3 then focuses on psychological development including language acquisition, personality development, cognition and so forth, while Part 4 covers the wide variety of social and cultural forces that define curse words and restrict their usage. Finally, Part 5 concludes by examining the social and legal implications of cursing, treating misconceptions about cursing, and setting the agenda for future research. The work draws on new research by Dr. Jay and others and continues the research reported in his groundbreaking 1992 volume Cursing in America. A psycholinguistic study of dirty language in the courts, in the movies, in the schoolyards and on the streets.
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This paper investigates sex-related euphemisms in four Asia sign languages, namely, Hong Kong Sign Language (HKSL), Jakarta Sign Language (JakSL) (Indonesia), Sri Lankan Sign Language (SLSL) and Japanese Sign Language (JSL). It aims at finding out if direct visual reference to sex-related body parts or concepts is taboo to Deaf signers and if this is the case, what strategies they adopt to form the corresponding euphemistic expressions. It will be argued that even though Deaf signers are used to the visual explicitness of the signing modality, the highly iconic nature of certain sex-related signs can still be offensive at times, thus giving rise to euphemistic expressions. While certain euphemistic strategies by the Deaf signers target at toning down the degree of visual iconicity originally associated with the taboo signs, most of the remaining strategies show striking resemblance to those used in spoken languages, suggesting the universality of these verbal politeness strategies across language modalities.
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Dominanzstreben und Fürsorglichkeit bilden zwei Eckpfeiler menschlichen Sozialverhaltens. Sie sind fest in unserem stammesgeschichtlichen Erbe verwurzelt und stehen oft miteinander im Widerstreit. Das belastet das Zusammenleben in Familie und Gesellschaft. Das Dominanzstreben ist aggressiv motiviert. Im Wettstreit um begrenzte Ressourcen wie Reviere versuchen Tier und Mensch gleicherweise durch Kämpfen, Drohen oder Bluff ihre Eigeninteressen gegen den Widerstand der Konkurrenten durchzusetzen. Flucht und Unterwerfung sind dem aggressiven Verhalten funktionell zugeordnet, sie bilden ein funktionelles Systemganzes, das man als agonistisches System bezeichnet.
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The present paper is part of a literary and linguistic research in progress on nine Anglo-Saxon poetic (metrical) charms, which alternate prose and poetry. Each charm is analysed in its own content and linguistic components in order to offer a precise and exhaustive view of its meaning. The content analysis often refers to the interpretation of images implied in the magic process. The distinctive traits of the Anglo-Saxon culture do really emerge not only with reference to religion, witchcraft and medical science but also to the various aspects of rural life in those times. Among the structural elements and the characteristics which all contribute to the definition of a magical text, the most important are textual communication, style, ritual issues and language. So a pathway of images and meanings can be traced in order to be enabled to define the cultural world and the average Anglo-Saxon's "Weltanschauung". The analysis of what can be defined "magical language" allows to focus on the formal aspects and to connect them to the Anglo-Saxon poetical language. If from one side it can be claimed that there does not exist a properly called magical language, or at least it barely exists, from the other it comes out that the magic power of these texts is embedded in the rite, in the singing rhythm and in the repetition of words and sounds. © 2010 Vita e Pensiero / Pubblicazioni dell'Università Cattolica del Sacro Cuore.
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