Στα λεξικά που κοίταξα ο punster αποδίδεται με τις ελληνικές ευφυολόγος και καλαμπουρτζής. Ωστόσο, χωρατατζής και καλαμπουρτζής είναι περισσότερο ο jokester (το καλαμπούρι έχει πάψει να σημαίνει αποκλειστικά «λογοπαίγνιο», ενώ το γαλλικό calembour μένει στα ίδια, σύμφωνα με τα λεξικά μου), ενώ το ευφυολόγημα μού αρέσει, αλλά δεν παύει να είναι κι αυτό υπερώνυμο: witticism, και ο ευφυολόγος, wit. Το λογοπαίγνιο είναι ένα συγκεκριμένο παιχνίδι με τις σημασίες και τους ήχους των λέξεων. Και όσο πιο συχνά χρησιμοποιούμε τον λογοπαίκτη, τόσο πιο συχνά θα ακριβολογούμε. Η λέξη υπάρχει στο λεξικό του Παπύρου (και στον Δημητράκο και στον Σταματάκο), το οποίο γράφει:
λογοπαίκτης
ο· αυτός που κάνει λογοπαίγνια.
[ΕΤΥΜΟΛ. Η λ., στον λόγιο πληθ. τ. λογοπαῖκται, μαρτυρείται από το 1890 στον Γρηγόριο Ξενόπουλο].
Η λέξη έχει αρκετά ευρήματα και στο διαδίκτυο (μεταξύ των οποίων θα βρούμε και τον λεξιλάγνο-λογοπαίκτη Ζάζουλα) ώστε να ξαναμπεί στα λεξικά.
Αφού είπα τον καλό μου λόγο για τον λογοπαίκτη, να περάσω και στη παρουσίαση της ιστορίας του λογοπαιγνίου: The Pun Also Rises: How the Humble Pun Revolutionized Language, Changed History, and Made Wordplay More Than Some Antic (Προχτές κυκλοφόρησε.) [Amazon]
Τα παρακάτω είναι από παρουσίαση στη New York Times:
λογοπαίκτης
ο· αυτός που κάνει λογοπαίγνια.
[ΕΤΥΜΟΛ. Η λ., στον λόγιο πληθ. τ. λογοπαῖκται, μαρτυρείται από το 1890 στον Γρηγόριο Ξενόπουλο].
Η λέξη έχει αρκετά ευρήματα και στο διαδίκτυο (μεταξύ των οποίων θα βρούμε και τον λεξιλάγνο-λογοπαίκτη Ζάζουλα) ώστε να ξαναμπεί στα λεξικά.
Αφού είπα τον καλό μου λόγο για τον λογοπαίκτη, να περάσω και στη παρουσίαση της ιστορίας του λογοπαιγνίου: The Pun Also Rises: How the Humble Pun Revolutionized Language, Changed History, and Made Wordplay More Than Some Antic (Προχτές κυκλοφόρησε.) [Amazon]
Τα παρακάτω είναι από παρουσίαση στη New York Times:
John Pollack is an admitted compulsive pun maker. He claims that his first complete sentence was “Bears go barefoot.” […]
Mercifully, once Pollack has finished describing this contest in excruciating detail, he has a number of things to say that are intelligent instead of clever.
He rightly gives the pun the broadest definition, encompassing all the linguistic, symbolic and even gestural ambiguities of communication. […]
Most of the book, however, is devoted to the history and significance of punning. The recorded history of the pun goes back further than the recorded history of almost anything else. In the caves of our Paleolithic ancestors, 35,000-year-old figurines have been found, each appearing to be a naked woman when viewed from one angle and an erect penis when viewed from another. The human tendency to pun is carved in stone. […]
The problem with Pollack’s historical survey of puns is that it misses the greatest puns in history. He ignores many of the best practitioners of the idiom — Jesus and Sir Charles Napier, to name two. Jesus said to his disciple Peter, “Upon this rock I will build my church.” That was not only a pun on Peter’s name, which means rock, but also a pun on the character of Peter, who, in the garden of Gethsemane, would deny Jesus thrice before cockcrow. […]
He also gives short shrift to the Marx Brothers, even though the “contract scene” in “A Night at the Opera” contains perhaps the 20th century’s most famous pun.
Groucho: “That’s in every contract. That’s, that’s what they call a ‘sanity clause.’ ”
Chico: “You can’t fool me. There ain’t no Sanity Claus.” […]
The trouble with puns is that they’re cute. Humor has nothing to do with the cute. Humor is how we cope with violated taboos and rising anxieties — and rising gorges, too. Humor is our response to the void of absurdity. We laugh when we don’t know what the hell else to do. Michael O’Donoghue, an original contributor to National Lampoon and the first head writer for “Saturday Night Live,” said that humor is not about a kitten tangled in a ball of string — unless the kitten strangles. […]
Mercifully, once Pollack has finished describing this contest in excruciating detail, he has a number of things to say that are intelligent instead of clever.
He rightly gives the pun the broadest definition, encompassing all the linguistic, symbolic and even gestural ambiguities of communication. […]
Most of the book, however, is devoted to the history and significance of punning. The recorded history of the pun goes back further than the recorded history of almost anything else. In the caves of our Paleolithic ancestors, 35,000-year-old figurines have been found, each appearing to be a naked woman when viewed from one angle and an erect penis when viewed from another. The human tendency to pun is carved in stone. […]
The problem with Pollack’s historical survey of puns is that it misses the greatest puns in history. He ignores many of the best practitioners of the idiom — Jesus and Sir Charles Napier, to name two. Jesus said to his disciple Peter, “Upon this rock I will build my church.” That was not only a pun on Peter’s name, which means rock, but also a pun on the character of Peter, who, in the garden of Gethsemane, would deny Jesus thrice before cockcrow. […]
He also gives short shrift to the Marx Brothers, even though the “contract scene” in “A Night at the Opera” contains perhaps the 20th century’s most famous pun.
Groucho: “That’s in every contract. That’s, that’s what they call a ‘sanity clause.’ ”
Chico: “You can’t fool me. There ain’t no Sanity Claus.” […]
The trouble with puns is that they’re cute. Humor has nothing to do with the cute. Humor is how we cope with violated taboos and rising anxieties — and rising gorges, too. Humor is our response to the void of absurdity. We laugh when we don’t know what the hell else to do. Michael O’Donoghue, an original contributor to National Lampoon and the first head writer for “Saturday Night Live,” said that humor is not about a kitten tangled in a ball of string — unless the kitten strangles. […]
