Typology of English–Korean code ambiguation

Abstract

Bilingual code ambiguation (CA), also known as language play or punning, has been discussed for bilingual creativity as it requires English users to manipulate two languages in a single utterance (Moody & Matsumoto, 2003). Since Moody and Matsumoto (2003) suggested English–Japanese CA in the lyrics of Japanese popular (J-pop) music, some studies have paid attention to diverse aspects of bilingual creativity performed in this complex linguistic phenomenon (Luk, 2013; Rivlina, 2015; Scherling, 2016). They have reported non-native English users’ control over linguistic knowledge in phonological analogy (Moody & Matsumoto, 2003; Scherling, 2016), semantic relatedness and blending (Luk, 2013; Moody & Matsumoto, 2003), and socio-pragmatic functions (Luk, 2013; Rivlina, 2015). They have further suggested that CA needs to be viewed as bilinguals’ performative use of English and a local language to achieve symbolic goals (Moody & Matsumoto, 2003; Scherling, 2016).

English's expanding linguistic foothold in K-pop lyrics

“…In this article, code ambiguation (CA) indicates a word or phrase that can carry meaning in two languages (Moody & Matsumoto, 2003). Lee (2022) borrows from Luk (2013) who noted that CAs share an acoustic link (similar sound), and stand in either a parallel, complementary, or disjoint semantic relationship. Finally, recent K-pop cultural studies literature, journalistic articles, and other K-pop-focused media further contextualize this code ambiguation.…”

“…While Yeo explored moderation of language use within song titles and artist names, little research has quantitatively examined the balance of English and Korean language use within lyrics. Moreover, this study will qualitatively examine the reformulation of a code ambiguation (CA) (Moody & Matsumoto, 2003;Lee, 2022) within Itzy's debut single 'DALLA DALLA. '…”

“…While Korean listeners may interpret this as an intensifier meaning 'a lot, a lot, a lot' or 'very, very, very,' English listeners may interpret this phrase as a 'phonetic Koreanization' (Ahn, 2018) of the phrase 'money, money, money.' Lee (2022) proposed a Korean-English CA typology borrowed from Luk (2013) where acoustic links at the phonetic level produce parallel, complementary, or disjoint relationships between languages at the semantic level. This means CAs may have similar meanings between language codes (parallel), require both languages to complete a code (complementary), or semantically unrelated meanings between language codes (disjoint).…”

“…Linguistic studies on English use in K-pop have identified syntactic patterns of borrowing (Lawrence, 2010;Yang, 2012), appropriation of African American Language (AAL) (Lee, 2007;Garza, 2021), code ambiguation (Ahn, 2021;Lee, 2022), and English use in artist names and song titles (Yeo, 2018;Kang, 2022). However, few (if any) studies have quantitatively examined Yeo's proposed phenomenon of moderation within the lyrics themselves.…”