Polysemy in the context of "Headword"

Syntactic ambiguity, also known as structural ambiguity, amphiboly, or amphibology, is characterized by the potential for a sentence to yield multiple interpretations due to its ambiguous syntax. This form of ambiguity is not derived from the varied meanings of individual words but rather from the relationships among words and clauses within a sentence, concealing interpretations beneath the word order. Consequently, a sentence presents as syntactically ambiguous when it permits reasonable derivation of several possible grammatical structures by an observer.

In jurisprudence, the interpretation of syntactically ambiguous phrases in statutory texts or contracts may be done by courts. Occasionally, claims based on highly improbable interpretations of such ambiguities are dismissed as being frivolous litigation and without merit. The term parse forest refers to the collection of all possible syntactic structures, known as parse trees, that can represent the ambiguous sentence's meanings. The task of clarifying which meaning is actually intended from among the possibilities is known as syntactic disambiguation.

In linguistics, semantic analysis is the process of relating syntactic structures, from the levels of words, phrases, clauses, sentences and paragraphs to the level of the writing as a whole, to their language-independent meanings. It also involves removing features specific to particular linguistic and cultural contexts, to the extent that such a project is possible. The elements of idiom and figurative speech, being cultural, are often also converted into relatively invariant meanings in semantic analysis. Semantics, although related to pragmatics, is distinct in that the former deals with word or sentence choice in any given context, while pragmatics considers the unique or particular meaning derived from context or tone. To reiterate in different terms, semantics is about universally coded meaning, and pragmatics, the meaning encoded in words that is then interpreted by an audience.

Semantic analysis can begin with the relationship between individual words. This requires an understanding of lexical hierarchy, including hyponymy and hypernymy, meronomy, polysemy, synonyms, antonyms, and homonyms. It also relates to concepts like connotation (semiotics) and collocation, which is the particular combination of words that can be or frequently are surrounding a single word. This can include idioms, metaphor, and simile, like, "white as a ghost."

In linguistics, an expression is semantically ambiguous when it can have multiple meanings. The higher the number of synonyms a word has, the higher the degree of ambiguity. Like other kinds of ambiguity, semantic ambiguities are often clarified by context or by prosody. One's comprehension of a sentence in which a semantically ambiguous word is used is strongly influenced by the general structure of the sentence. The language itself is sometimes a contributing factor in the overall effect of semantic ambiguity, in the sense that the level of ambiguity in the context can change depending on whether or not a language boundary is crossed.

Lexical ambiguity is a subtype of semantic ambiguity where a word or morpheme is ambiguous. When a lexical ambiguity results from a single word having two senses, it is called polysemy. For instance, the English "foot" is polysemous since in general it refers to the base of an object, but can refer more specifically to the foot of a person or the foot of a pot. When an ambiguity instead results from two separate words which happen to be pronounced the same way, it is called homonymy. For instance, the English word "row" can denote the action of rowing or to an arrangement of objects. In practice, polysemy and homonymy can be difficult to distinguish.

Twilight language or secret language is a rendering of the Sanskrit term sāṃdhyābhāṣā (written also sāndhyābhāṣā, sāṃdhyabhāṣā, sāndhyabhāṣā; Wylie: dgongs-pa'i skad, THL gongpé ké) or of their modern Indic equivalents (especially in Bengali, Odia, Assamese, Maithili, Hindi, Nepali, Braj Bhasha and Khariboli).

As popularized by Roderick Bucknell and Martin Stuart-Fox in The Twilight Language: Explorations in Buddhist Meditation and Symbolism in 1986, the notion of "twilight language" is a supposed polysemic language and communication system associated with tantric traditions in Vajrayana Buddhism and Hinduism. It includes visual communication, verbal communication and nonverbal communication. Tantric texts are often written in a form of the twilight language that is incomprehensible to the uninitiated reader. As part of an esoteric tradition of initiation, the texts are not to be employed by those without an experienced guide and the use of the twilight language ensures that the uninitiated do not easily gain access to the knowledge contained in these works.

Kālacakra (Tibetan: དུས་ཀྱི་འཁོར་ལོ།, Wylie: dus kyi 'khor lo) is a polysemic term in Vajrayana Buddhism and Hinduism that means "wheel of time" or "time cycles". "Kālacakra" is also the name of a series of Buddhist texts and a major practice lineage in Indian Buddhism and Tibetan Buddhism. The tantra is considered to belong to the unexcelled yoga (anuttara-yoga) class.

Kālacakra also refers both to a patron tantric deity or yidam in Vajrayana and to the philosophies and yogas of the Kālacakra tradition. The tradition's origins are in India and its most active later history and presence has been in Tibet. The tradition contains teachings on cosmology, theology, philosophy, sociology, soteriology, myth, prophecy, medicine, and yoga. It depicts a mythic reality whereby cosmic and socio-historical events correspond to processes in the bodies of individuals. These teachings are meant to lead to a transformation of one's body and mind into perfect Buddhahood through various yogic methods.

The term rumba may refer to a variety of unrelated music styles. Originally, "rumba" was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only tangentially related to the original Cuban rumba, if at all. The vague etymological origin of the term rumba, as well as its interchangeable use with guaracha in settings such as bufo theatre, is largely responsible for such worldwide polysemy of the term. In addition, "rumba" was the primary marketing term for Cuban music in North America, as well as West and Central Africa, during much of the 20th century, before the rise of mambo, pachanga and salsa.

"Rumba" entered the English lexicon in the early 20th century, at least as early as 1919, and by 1935 it was used as a verb to denote the ballroom dance. In this sense, the anglicised spelling "rhumba" became prevalent and is now recommended to distinguish it from traditional Cuban rumba. Also in the first third of the 20th century, "rumba" entered the Spanish flamenco world as a fast-paced palo (style) inspired in the Cuban guaracha, and which gave rise to other forms of urban music now known as "rumba". Throughout Latin America, "rumba" acquired different connotations, mostly referring to Cubanized, danceable, local styles, such as Colombian rumba criolla (creole rumba). At the same time, "rumba" began to be used a catch-all term for Afro-Cuban music in most African countries, later giving rise to re-Africanized Cuban-based styles such as Congolese rumba.