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).

双语代码歧义 (CA)，也称为语言游戏或双关语，已经针对双语创造力进行了讨论，因为它需要英语用户在一次话语中操纵两种语言 (Moody & Matsumoto, 2003)。自从 Moody 和 Matsumoto (2003) 建议在日本流行 (J-pop) 音乐的歌词中使用英日 CA，一些研究开始关注在这种复杂的语言现象中双语创造力的不同方面 (Luk, 2013; Rivlina, 2015) ；谢林，2016 年）。他们报告了非英语母语用户在语音类比 (Moody & Matsumoto, 2003; Scherling, 2016)、语义相关性和混合 (Luk, 2013; Moody & Matsumoto, 2003) 和社会语用功能 ( Luk，2013 年；Rivlina，2015 年）。