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Journal articles on the topic 'Metaphoric literature'
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Wang, Juanjuan, and Yi Sun. "How is Chinese English Learners’ L2 Metaphoric Competence Related to That of L1? An E-Prime-Based Multi-Dimensional Study." International Journal of English Linguistics 10, no. 4 (May 27, 2020): 115. http://dx.doi.org/10.5539/ijel.v10n4p115.
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Even though transfer from L1 to L2 has been repeatedly tested and confirmed, there is little literature and consensus on how and to what extent the L1 metaphoric competence could be related to that of L2. Based on the metaphor acceptability and response time of E-Prime experiments and two written tests of comprehension and production of metaphors on 94 intermediate Chinese-speaking university students of English, this study compares Chinese English learners’ similarities and differences in four dimensions (metaphor acceptability, identification speed, metaphor comprehension, and metaphor production) of metaphoric competence between L1 and L2 (here is Chinese and English). The results demonstrate that: Chinese English learners’ L1 metaphoric competence is significantly better than that of L2; their L2 metaphoric competence is significantly correlated to that of L1, and the regression analysis shows that L1 metaphoric competence has a significant prediction of that of L2. These findings enlighten us to greatly cultivate metaphoric competence in foreign language teaching and help students create connection between L1 and L2 metaphoric competence. This study also provides statistical support for the claim that metaphoric competence is a general trans-language cognitive ability for Chinese English learners.
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Poppi, Fabio I. M., Marianna Bolognesi, and Amitash Ojha. "Imago Dei: Metaphorical conceptualization of pictorial artworks within a participant-based framework." Semiotica 2020, no. 236-237 (December 16, 2020): 349–76. http://dx.doi.org/10.1515/sem-2018-0077.
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AbstractThis article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures described by the participants often diverge from those advanced by the researchers. These findings challenge the methods by which metaphor identification and analysis in pictorials is currently approached. As a matter of fact, most of the research in pictorial metaphors tends to reduce stimuli such as artistic paintings to unique metaphoric interpretations generally produced by a single researcher by means of introspection. By addressing this methodological problem in metaphor research, this article contributes to the development of a theoretical and operational participant-based framework that takes into account the role of metaphoric conceptualization within the domain of art and art cognition.
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Sweetser, Eve, and Karen Sullivan. "Minimalist metaphors." English Text Construction 5, no. 2 (November 23, 2012): 153–73. http://dx.doi.org/10.1075/etc.5.2.01swe.
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We suggest that the impact of metaphoric language does not depend entirely on the conceptual metaphor that is evoked, nor on the form the metaphoric language takes, but also on the steps involved in evoking a given metaphor. This is especially apparent in minimalist poetry. Readers are given hints, cultural conventions, or no guidance at all, on how to fill in missing metaphoric domains and mappings. We place minimalist metaphors at the “effortful” end of the cline proposed by Stockwell (1992), and suggest that the other end can be associated with maximalist metaphors, which corral the reader into a highly specific interpretation. The degree of minimalism or maximalism depends on the specific mappings that are linguistically indicated, the degree of conventionalization of the metaphor, and reliance on cultural background knowledge.
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Crawford, Christopher A., and Igor Juricevic. "Understanding pictorial metaphor in comic book covers: A test of the contextual and structural frameworks." Studies in Comics 11, no. 2 (November 1, 2020): 341–59. http://dx.doi.org/10.1386/stic_00034_1.
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Conceptual metaphor theory proposes that metaphor is a mental function, rather than solely a literary device. As such, metaphors may be present in any by-product of human cognition, including pictorial art. Crawford and Juricevic previously proposed two heuristic frameworks for the identification and interpretation of metaphor in pictures, which have been shown to be capable of describing how pictorial metaphors are identified and interpreted in the comic book medium. The present study tested artists’ preference for combinations of contextual and structural pictorial information in comic book cover images. We analysed usages of exaggerated size in comic book cover art, as exaggerated size is a pictorial device, which may be used both literally and metaphorically. The goal was to assess how contextual and structural information is combined, and how literal and metaphorical information interacts, both when it is congruent and incongruent. This analysis of the use of exaggerated size in comic book art indicates that artists prefer to produce images that have congruent combinations of literal and metaphoric pictorial information, or the incongruent combination of metaphoric contextual information and literal structural information. Artists do not, however, prefer to produce images that have the incongruent combination of metaphorical structural information and literal contextual information. Taken together with the Corpus Analysis Relevance Theory (CART) argument, this pattern suggests that when processing information, our cognitive systems prefer metaphorical interpretations over literal interpretations and contextual information over structural information.
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Chimbi, Godsend T., and Loyiso C. Jita. "Emerging Trends in Metaphoric Images of Curriculum Reform Implementation in Schools: A Critical Literature Review." International Journal of Learning, Teaching and Educational Research 20, no. 6 (June 30, 2021): 194–210. http://dx.doi.org/10.26803/ijlter.20.6.10.
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Curriculum reform is often difficult to conceive, disseminate, and implement, resulting in the use of metaphors to make sense of how changes initiated at national level are enacted in schools. This theoretical paper, which employs Critical Metaphor Analysis (CMA), constructs an account of emerging trends in metaphoric language to unlock the complexity of reform implementation. A deductive critical review of literature was adopted as the qualitative design to glean insights into how metaphors have been used to shape mental images of curriculum reform across time and space. Findings indicated converging and diverging trends in metaphoric semantics. While some studies have equated curriculum change to a battlefield and a ghost of control, others have likened reform implementation to driving through the fog or wearing a donated gown of the wrong size. School reform has also been portrayed as a journey, a jigsaw puzzle, and a gardening project demanding meticulous planning and concentration. The unique contribution of this research is the clustering of reform metaphors into a three-tiered spectrum of pessimism, ambiguity, and optimism, thereby extending insights into the dynamics of curriculum enactment. Strategic implementation is recommended so that curriculum reform may be couched in metaphors of hope instead of anger and confusion.
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Mey, Jacob L. "Metaphors and activity." DELTA: Documentação de Estudos em Lingüística Teórica e Aplicada 22, spe (2006): 45–65. http://dx.doi.org/10.1590/s0102-44502006000300005.
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This paper considers metaphor as a kind of activity in the spirit of Levinson's 'Activity Types' or of Mey's 'Pragmatic Acts'. Contrary to what has been suggested in the literature, metaphors neither belong exclusively to the domain of abstract reasoning (such as by analogy; Max Black), nor are they merely linguistic and/or psychological processes (of cognition; George Lakoff). Metaphors do not originate and live in the brain only, neither do they exclusively belong to some conceptual domain from which they can establish relations to other domains, or blend with them. Metaphors are primarily pragmatic activities.In my contribution, I will concentrate on the pragmatics of what is called 'embodiment': while metaphors represent, respectively support or illustrate, an activity that is performed by the total human being, the body part of the metaphoric deal is often neglected. Yet, as many researchers in the humanities and the sciences have shown, the role of the body in solving problems through appropriate metaphoring cannot be overestimated. An embodied perspective on thought, and especially on metaphor, will allow us to form a better understanding of the things we do with words, when we use words to do things.
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Sullivan, Karen. "One metaphor to rule them all? ‘Objects’ as tests of character in The Lord of the Rings." Language and Literature: International Journal of Stylistics 22, no. 1 (February 2013): 77–94. http://dx.doi.org/10.1177/0963947012462949.
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This quantitative and qualitative study argues that the One Ring in The Lord of the Rings ( LotR) is based on a metaphoric blend, which is echoed in related metaphors for power throughout the trilogy. Particular metaphors may be repeated in a literary work to achieve a stylistic effect (Ben-Porat, 1992; Crisp et al., 2002; Sullivan, 2007; Werth, 1994). This article suggests that the One Ring, and other powers conceptualized as objects, repeatedly test the mettle and morality of characters throughout the LotR trilogy. The current study examines the One Ring as a metaphoric blend (in the sense of Fauconnier, 1997) based on the Object Event-Structure (OES) metaphor, in which abstract goals are conceptualized as physical objects (Lakoff and Johnson, 1999), and compares the structure of this blend with all other OES metaphors for power throughout LotR. The study finds that just as good characters are ‘weighed down’ by the Ring, they feel ‘burdened’ by other forms of power and authority, whereas evil characters do not feel that power is a ‘burden’. Similarly, the manner in which the Ring is acquired is indicative of character quality, a trend shared by other metaphors for power and authority. Finally, the Ring is a non-living object; and throughout the trilogy, other metaphoric ‘objects’ are found to be more likely to be evil, whereas plants and growing things are more likely to map metaphorically onto the forces of good.
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Sullivan, Karen. "Visibility and economy as dimensions of metaphoric language." Language and Literature: International Journal of Stylistics 23, no. 4 (November 2014): 347–68. http://dx.doi.org/10.1177/0963947014543608.
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Metaphoric language can be examined either from the standpoint of conceptual structure or from the perspective of linguistic form. The role of conceptual metaphor in metaphoric language has received considerable attention, notably in Conceptual Metaphor Theory and Blending Theory, but the impact of linguistic form remains less well understood. Brooke-Rose’s A Grammar of Metaphor (1958) presents subjective impressions of various forms, and more recently, cognitive linguists have examined the metaphoric uses of individual grammatical constructions. However, Stockwell offers the most methodical and comprehensive comparison of metaphorically used constructions along a specified parameter, that of ‘visibility’ (1992, 2000, 2002). On the cline of visibility, constructions range from the most visible constructions, such as simile, to the least visible, such as allegory. The current article draws on Sullivan’s (2013) study of the role of grammatical constructions in metaphoric language to examine and refine Stockwell’s cline of visibility, inputting the syntactic characteristics of Stockwell’s metaphoric constructions into a multidimensional scaling analysis. The results support Stockwell’s dimension of ‘visibility’, but suggest that the distinctions between metaphorically used constructions are better accounted for in a two-dimensional analysis that considers the dimension of ‘economy’ – the linguistic complexity required to express a conceptual metaphor – alongside ‘visibility’.
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Lewis, Tasha N., and Elise Stickles. "Gestural modality and addressee perspective influence how we reason about time." Cognitive Linguistics 28, no. 1 (February 1, 2017): 45–76. http://dx.doi.org/10.1515/cog-2015-0137.
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AbstractA growing body of literature has established that spatiotemporal metaphoric reasoning processes can be affected by the active experience of motion (such as actual motion, fictive motion, and abstract motion). In this study, the effects of metaphoric gestures on spatiotemporal metaphor use and the effects of addressee perspective on comprehension of these gestures are investigated. Participants were asked an ambiguous question that yields different responses depending on which metaphor variant is used. This question was asked with simultaneously produced metaphoric gestures depicting either sagittal or lateral motion and presented to participants either in shared perspective (side by side) or opposing (face to face) perspective. Findings suggest that not only does gesture influence metaphoric reasoning in discourse interpretation, but that addressees reliably interpret gestures from their own perspective, even when it is not shared with the speaker. Furthermore, conversational bystanders similarly adopt the perspective of the addressee in gesture comprehension.
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Sardaraz, Khan, and Roslan Ali. "A COGNITIVE-SEMANTIC APPROACH TO THE INTERPRETATION OF DEATH METAPHOR THEMES IN THE QURAN." Journal of Nusantara Studies (JONUS) 4, no. 2 (December 18, 2019): 219–46. http://dx.doi.org/10.24200/jonus.vol4iss2pp219-246.
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In previous literature, conceptual metaphor has been used as a comprehensive cognitive tool to explore systematic categorization of concepts in the Quran. Death metaphor themes have either been studied from rhetorical or conceptual perspectives, but metaphor interpretation needs both linguistic and conceptual knowledge. This paper will explore the function of both linguistic and conceptual knowledge in metaphor interpretation in the Quran. This paper has used the technique of key words and phrases for data collection and metaphor identification procedure (MIP) for metaphors identification. Thirteen conceptual metaphors were found in the data. The key conceptual metaphors were analyzed through the lexical concept cognitive model theory (hereafter LCCM) to find out the functions of linguistic and conceptual knowledge in metaphor interpretation. The findings reveal that conceptual metaphor gives only relational structure to the linguistic metaphoric expressions, whereas interpretation needs integration of both linguistic and conceptual knowledge. Conceptual simulation of metaphoric expressions is a multilinear process of multiple conceptual schemas and language. The findings also reveal that LCCM needs the tool of intertextuality for clash resolution of contexts in text interpretation. This paper holds that meaning construction depends upon multilinear processing of conceptual schemas and language. Furthermore, it asserts that the gap in LCCM may be resolved through the tool of intertextuality in metaphor comprehension. This study suggests further studies on relationship between conceptual schemas and lexical behaviour and an elaborate model for text interpretation, combining LCCM and intertextuality.
Keywords: Cognitive model, cognitive semantics, conceptual metaphor, fusion, lexical concept
Cite as: Sardaraz, K., & Ali, R. (2019). A cognitive-semantic approach to the interpretation of death metaphor themes in the Quran. Journal of Nusantara Studies, 2(4), 219-246. http://dx.doi.org/10.24200/jonus.vol4iss2pp219-246
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Osztroluczky, Sarolta. "The Art of Dying." Transcultural Studies 15, no. 1 (May 25, 2019): 30–44. http://dx.doi.org/10.1163/23751606-01501004.
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This paper will discuss three gardens and garden metaphors which represent such abstract ideas as temporality, transience, sickness or death. Even though these gardens do exist in reality, more of us are familiar with them from literature. The gardens of Sylvia Plath in Devonshire, Derek Jarman in Dungeness and Péter Nádas at Gombosszeg have acquired a metaphoric existence due to literary texts, they have been filled with meaning in the imagination of the readers, and they point to something beyond themselves. While constant change is part of the natural existence of gardens, these metaphoric gardens or garden metaphors are transferred to a certain timelessness, an everlasting present by the literary texts. This aesthetic existence or metaphoric overdetermination also affects the actual gardens themselves: if we are familiar with the poems or narratives written about them, we are no longer able to regard them as neutral spaces devoid of meaning.
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Pearson, Barbara Zurer. "The comprehension of metaphor by preschool children." Journal of Child Language 17, no. 1 (February 1990): 185–203. http://dx.doi.org/10.1017/s0305000900013179.
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ABSTRACTComprehension of metaphor in preschoolers was studied through an elicited repetition task. Subjects were 52 children aged 3;0 to 5;2. Repetition performance on metaphors was compared to repetitions of semantically well-formed literal sentences as well as semantically anomalous sentences, all matched for length, vocabulary and sentence structure. Accuracy on literal and metaphoric stimuli was comparable, and both were significantly better than performance on anomalous sentences. There were no effects for age or sex. It was shown that the metaphors were not semantically anomalous to the children and that they were processed on a par with literal language. The argument is advanced from a review of the literature that imitation implicates understanding of the material imitated. If metaphor is thus shown to emerge early in the child's linguistic repertory, figurative language, it may be argued, occupies a more central position in linguistic theory than it has been accorded.
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Rupp, Nathan Black. "The rise and fall of metaphor: A study in meaning and meaninglessness." Semiotica 2016, no. 213 (November 1, 2016): 419–33. http://dx.doi.org/10.1515/sem-2015-0131.
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AbstractI propose the specific words used by a community define that community, yet at the same time the community is defined by those words. This ever-changing lexicon of communal metaphor is the storehouse of all the meanings and their usages used by a given group. By looking at the metaphors that permeate any communal language, we see that all language is metaphoric. With the use of Conceptual Metaphor Theory and Conceptual Blending Theory, I investigate how new meanings enter our lexicon and become social meaning. This investigation also provides a closer understanding of “literal” meanings. We come to see they are just stale metaphors or neglected blendings devoid of potency. The process by which meanings are created illuminates how they become “literal.” Thus, showing us the danger that accompanies us in the modern, literal age.
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Low, Graham. "Explaining evolution: the use of animacy in an example of semi-formal science writing." Language and Literature: International Journal of Stylistics 14, no. 2 (May 2005): 129–48. http://dx.doi.org/10.1177/0963947005051285.
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Science writers who explain complex ideas to a non-specialist audience make frequent use of metaphor as a help in explaining, but metaphor can carry dangers as well as advantages. This article focuses on the use of one particular type of metaphor, namely animacy metaphor. It takes the form of a detailed case-study of an article in the magazine New Scientist describing a new theory of the evolution of multicellular organisms, the Snowball theory. The article fits closely into the rhetorical pattern found for informal written explanatory texts by Low (1997), with the addition of large numbers of animacy metaphors. The animacy metaphors form three clusters, which occur at salient points in the argument, serve to carry the argument forward and are increased in impact by the use of ‘resonance’ effects and metonymic overlays. The analysis further examines what happens between the metaphor clusters, where it is found that, instead of counteracting the animacy, a range of non-metaphoric devices maintain a continuously high level of animacy. The result, it is argued, represents a rhetorical imbalance: the use of animacy and metaphor without accompanying control.
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Grohmann, Marianne. "Metaphors of Miscarriage in the Psalms." Vetus Testamentum 69, no. 2 (April 17, 2019): 219–31. http://dx.doi.org/10.1163/15685330-12341361.
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Abstract The article applies the conceptual blending theory of metaphor to a specific imagery in the Psalms: metaphors of miscarriage or stillbirth. It asks whether miscarriage is considered a real threat or a “mere” metaphor in these texts, and situates the texts within the conceptual systems about miscarriage and stillbirth in the Hebrew Bible and the ancient Near East. In the Psalms, miscarriage and stillbirth are described by three terms with different connotations: שכל (bereavement) in Ps 35:12, נפל (falling down) in Ps 58:9, and יצא (going forth/coming out) in Ps 144:14. Conceptual blending offers a framework to integrate both “literal” and “metaphoric” references to miscarriage in the Psalms.
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Feist, Michele I., and Sarah E. Duffy. "Moving beyond ‘Next Wednesday’: The interplay of lexical semantics and constructional meaning in an ambiguous metaphoric statement." Cognitive Linguistics 26, no. 4 (November 1, 2015): 633–56. http://dx.doi.org/10.1515/cog-2015-0052.
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AbstractWhat factors influence our understanding of metaphoric statements about time? By examining the interpretation of one such statement – namely, Next Wednesday’s meeting has been moved forward by two days – earlier research has demonstrated that people may draw on spatial perspectives, involving multiple spatially based temporal reference strategies, to interpret metaphoric statements about time (e.g. Boroditsky 2000; Kranjec 2006; McGlone and Harding 1998; Núñez et al. 2006). However, what is still missing is an understanding of the role of linguistic factors in the interpretation of temporal statements such as this one. In this paper, we examine the linguistic properties of this famous temporally ambiguous utterance, considered as an instantiation of a more schematic construction. In Experiment 1, we examine the roles of individual lexical items that are used in the utterance in order to better understand the interplay of lexical semantics and constructional meaning in the context of a metaphoric statement. Following up on prior suggestions in the literature, we ask whether the locus of the ambiguity is centred on the adverb, centred on the verb, or distributed across the utterance. The results suggest that the final interpretation results from an interplay of verb and adverb, suggesting a distributed temporal semantics analogous to the distributed semantics noted for the metaphoric source domain of space (Sinha and Kuteva 1995) and consistent with a constructional view of language (Goldberg 2003). In Experiment 2, we expand the linguistic factors under investigation to include voice and person. The findings suggest that grammatical person, but not grammatical voice, may also influence the interpretation of the Next Wednesday’s meeting metaphor. Taken together, the results of these two studies illuminate the interplay of lexical and constructional factors in the interpretation of temporal metaphors.
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Agyekum, Kofi. "Metaphors of Anger in Akan." International Journal of Language and Culture 2, no. 1 (November 6, 2015): 87–107. http://dx.doi.org/10.1075/ijolc.2.1.04agy.
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This paper addresses the semantic shifts, extensions, semantic patterns, and pragmatic nature of the metaphor of anger and its usage in different contexts. It looks at the conceptual relationship between the two words akoma, “heart” and bo, “chest,” and how they have been lexicalized in the Akan language to express anger. The paper concentrates on fossilized metaphorical expressions relying on the conceptual metaphor frameworks of Lakoff and Johnson (1980). I will discuss the body parts akoma and bo in terms of their physical, semantic, metaphoric, and cognitive representations. The data are taken from Akan literature books, the Akan Bible, and recorded materials from radio discussions. The paper illustrates that there is a strong relation between a people’s conceptual, environmental, and cultural experiences and their linguistic systems. We will consider the universal concepts of body part expressions and, in particular, Akan specific body part expressions of anger. In the end, we will be able to establish how body parts help us in the lexicalization of expressions of emotion.
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Ślósarska, Joanna. "Pojęcie pola metaforycznego w poetyce kognitywnej." Przestrzenie Teorii, no. 1 (February 15, 2007): 87–96. http://dx.doi.org/10.14746/pt.2002.1.5.
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The paper presents basic conceptualisations of the metaphoric field in the views of N. Babuts, G. Lakoff, M. Johnson, M. Turner, R. W. Gibbs, and R. Tsur. In the course of considering these views the following problems are discussed: differentiation of the conceptual from linguistic metaphors, hypothesis of a cognitive base for linguistic creation of poetical tropes, creation of poetical figures in relation to standard metaphors in natural language, dynamics of the processes of conceptual and linguistic métaphorisations, categories of the mental image and of the vantage point. The whole discussion is placed within a context of the two basic paradigms of cognitive science - mental and empirical.
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Arif, Mahmoud, and IMRAN HO ABDULLAH. "The Impact of L1 Metaphorical Comprehension on L2 Metaphorical Comprehension of Iraqi EFL Learners." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 8. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.8.
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The major goal of this research is to investigate learners’ metaphorical comprehension in L1 and its effect on the metaphorical comprehension in L2 by Iraqi EFL learners at secondary school. In which, they encounter difficulties understanding English texts and lectures, primarily when metaphor is included, which leads to the misunderstanding of some or even the whole material. To this end, the research will utilize the ‘Conceptual Metaphor Theory’ by George Lakoff and Mark Turner (1980), and Cummins' Linguistic Interdependence Hypothesis (1979). The type of the survey of the data collection is a self-administered questionnaire. The questionnaire is classified into two divisions: the demographic part that gives a general background of the participants, and the part that includes 30 Arabic metaphoric proverbs and other 30 English proverbs. Each proverb is followed by four distractors from which a participant is required to choose the correct meaning for a certain proverb. The questionnaire was administered to 252 Iraqi convenience sampling. The findings showed that the participants who are more skilled in Arabic metaphor performed better in English metaphor. In addition to the significance of this study to the literature where, up to the researcher knowledge, no study has tackled the effect of the L1 on L2 in the Iraqi context, it presents a pedagogical contribution. In which, the study will draw the attention of the syllabus designers to the significance of developing cognitive skills of learners in L1 to achieve a better cognitive skills in L2.
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Fry, Paul H., and Samuel Levin. "Metaphoric Worlds: Conceptions of a Romantic Nature." Comparative Literature 44, no. 3 (1992): 316. http://dx.doi.org/10.2307/1770864.
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Zantides, Evripides. "Visual Metaphors in Communication: Intertextual Semiosis and Déjà Vu in Print Advertising." Romanian Journal of Communication and Public Relations 18, no. 3 (January 25, 2017): 65. http://dx.doi.org/10.21018/rjcpr.2016.3.216.
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<p>Metaphor, as a concept in which a signified is applied to a signifier that is not literally applicable, does not only refer to speech or verbal language, but also to a wide use of practical applications in visual communication, particularly in advertising design and communication. The metaphorical rhetoric in advertisements is a common practice often used to attract the viewers’ attention, as well as enhance the persuasiveness of messages. From a cognitive perspective, semiosis in the process of visual metaphors in communication, is a complex subject with often a variety of subjective interpretations on behalf of the viewers. Intertextuality, as another form of metaphoric communication that depends on pre-existing</p><p>texts (verbal or non-verbal), produces meanings that often deal with parody, sarcasm or irony. Additionally, they are also frequently characterised as anarchistic and provocative, because of the anti-advertising or anti-consumerism/social statements they make.</p><p>The current study aims to present a literature review on how visual metaphors are defined in printa dvertising, and build on this to examine the notion of intertextuality as a form of déjà vu-metaphor that is popular in advertising and graphic communication.</p><p>Semiotic analysis as a methodology is used on a purposive sample of print advertisements—including examples of logotypes as well—in order to categorize thematically the major typological references, in respect of intertextual advertising, as well as extract ideological conclusions.</p><p>The results show that intertextuality in advertising draws its sources of meaning mainly from the Film industry, Art, Monuments and places, Literary texts and Graphic and Advertising itself, whilst, as far as logos is concerned, the source of meaning is purely linguistic. The study also shows that Intertextual visual metaphor semiosis has a variety of popular verbal or non-verbal references and depends on the socio-political context of the sample under investigation.</p>
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Freeman, Donald C. "'According to my bond': King Lear and re-cognition." Language and Literature: International Journal of Stylistics 2, no. 1 (January 1993): 1–18. http://dx.doi.org/10.1177/096394709300200101.
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The theory of cognitive metaphor, applied in an analysis of King Lear's opening scene, shows that the scene's figurative language depends upon metaphoric projection from the schemata — skeletalised structures of knowledge — of BALANCE and LINKS into the abstractions of filial love and family relationships. The metaphors arising from the BALANCE schema, in particular, are organised into a scenario, an interpretive framework, of financial accounting. Lear understands his relationships with his daughters in terms of the debits and credits of fiscal accounts; the Fool identifies him as 'an 0 without a figure'; Regan and Goneril destroy their father by the very numbers he so relishes. Cordelia tries and fails to get Lear to 'recognise' parental love and filial duty in terms of the LINKS schema, beginning with language interpretable within both ('I love you according to my bond', where 'bond' is both a financial obligation and a linking medium). Lear must learn to understand the world in terms of LINKS through action, most strikingly portrayed when he strips off his clothes and joins Tom o'Bedlam in nakedness. We understand this and other dramatic action, the plot structure, and the play's other abstract elements through the same cognitive apparatus that we use to understand its textual metaphors: projection into those abstract entities from schematised bodily experience. In the theory of cognitive metaphor, 'interpretive communities' are constrained by the embodied imagination.
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Bertuol, Roberto. "The Square Circle of Margaret Cavendish: the 17th-century conceptualization of mind by means of mathematics." Language and Literature: International Journal of Stylistics 10, no. 1 (February 1, 2001): 21–39. http://dx.doi.org/10.1177/0963-9470-20011001-02.
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The cognitive theory of metaphor (Lakoff and Johnson, 1980; Lakoff, 1987; Lakoff and Turner, 1989) is the basis in this article for investigating the significance of the use of mathematical language, and in particular of the metaphor to square the circle in Margaret Cavendish's poem The Circle of the Brain Cannot be Squared. In the article I begin by introducing Margaret Cavendish as the first 17th-century female poet writing on scientific topics. I then explain how mathematics in the 17th century influenced people's view of reality and the extent to which this is mirrored in poetic language. The theory of cognitive metaphor provides the framework for the elucidation of mathematical concepts used to explain 'unknown' realities like mind and emotions and, in particular, of the central metaphor to square the circle in Cavendish's poem. A brief overview of the criteria of Lakoff and colleagues for analysing metaphors shows that the apparently extravagant metaphor to square the circle was simply a novel poetic extension of the conceptual metaphor UNIVERSE IS MATHEMATICS that, like other types of metaphors considered by cognitive linguists, is grounded in everyday experience. Further, Werth's (1994) remarks about the reasons behind the poet's use of particular concepts to explain others help highlight another important aspect at the basis of the production of novel metaphors, namely that of 'poetic choice'. Finally, I elaborate on Werth's remarks by drawing attention to what I term cultural choice, that is, to the influence that common knowledge and beliefs shared by the members of a linguistic community exert on the poet's choice of metaphors. The analysis of the poem shows that the topic and language of the poem, as well as the subtext, that is, the length of lines and the stanza form, depend on metaphoric projections from the domain MATHEMATICS. Through the conceptual metaphor NATURE IS MATHEMATICS, Cavendish explains man's attempt to take control over irrationalia such as fancy and female nature. The impossibility of squaring the circle is used as a proof to demonstrate that nature and fancy cannot be restricted and, at the same time, to give Cavendish a hope of acceptance in the male-dominated world.
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Tompkins, Connie A. "Knowledge and Strategies for Processing Lexical Metaphor after Right or Left Hemisphere Brain Damage." Journal of Speech, Language, and Hearing Research 33, no. 2 (June 1990): 307–16. http://dx.doi.org/10.1044/jshr.3302.307.
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This study was designed to assess how unilateral right hemisphere brain damage (RHD) affects the knowledge and processing of metaphoric aspects of word meaning. Ambiguous adjectives that could convey either a metaphoric or a literal meaning were used as target words in auditory lexical decision tasks. Targets were preceded by primes that were valid (related to the target’s metaphoric or literal meaning), neutral, or unrelated. Prime-target pairs were presented in two attention conditions, designed to favor either relatively automatic or relatively effortful mental processing, and reaction time data were gathered. RHD stroke patients performed similarly to left-brain-damaged and normal control subjects in the automatic condition, and when provided with specific processing strategies, indicating that they retained some knowledge of metaphoric word meanings. When left to glean strategies for themselves, however, both brain-damaged groups had difficulty. These results and others from the RHD literature are discussed in terms of attentional resource capacity and attentional allocation models.
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Davidson, Michael. "Concerto for the Left Hand: Disability (in the) Arts." PMLA/Publications of the Modern Language Association of America 120, no. 2 (March 2005): 615–19. http://dx.doi.org/10.1632/s0030812900168002.
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In its short existence as an academic discipline, disability studies has devoted significant attention to the representation of disabled persons in the visual arts, literature, theater, and public life. Disability scholars have studied the ways that cultural forms depend on a putatively normal body to reinforce regimes of national, racial, and sexual normalcy while using the person with a cognitive or physical impairment as a metaphor for the queer, subaltern, or marginal. A common recent criticism among disability scholars is that metaphoric treatments of impairment seldom confront the material conditions of actual disabled persons, permitting dominant social structures to be written on the body of a person who is politely asked to step offstage once the metaphoric exchange is made. Disabled artists and activists have attempted to reverse this pattern, turning their cameo appearances in such theaters back on the audience, refusing the crippling gaze of an ableist society and reassigning the meanings of disability in their own terms. As Carrie Sandahl says, people with disabilities are “not only staring back, but also talking back, insisting that ‘this body has a mouth‘” (13).
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Del Campo Martínez, Nuria. "The metaphoric motivation of the caused-motion construction: A case study of perception." International Journal of English Studies 13, no. 1 (April 1, 2013): 89. http://dx.doi.org/10.6018/ijes/2013/1/154501.
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<p>This article addresses the caused-motion construction from the theoretical perspective of the Lexical Constructional Model (LCM). Within the LCM, the way in which lexical templates fuse with constructional templates is coerced by internal and external constraints. Internal constraints specify the conditions under which allow predicates to take part in a construction. External constraints take the form of high-level metaphoric and metonymic operations that affect lexical-constructional subsumption. This proposal makes use of the theoretical tools of the LCM with a view to exploring instantiations of the construction with verbs of perception. Apart from internal constraints, high-level metaphor will be found to play a prominent role in the construal of the examples under scrutiny. The study will suffice to point out that the semantics of the caused-motion construction needs to be understood with reference to the underlying metaphoric mappings.</p>
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Hankins, Davis. "Wisdom as an Immanent Event in Job 28, Not a Transcendent Ideal." Vetus Testamentum 63, no. 2 (2013): 210–35. http://dx.doi.org/10.1163/15685330-12341112.
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AbstractJob 28 poses several interpretive difficulties: its reflections about wisdom seem disembodied and misplaced within the dialogue; its content, especially the final verse, seems ill-fit for the issues the book raises. Much interpretive discomfort with the poem stems from the misconception that it presents human inaccessibility to wisdom in opposition to God’s accessibility. By reassessing the poem as moving rhetorically from a metonymic (in vv.1-19) to a metaphoric logic (in vv.20-28), this article demonstrates that wisdom is displaced throughout the poem—from humans, God, and creation. Job 28 primarily opposes two different ways of relating to this displaced wisdom: the metonymic search that evokes wisdom as perpetually transcendent, versus the discovery of wisdom in metaphoric effects that appear as displaced from their causes. This reinterpretation enables more nuanced readings of v.28 as an appositive metaphor, and of the poem’s displacement in the book as appropriate to its teachings about wisdom.
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Denroche, Charles. "Text metaphtonymy." Metaphor and the Social World 8, no. 1 (May 7, 2018): 1–24. http://dx.doi.org/10.1075/msw.16011.den.
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Abstract This article starts by looking at the various ways metonymic and metaphoric thinking, as independent phenomena, organize text at discourse level. The literature on metaphor in discourse is classified under three broad categories, ‘metaphor clusters’, ‘metaphor chains’ and ‘extended metaphor’, while the less extensive body of research on metonymy in discourse is analyzed into parallel categories, ‘metonymy clusters’, ‘metonymy chains’ and ‘extended metonymy’. The article goes on to look at the ways in which metonymy-in-discourse and metaphor-in-discourse phenomena combine in making meaning at text level. The interplay of metonymy and metaphor in discourse, referred to here as ‘text metaphtonymy’, is explored under headings adapted from Goossens (1990), namely, ‘metaphor within metonymy’ and ‘metonymy within metaphor’. The ways in which metonymy and metaphor combine at discourse level are shown to be varied and intricate. This has implications for applied linguists working with text. The direction further work in this area might take is indicated.
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Ismail Omar, Lamis. "The Stylistic Amplification of Conceptual Metaphors in Translating Shakespeare into Arabic by Mohamed Enani." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 58–71. http://dx.doi.org/10.24093/awejtls/vol4no4.5.
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Translating Shakespeare into Arabic is a century-old cultural project which is still a source of challenge for translators who adopt a source-text-oriented approach that attempts to simulate the original in content, form and impact. Shakespeare’s texts are rife with metaphoric language which serves multiple functions on the cognitive, cultural, pragmatic as well as stylistic levels. This paper aims to analyse the translation of literary metaphors from a stylistic perspective in Mohamed Enani’s version of Othello. The analysis is conducted in the framework of conceptual metaphor theory which provides a microscopic description of how metaphors are influenced by the translation process. The findings of the analysis unveil the translation strategy adopted by Enani to reflect the stylistic function of metaphors while preserving their cognitive content and reveals that translating metaphors is influenced by the cognitive and professional background of the translator. Amplification emerges as a successful translation strategy which is used to extend metaphors creatively thus adding cognitive value to the Source Text content and compensating for a possible loss in the style of the Target Text. This paper concludes that, contrary to the prevalent assumptions, a source-text-oriented approach can deliver an accurate yet stylistically-functional translation if the translator is creative enough and willing to exert an additional cognitive effort similar to that exerted by the original writer. Enani’s translations of Shakespeare into Arabic are worth a life-long research project on the translation of style in literature.
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Hatch, Mary Jo, and Dvora Yanow. "Methodology by Metaphor: Ways of Seeing in Painting and Research." Organization Studies 29, no. 1 (January 2008): 23–44. http://dx.doi.org/10.1177/0170840607086635.
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Scholars paint theoretical canvases, using words, without always making transparent the logic of inquiry embedded within their writing. This is especially so when writing for their own epistemic communities, whose members share a set of usually unspoken methodological presuppositions concerning the `reality status' of what they study and its `know-ability'. When research topics engage scholars across epistemic communities, as in organizational studies, arguments may be difficult to parse precisely because these presuppositions remain implicit, unnoted and, perhaps, unnoticed. By enabling new ways of seeing familiar things, metaphors can facilitate such encounters by making the implicit less so. We turn to painting to enable metaphoric understanding of methodological differences in organizational and other social science scholarship, drawing on examples from the organizational identity literature. Much as artists look at the world around them and render things on canvas using a range of techniques, so researchers use methods reflecting ontological and epistemological presuppositions about their research worlds. Contrasting Rembrandt with Pollock presents, through metaphor, our case for seeing differences between realists and interpretivists, whether they paint or do research.
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Tadulala Ledua Alifereti, Vasemaca. "Metaphoric Noun Variants and Modification Types in Undergraduate ESL Students’ Academic Writing Texts." International Journal of Applied Linguistics and English Literature 8, no. 3 (May 31, 2019): 46. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.3p.46.
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Significant grammatical innovations over the years have been a reaction to changes in purposes of communication due to demands from the reading public. It is assumed such changes are embraced in English used by undergraduate students in readings they are exposed to, and texts produced during their studies. In analyzing data, comprising ESL undergraduate students’ writing scripts, the study seeks to find how such grammatical innovations are manifested in selection of nouns and modification types. A noun is a compulsory element, contributing meaning to text and over the years, constituents comprising nominal groups have evolved from prototype noun to the compressed metaphoric variant. Data is analyzed, against the backdrop of Halliday and Matthiessen’s metaphor taxonomy. Results indicate, majority of students have yet to move from overuse of prototype to more metaphoric noun variants. Noun modification choices are restricted and this is a language gap that needs addressing. Awareness of contemporary grammatical innovations pertaining to nouns and modification strategies are imperative in order to improve ESL students’ text quality and effectiveness.
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Tartarchenko, Ksenia. "Discovering True North: Which Histories for the Russian Arctic?" Soviet and Post-Soviet Review 45, no. 2 (April 9, 2018): 203–14. http://dx.doi.org/10.1163/18763324-20171297.
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The phrase “Find True North” evokes the idea of movement in the right direction, but sometimes the phrase acquires a more metaphoric meaning of understanding where we are and where we are going. For the fields of Soviet history and post-Soviet studies, the expression is meaningful in both literal and metaphorical senses. In recent years, the number of publications devoted to the history of the Russian North has been growing steadily, although not as spectacularly as the political science works on Arctic geopolitics. Even taken together, however, these studies represent only a small fraction of the scientific literature and media accounts ballooning since the last International Polar Year, held in 2007–2008.
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Pasaribu, Truly Almendo, Novita Dewi, and Barli Bram. "A Jesuit Perspective on Metaphors for COVID-19 in the Online Journal "Thinking Faith "." Respectus Philologicus, no. 39 (44) (April 23, 2021): 32–45. http://dx.doi.org/10.15388/respectus.2020.39.44.75.
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This article investigated how metaphors for COVID-19 were framed in a Catholic-based journal Thinking Faith. Data, consisting of 107 metaphors, were collected from the online journal and were analyzed within the Jesuit perspectives. Results showed that out of the 107 occurrences of metaphoric expressions for the pandemic, the source domains tend to have reflective and empowering aspects. The 12 main source domains of COVID-19 were war, drama, tools, natural forces, journey, manageable item, teacher, other living beings, darkness, pain, threat, and signs of the times. The coverage of Thinking Faith aimed to show the life-changing wisdom of the Gospel, Catholic Social Teaching, and Papal messages. Positive or neutral word choices of metaphors like teacher, drama, journey, manageable items, natural forces, and signs of the times managed to spark hopefulness for the journal readership. Meanwhile, the violence-related metaphors war, pain, and threat may appear to be discouraging. Overall, the metaphors used in the Jesuit online journal were contextually heartening
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Hsu, Li-Hsin. "The Romance of Transportation in Wordsworth, Emerson, De Quincey, and Dickinson." Romanticism 25, no. 1 (April 2019): 45–57. http://dx.doi.org/10.3366/rom.2019.0400.
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This essay investigates diverging transatlantic attitudes towards mechanisation in the mid-nineteenth century by looking at the portrayals of steam engines in Anglo-American Romantic literary works by Wordsworth, Emerson, De Quincey and Dickinson. Wolfgang Schivelbusch notes how time and space are ‘annihilated’ with the speed of industrialization. Walter Benjamin, alternatively, indicates how the metaphoric dressing up of steam engines as living creatures was a retreat from industrialization and modernization. Those conflicting perceptions of what David Nye calls the ‘technological sublime’ became sources of joy as well as sorrow for these authors. The essay examines how the literary representations of transportation show various literary attempts to make sense of and rewrite the technological promise of the future into distinct aesthetic experiences of modernity. Their imaginative engagement with the railway showcases a genealogy of metaphorical as well as mechanic transportation that indicates an evolving process of Romantic thought across the Atlantic Ocean.
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Ahmed, Soheil. "Metaphoric Transition as a Resistance to the Literalization of Writing." English Language Notes 39, no. 2 (December 1, 2001): 28–45. http://dx.doi.org/10.1215/00138282-39.2.28.
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Chau, Kevin. "Interpreting Biblical Metaphors: Introducing the Invariance Principle." Vetus Testamentum 65, no. 3 (August 3, 2015): 377–89. http://dx.doi.org/10.1163/15685330-12301205.
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The scholarship concerning biblical metaphor has profited widely from the conceptual (cognitive) approach to metaphor, but a key principle from this approach, the Invariance Principle, has been widely overlooked as a valuable tool for the interpretation of biblical metaphors. The Invariance Principle allows biblical scholars to evaluate logically and with consistency the many varied interpretations that are often generated from exegetically difficult metaphors. This principle stipulates that the logical relationships of a metaphor’s source domain (the metaphorical elements) must correspond to the structure of logical relationships in the target domain (the literal elements). An extended analysis of the partridge metaphor in the riddle-based proverb of Jer 17:11 demonstrates how the Invariance Principle can be used to evaluate previous interpretations and to provide logical structure for generating a fresh interpretation to this proverb.
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Emery, Jacob. "Kinship and Figure in Andrey Bely's Petersburg." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 76–91. http://dx.doi.org/10.1632/pmla.2008.123.1.76.
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Andrey Bely's novel Petersburg (one of the high points of Russian literary modernism and a rough analogue to James Joyce's Ulysses) repeatedly claims that parent and child, being of the same flesh and blood, share an ambivalent identity. At the same time, because the novel opens by invoking a major character's genealogical relation to Adam, the book implies that this kin identity is universal and can be applied to the entire human race. This essay analyzes the role of kinship metaphor in Petersburg, demonstrating that tropes of parent-child identity facilitate the novel's dizzying metaphoric conflation, that they form a kind of metafictional mirror in which the novel probes its own nature as a work of the imagination, and that Bely's theory and practice of metaphor touch on broader philosophical issues of figure and fictionality.
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Wiślicka, Justyna. "„Bo miłość mężczyzny i kobiety jest walką”. Sposoby obrazowania miłości w twórczości Zofii Nałkowskiej na podstawie Dzienników i Kobiet." Białostockie Archiwum Językowe, no. 10 (2010): 361–78. http://dx.doi.org/10.15290/baj.2010.10.25.
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This article is an attempt to reconstruction of ways in which Zofia Nalkowska pictured love in her modernist novel Kobiety and I volume of Diaries. The subject of the analysis were lexical exponents calling love and metaphoric pictures of love. As the gathered material showed in Nalkowska’s modernist works dominates picturing love as a battle, constant struggles between woman and man. Vocabulary calling women’s and men’s relations and metaphoric names of the sides of this love battle were used to represent it. Due to the young age of the author we can assume that the way of picturing love wasn’t a result of her own experience but cultural context (influence of modernist literature and art).
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Banta, Martha. "Editors Column: Metaphoric Spaces, Existential Moments, Practical Consequences." PMLA/Publications of the Modern Language Association of America 115, no. 3 (May 2000): 281–84. http://dx.doi.org/10.1632/s003081290006185x.
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Goodkin, Richard E., and Luz Aurora Pimentel. "Metaphoric Narration: Paranarrative Dimensions in A la Recherche du Temps Perdu." Comparative Literature 46, no. 1 (1994): 110. http://dx.doi.org/10.2307/1771623.
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McGrath, Lynette. "Metaphoric subversions: Feasts and mirrors in Amelia Lanier'sSalve Deus Rex Judaeorum." Lit: Literature Interpretation Theory 3, no. 2 (December 1991): 101–13. http://dx.doi.org/10.1080/10436929108580075.
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Thornborrow, Joanna. "Playing hard to get: metaphor and representation in the discourse of car advertisements." Language and Literature: International Journal of Stylistics 7, no. 3 (August 1998): 254–72. http://dx.doi.org/10.1177/096394709800700305.
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In this article I analyse some of the main semantic and metaphoric representations which underpin the discourse of car advertising in Britain. In particular, I focus on the use of male and female bodies as organizing metaphors which produce a gendered framework for advertising different types of cars. The discussion is based on adverts seen on roadside hoardings in the London area, in magazines, and on television at different periods over the past three years, and I use an analytic framework which is grounded in critical linguistic approaches to texts, situated within the context of current debates in feminist stylistics and critical discourse analysis (Fairclough, 1989, 1992; Mills, 1995; Stubbs, 1997; Toolan, 1997).
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Nolan, Maura B. "Metaphoric History: Narrative and New Science in the Work of F. W. Maitland." PMLA/Publications of the Modern Language Association of America 118, no. 3 (May 2003): 557–72. http://dx.doi.org/10.1632/003081203x47822.
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This article reads the work of F. W. Maitland, a foundational figure in medieval legal scholarship, as an extended meditation on the theory and practice of writing history. Because Maitland's scholarship not only occupies a central place in two disciplines (law and history) but also negotiates the competing demands of an older, narrative form of historiography and the newer, scientific discourses of sociology and anthropology, his writing illustrates the persistence of certain epistemological and methodological questions. In particular, it reveals a deep interest in the modes through which history is figured. Recognizing that history is epistemologically constructed through and by tropes—metaphor, metonymy, analogy—each with its own conceptual and practical logic, Maitland turns to a notion of metaphoric history to productively sustain the tension between the abstract and the concrete, the whole and the part, that haunts nineteenth-century history writing.
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Baratova, Olga A., Vera B. Shamina, and Elena M. Apenko. "Metaphors of Postmodernism in Neo-Victorian Fiction: “The Trial of Elizabeth Cree” by Peter Ackroyd and “The Decorator” by Boris Akunin." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 139. http://dx.doi.org/10.7596/taksad.v6i5.1260.
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<p>One of the features that characterizes postmodern fiction is an intense interest in the past, and especially so – in Victorian period, chiefly in its sensational aspects. Therefore we witness a revival of Victorian crime novel and this tendency can be traced not only in recent English literature, but in other literatures as well, Russian in particular. This gave birth to the term “neo-Victorian novel”, referring to the pieces, which recreate the atmosphere of the period, introduce a lot of intertextual allusions and references to the well-known Victorian novels and exploit most popular subjects of the 19th century literature. However as we will argue in this essay the authors often use these plots as implicit metaphors of postmodern art as such. It will be demonstrated on the example of two Neo-Victorian novels – “The Trial of Elizabeth Cree” by Peter Ackroyd (1995) and “The Decorator” by Boris Akunin; for the latter Ackroyd’s novel can be also regarded as one of the precedent texts. Both novels give their versions of the story of <em>Jack the Ripper</em> but what is more important in our case – employ akin plot structures, images and artistic devices, which in fact become metaphoric actualization of postmodern techniques.</p>
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Assad, Maria. "Time and Uncertainty: A Metaphorical Equation." KronoScope 3, no. 2 (2003): 185–97. http://dx.doi.org/10.1163/156852403322849233.
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AbstractMy first argument posits that concepts of temporality are discursive strategies to harness uncertainty understood as an innate human condition. Saint Augustine's question of time and some poetic quotes serve as examples to demonstrate the metaphoric use of time in order to attenuate the effects of uncertainty in human affairs. The long history of this substitution is interrupted, however, by Newtonian celestial mechanics, which reduced the metaphoric power of time to quantifiable temporal increments within the construct of differential equations. While classical science continued creating models to explain nature within the conceptual limits of a perfectly reversible and therefore redundant time, poetry, and literature in general, re-discovered the power of time, but through an increasingly radical shift in its relationship to uncertainty. Therefore, using examples from writings by Stéphane Mallarmé and Honoré de Balzac, my second argument explores the possibility that uncertainty is time, not in a metaphoric mode, but as a conceptual identity. Bonding time and uncertainty in this fashion, the examples show further that literary discourse of the 19th Century projects the nonlinear dynamical thinking that dominates late 20th Century scientific debate.
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McKusick, James C. "Metaphoric Worlds: Conceptions of a Romantic Nature. Samuel R. Levin." Wordsworth Circle 20, no. 4 (September 1989): 195–96. http://dx.doi.org/10.1086/twc24042540.
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Steinberg, Glenn A. "Deconstructing Dante: How things fall apart in the Paradiso." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 9, 2021): 448–62. http://dx.doi.org/10.1177/00145858211021571.
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Much recent commentary on Dante’s Commedia focuses on Dante’s truth claims in the poem. Indeed, Teodolinda Barolini has proposed that “the fundamental question for all readers of Dante’s poem” is “How are we to respond to the poet’s insistence that he is telling us the truth?” I propose that the poem itself gives us guidance as to the seriousness of its claims to literal truth. It does so by actively deconstructing its own meaning at critical junctures. I look at several such moments of deconstruction, but I argue that the first few cantos of the Paradiso in particular provide a reflection on the difference between reality and fiction. Early in the Paradiso, Dante draws attention to the metaphoric nature of his poem and reminds his reader, through his character’s own actions, that metaphor is not reality. In this way, Dante implies that we should not take the narrative particulars of his poem too literally but should treat metaphor as metaphor rather than as mimesis.
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Ramazani, Jahan. "The Wound of History: Walcott's Omeros and the Postcolonial Poetics of Affliction." PMLA/Publications of the Modern Language Association of America 112, no. 3 (May 1997): 405–17. http://dx.doi.org/10.2307/462949.
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The figure of the wound is central to Derek Walcott's Omeros, one of the most ambitious works of postcolonial poetry. Walcott grants a European name to the primary bearer of the wound, the black fisherman Philoctete, who allegorizes African Caribbean suffering under European colonialism and slavery. This surprisingly hybrid character exemplifies the cross-cultural fabric of postcolonial poetry but contravenes the assumption that postcolonial literature develops by sloughing off Eurocentrism for indigeneity. Rejecting a separatist aesthetic of affliction, Walcott frees the metaphoric possibilities of the wound as a site of interethnic connection. By metaphorizing pain, he vivifies the black Caribbean inheritance of colonial injury and at the same time deconstructs the experiential uniqueness of suffering. Knitting together different histories of affliction, Walcott's polyvalent metaphor of the wound reveals the undervalued promise of postcolonial poetry.
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Santarpia, Alfonso, R. Venturini, A. Blanchet, and M. Cavallo. "Metaphorical conceptualizations of the body in psychopatology and poetry." DELTA: Documentação de Estudos em Lingüística Teórica e Aplicada 26, spe (2010): 435–51. http://dx.doi.org/10.1590/s0102-44502010000300003.
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The goal of our study is to identify several conceptualizations of the body expressed in the contexts of psychopathology and literature. We propose a specific categorization of literary sentences drawing on Conceptual Metaphor Theory (Lakoff and Johnson 1980; 1999) and Context-Limited Simulation Theory (Ritchie 2003; 200; 2008). Based on corpus data, we show that in psychiatric manuals the physical body is always reasoned in metaphoric terms of the BODY - CONTAINER category, thus with a high degree of non-specific attributes. In psychoanalysis manuals, the body is represented by "sexual-sensual sentences" or by abstract "notions". Italian poetry offers an additional representation of the body with special focus on the organs and other body parts like "heart," hand(s)", "face", but also "blood", "chest", "arm(s)," "eye(s)","breast(s)", "head," "flesh," "skin".
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Stockwell, Peter. "‘Do androids dream of electric sheep?’ Isomorphic relations in reading science fiction." Language and Literature: International Journal of Stylistics 1, no. 2 (May 1992): 79–99. http://dx.doi.org/10.1177/096394709200100201.
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A principle of isomorphism is identified as a feature of the reception of texts in the reading process. Principally a mapping of elements or domains, this can be seen to underlie the textual features of explicit surface metaphors, implied metaphors, metaphoric readings of texts, perceived co-operation and coherence. The latter two levels are less obvious examples of isomorphic phenomena, and a model is adapted and developed to explain the pattern-matching involved in resolving meaning from a reading of a text. This resolution of meaning is seen as an effortful activity on the part of the reader, which is balanced against the likely pay-off in terms of satisfaction gained from the reading. The theoretical perspective of reader reception is supported by practical reader-response experiments on science fictional texts. The results of these are reported in terms of the isomorphic procedures already outlined. It is observed that the characteristics of readers determine readings as much as the characteristics of texts.