Dissertations / Theses on the topic 'Animal metaphors'

In the attempt to enrich classical literary criticism with modern theoretical perspectives, this thesis formulates an interdisciplinary methodological approach to the study of animal metaphors in the tragic depiction of female avengers. Philological and linguistic commentaries on the tragic passages where animals metaphorically occur are not sufficient to determine the effect that Attic dramatists would have provoked in the fifth-century Athenian audience. The thesis identifies the dramatic techniques that Aeschylus, Sophocles and Euripides deploy to depict vengeful heroines in animal terms, by combining gender studies of the classical world, classical studies of animals and posthumanism. It rejects the anthropocentric and anthropomorphic views of previous classical scholars who have interpreted the animal-woman metaphor in revenge plots as a tragic expression of non-humanity. It argues instead that animal imagery was considered particularly effective to express the human contradictions of female vengeance in the theatre of Dionysus. The thesis investigates the metaphorical employment of the nightingale, the lioness and the snake in the tragic characterisation of women who claim compensation for the injuries suffered within and against their household. Chapter 1 is focused on the image of the nightingale in comparison with tragic heroines, who perform ritual lamentation to incite vengeance. Chapter 2 explores the lioness metaphor in the representation of tragic heroines, who through strength and protectiveness commit vengeance. Chapter 3 examines the metaphorical use of the snake in association with tragic heroines, who plan and inflict vengeance by deceit. Through the reconstruction of the metaphorical metamorphoses enacted by vengeful women into nightingales, lionesses and snakes, the thesis demonstrates that Attic dramatists would have provoked a tragic effect of pathos. Employed as a Dionysiac tool, animal imagery reveals the tragic humanity of avenging heroines whose voice, agency and deception cause nothing but suffering to their family, and inevitably to themselves.

Ben Jonson wrote Volpone when England's pamphlet wars and the rule of Queen Elizabeth I contributed to an environment in which the <">woman question<"> was forefront in many minds. These social concerns echo in Volpone, resulting in a play that not only deals with vices and greed, but that also, to a limited degree, contributes to the querelle de femmes. The play's numerous animal metaphors create distinctions between characters; among other things, animalistic surnames represent the vices and complexities of humanity, and, more specifically, reverberate with judgments that seem to underscore the injustices of misogynistic pamphleteers. Moreover, Jonson's characters Bonario and Celia represent the ideal images of manhood and womanhood and are armed with various virtues that allow them to overcome trials. Ultimately, when read in the context of the Early Modern pamphlet wars, Volpone's animal metaphors form a conservative defense of women that condemns misogyny and advocates a partnership between virtuous men and women for the sake of moral social order.

Many languages, both ancient and modern, make use of devices similar to determinatives in Egyptian by which the meaning of a word can be made more specific. But determinatives are especially rich in their capacity for expression, particularly regarding words for abstract concepts through their extensive use of visually-based metaphor. Egyptological research is only now beginning to explore the many levels at which the system functioned. My thesis centres around the metaphorical usages of three signs - the Seth animal, the panther, and the crocodile. The introduction lays out my aimes, methods, and textual sources. The first chapter sets my analysis against the backdrop of current research, beginning with a discussion of how determinatives have been treated in the past, comparing that with a survey of how modern linguistics has approached comparable systems in other languages, and finally laying out my own approach to the three signs under study. In the following three case study chapters, I first survey the evidence for how each animal was perceived in the 'real' world, before moving into a detailed analysis of their significance in the script, which is based on a contextually-grounded, diachronic study of the distribution patterns of each of the signs in five genres of text from the Old to the New Kingdom. In a final chapter, I compare my conclusions about the three determinatives, discussing their commonalities and singularities, and relaitng the results of the individual case studies to the workings of the system as a whole. My aim is not only to achieve a better understanding of the particular shades of meaning these three animal signs impart to each of the words they determine, thereby leading to a better understanding of these words, but also to examine the wider conceptual metaphors the three determinatives represent.

The people of the Middle Ages believed animals were disconnected from themselves in terms of ability to reason and ability to resist passions. Humans and animals were created by God, but he bestowed man with a soul and the ability to resist earthly delights. When men were described in terms of their bestial counterparts it was conventionally meant to highlight some derogatory aspect of that character. Chaucer makes use of the animal-image throughout The Canterbury Tales, especially in "The Knight's Tale," to stress a break in each character from humane reason or to emphasize a lean towards a bestial nature. The degree of this departure is showcased in the ferocity of the animal-image in question and the behavior and nature of the character, i.e. the animals of a more timid nature or neutral standing highlight a much less negative nature than the ferocious predators present in the battle scenes.

A common feature of many rock art corpora is the inclusion of animals, both naturalistic and fantastical. For a long time it was assumed that animals in the art simply related to actual or desired prey species. In recent decades, however, research has increasingly revealed rock art to be full of subtle nuances, mythological phenomena, multifaceted magic and potency, and metaphorical references to various aspects of society and culture. In line with this burgeoning interest in the multiplicities inherent within rock art, the central aim of this thesis is to examine which animals feature in the rock art of Thailand and why. Evidence outlined in this thesis suggests that the rock art of Thailand was created almost exclusively within the last 4000 years and consists of anthropomorphic figures, wild animal species, domesticated animals, geometrics and boats. This thesis explores the specific social and environmental contexts of rock art in Thailand alongside considerations gleaned from rock art research in other parts of the world, and uses this in the analysis of data gathered during primary fieldwork in May-July 2011. Fieldwork was conducted in two study regions: the southern peninsula and inland mountains. The key conclusion of this research project is that metabolic, mythological, magical and metaphorical considerations all played a part in the inception of prehistoric rock art in Thailand in different and often complimentary ways. Another important deduction is that the notions of personal and collective identity permeate both the inland and peninsula datasets, albeit idiosyncratically manifested through alternative methods of literal and metaphorical representation. Fieldwork findings and secondary sources suggest that the rock art was most likely produced by communities who were predominantly hunter-gatherer-fishers who may have also practiced a certain degree of mixed subsistence strategies. Domesticated animals appear to be absent from the painted record of the peninsula region yet dominate the faunal repertoire of the inland sites; alongside archaeological evidence from the two regions from the period between 5,000-2,000 BP I therefore conclude that the peninsula painting communities had a subsistence economy which continued to be more strongly centred on hunter-gatherer lifeways than their inland counterparts in the face of expanding agricultural practices in Southeast Asia.

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O presente estudo constitui-se como um subprojeto que integra o macro-projeto Construções Superlativas no Português do Brasil – Uma Abordagem Sociocognitiva (MIRANDA 2007) - e tem como objeto de pesquisa o processo de mudança semântica e categorial que, tendo como domínio-fonte o frame de animal (itens lexicais ‘animal’, ‘bicho’, ‘fera’, ‘monstro’ e ‘gigante’), resulta em um frame de escala, como ilustram os exemplos a seguir: Irritado, Animal acaba com treino do Verdão; Skol gelada é o bicho!; Você, fera na cama!; Festival reúne feras do jazz; TV 'monstra' chega ao mercado brasileiro por R$ 299 mil; Zoomp compra quatro grifes e vira gigante da moda. Este trabalho, de viés sociocognitivo, tem como escopo teórico central as bases pré-conceptuais (Categorias de Nível Básico e Esquemas Imagéticos) e conceptuais (Domínios Conceptuais ou Frames, Metáfora e Metonímia) do nosso processo de categorização, ancoradas nos estudos de Lakoff & Johnson (1980,1987, 1999), Fauconnier & Turner (2002), Tomasello (2003), Croft (2004), Fillmore (2007), Talmy (2000); Geeraerts (2007). Dada a relevância do uso lingüístico em nossa agenda investigativa, a Linguística de Corpus (Sardinha 2004; Aluísio e Almeida 2006) se constituiu como a escolha metodológica. Com o intuito de espelhar, de fato, o comportamento de uso dos itens lexicais em foco, nossa base empírica consiste em um corpus específico obtido através de pesquisa na internet, no site de revistas da Editora Abril (ABRIL.COM), no CETENFolha/Folha de São Paulo, no G1 – Portal de Notícias da Globo.com, em blogs e em comunidades de relacionamento do Orkut. O eixo norteador de nossa análise consiste em: (i) Descrever a dimensão semântico-pragmática e formal da rede lexical em foco; (ii) Desvelar a motivação conceptual – esquemas imagéticos e processos metafóricos e metonímicos – dessa rede de modo a compreender os 6 possíveis elos cognitivos que a instituem. Neste sentido, nossa pesquisa apresenta os seguintes resultados: a confirmação em nosso corpus da primeira de nossas hipóteses, qual seja, a de que está em curso um processo de expansão lexical em que os itens lexicais (‘animal’, ‘fera’, ‘bicho’, ‘monstro’, ‘gigante’) que integram o nódulo da rede metafórica do frame ‘animal’ passam a atuar como OPERADORES SEMÂNTICOS DE ESCALA, compondo uma rede polissêmica. Em termos da expansão morfossintática, passamos a ter um padrão duplo: (1) o SN2 (com sentido metafórico) mantém a função de substantivo: o que ocorre em 68,7% das ocorrências analisadas e (2) é sintaticamente reanalisado como um adjetivo, com estatuto de adnominal ou predicativo, como podemos verificar em 31,3% das ocorrências. Os resultados mostram, em síntese, que os processos de mudança semântica dessa rede lexical se fazem de uma maneira mais ostensiva, robusta do que os morfossintáticos. Em termos da motivação conceptual, pudemos apresentar a relevância do esquema imagético de força (Modelo da Dinâmica das Forças) na configuração de um cenário agonístico, perspectivizado pelas construções lexicais em foco. De igual modo, apresentamos a METÁFORA CONCEPTUAL DA GRANDE CADEIA que nos permite compreender de que forma os itens lexicais do frame conceptual de ‘animal’ passam a referenciar seres de outra ordem, como ‘humanos’ (PESSOAS SÃO ANIMAIS) e ‘entidades’ (OBJETOS COMPLEXOS SÃO ANIMAIS).
This study is a subproject which makes part of the macroproject Superlative Constructions of the Brazilian Portuguese – A Sociocognitive Approach (MIRANDA, 2007) – and has as a research object the semantic and categoric change which, having as source domain the frame of animal (lexical items ‘animal’, ‘bicho’, ‘fera’, ‘monstro’ and ‘gigante’), results from a scale frame, as illustrated by the following examples: Irritado, Animal acaba com treino do Verdão; Skol gelada é o bicho!; Você, fera na cama!; Festival reúne feras do jazz; TV 'monstra' chega ao mercado brasileiro por R$ 299 mil; Zoomp compra quatro grifes e vira gigante da moda. This work, of sociocognitivism base, has as a central thoretical scope the preconceptual bases (Basic level categories and image schemas) and conceptual bases (Conceptual Domains or Frames, Metaphor and Metonym) of our categorizing process, anchored on the studies by Lakoff & Johnson (1980,1987, 1999), Fauconnier & Turner (2002), Tomasello (2003), Croft (2004) and Fillmore (2007), Talmy (2000); Geeraerts (2007). Because of the linguistic usage in our investigative purpose, the Corpus Linguistics (Sardinha 2004; Aluísio and Almeida 2006) motivated our methodological choice. Attempting to actually unveil the usage behavior of the lexical items, our empiric base consists of a specific corpus collected through internet researches on: Editora Abril magazine site (ABRIL.COM), CETENFolha/Folha de São Paulo, G1 – Globo.com News website, blogs and on Orkut relationship communities. The main purpose of our analysis is: (i) to describe the semantic-pragmatic and formal dimension of the focused lexical net; (ii) to unveil the conceptual motivation – image schemas and metaphoric / metonymic processes – of this net in order to understand the possible cognitive links which compose it. This way, our research presents the following results: the confirmation in our corpus 8 of our first hypothesis, that is, that there has been a process of lexical expansion in course in which lexical items (‘animal’, ‘fera’, ‘bicho’, ‘monstro’, ‘gigante’) that integrate the nodes of metaphoric net of the frame ‘animal’ turn out to be SEMANTIC OPERATORS OF SCALE, forming a polysemic net. In terms of the morphosyntactic expansion, we tend to have a double standard: (1) the NP2 (with metaphoric meaning) keeps its noun function: present in 68.7% of the analysed occurrences and (2) is syntatically re-evaluated as an adjective, with adnominal or predicative function, as perceived in 31,3% of the occurrences. The results show, in short, that the change processes on the lexical rede happen more ostensively and robusty than the morphosyntactic ones. In terms of the conceptual motivation, we could present the relevance of the image schema of force (force dynamic Model) in the configuration of an agonistic scene, perspectivized by the focused lexical constructions. Moreover, we presented the THE GREAT CHAIN METAPHOR which leads us to figure out how the lexical items of the conceptual frame of ‘animal’ tend to refer to beings of another order, like ‘humanos’ (PEOPLE ARE ANIMALS) and ‘entidades’ (COMPLEX OBJECTS ARE ANIMALS).

Animals often act as source domain is metaphorical shifts. In European languages, there are often several lexicalised verbs for specific sounds with a prototypical animal as subject. These verbs of animal sounds and their metaphorical meanings have been studied cross-linguistically, which have made it possible to create a classification of situations that tend to be expressed by animal metaphors. There are many verbs of animal sounds in Swedish, but their metaphorical uses are not investigated. The present study investigates the metaphorical use of verbs of animal sounds in Swedish blog text and news text. The classification is used as a starting point for analysing occurrences of 13 Swedish verbs. The study seeks to answer which situations can be expressed by the Swedish verbs, which different situations can one and the same verb express metaphorically, and how did the typological classification suit the Swedish data? The results showed that the verbs often have human subjects, and different verbs varies in the range of metaphorical uses they possess. Three types of changes were made to the classification to suit the Swedish data: situations were moved, situations were added, and situations were removed.
Djur förekommer ofta som källdomän i metaforer. I europeiska språk finns det ofta många lexikaliserade verb för specifika typer av läten med ett prototypiskt djur som subjekt. Typologiska studier har gjorts på dessa verb för djurläten, och deras metaforiska användningar. Detta har lett till en klassifikationsmodell över mänskliga situationer som ofta uttrycks med metaforisk användning av verb för djurläten. I svenska finns det många sådana verb, men deras metaforiska användningar har inte undersökts. Syftet med den här studien var att undersöka den metaforiska användningen av verb för djurläten i svenska. 13 verb som beskriver ett specifikt läte hos ett visst djur valdes ut. Studiens data var definitioner av verben, hämtade från lexikon, och konkordansrader med verben, hämtade från korpusar av språk från bloggar och nyhetstext. Studien undersöker vilka situationer som kan uttryckas med metaforisk användning av dessa verb, vilka olika användningar ett och samma verb kan uttrycka, samt hur väl den föreslagna klassifikationsmodellen fungerar på svenska. Resultatet visar att verben främst har mänskliga subjekt och att verben varierar i hur många och vilka situationer de kan uttrycka metaforiskt. Ett par ändringar gjordes på klassifikationsmodellen, till exempel lades typen ’talverb’ till, och subtypen ’röstkvalitet’ frigjordes från typen ’fysiologiska ljud’.

This dissertation sets out to explore the animal presence in the novels of contemporary French writer Michel Houellebecq. Focusing on this often overlooked aspect in the growing number of publications dedicated to Houellebecq’s literary production, this study argues that the presence of animals is central to understanding how his novels are structured around borders between not only animals and humans but also between humans themselves. By pitting animals against humans the novels simultaneously show how these borders are created within the narratives only to be repeatedly broken down and/or transgressed. Whereas in previous research a posthumanvision in Houellebecq’s works has been largely attributed to the theme of a technological surpassing of the human, this study advances the idea that animals constitute an inherent part of Houellebecq’s questioning of an anthropocentric worldview. The first chapter of the thesis, which lays the foundation for the study, explores how descriptions structure two major ways in which animals are present: either as a backdrop setting where the characters, while trying to maintain the border between themselves and animals, are transformed into observers of animals in their natural habitat, or as metaphors used to describe appearances and seemingly unwanted personality traits of some of the characters. The second chapter expands on the idea of a frontier between animals and humans but contrary to the previous chapter it studies the porosity of these borders by showing how humans and animals are depicted and narrated in similar ways. Drawing on the theories of Giorgio Agamben, Dominique Lestel and Tristan Garcia the study concludes by proposing to read Houellebecq’s novels both as a form of life stories relating a common history between animals and humans and as an attempt to highlight the untenable project of maintaining an anthropocentric worldview.

Idioms are found in every language and learning them is an important aspect of the mastery of a language. The English language is no exception as it contains a large number of idioms, which are extensively used. However, because of their rather rigid structure and quite unpredictable meaning, idioms are often considered difficult to learn. Although little research has been done to date on the nature of idioms as well as how they are used, a better understanding of variations in idioms can nevertheless be acquired by looking at some theories and thoughts about their use and their structure.

The aim of this paper is to examine a number of animal idioms, focusing primarily on English idioms and the similarities and differences found in equivalent Swedish idioms, even when the Swedish idioms do not contain an animal. Two types of studies are presented. In the first one, the English and Swedish animal idioms collected are grouped into four categories. The results of such a categorization show that half of the English animal idioms found have an equivalent in Swedish containing an animal. In the second study, the content, structure, wording, semantics and metaphorical meaning of the animal idioms are analysed and compared. The results indicate that the Swedish animal idioms that correspond to the English animal idioms have, for the most part, the same structures and similar variations in degree of literalness, fixity, manipulation and transformation. Furthermore, the use of metaphor, personification and simile appears to be common both in English and Swedish animal idioms. The role of context and literal and figurative translation are also addressed in this study.

Thus far, the novel Naked Lunch has not been discussed from the aspect of critical animal studies, nor has it been connected to the theories of Michel Foucault. This essay however, argues that these diverse fields could be connected through the use of the simians that are frequently employed in Naked Lunch. By analyzing the metaphorical role of the simian, the structure of the normalization process can be revealed. Therefore the simian’s metaphorical role becomes to reveal the different stages character goes through in that process and ultimately revealing its negative effects. They also prove to employ the role of abnormality which normalization wants to subtract from the human in order to render her docile. By applying the power mechanisms such as signals, the concept of panopticism and the theory of the docile body to specific passages where simians are highly prominent, the claim of this paper can be demonstrated. Besides Foucault, the theories of Robin Lydenberg are also used consistently throughout the essay due to her valuable observations such as the struggle between body and mind.

Doutoramento em Tradução
The present research adopted a contrastive and descriptive approach and it was narrowed down to animal metaphors and personifications. The principle target of this study was to provide discussion and strategies in the translation of personification. In the translation of personification, where the personified entities are associated to the conventional norms and metaphorical systems of a language community and the personifications are different or opposite in the two languages involved in the translation, the translator´s attention was called to the nature of metaphor (and more specifically, personification). The goal was to find the origins of metaphorical concepts: how metaphors originated; how entities are “metaphorized” and conceptualized. The findings were expected to answer why the figurative meanings of metaphors are not the same across languages. Analyzing the origins of metaphors was thought to explain the reasons for similar and for different metaphorical images of entities from one language to another. With regard to the differences between the metaphorical images of animal metaphors, contrasting their constitutive metaphorical concepts was believed to be an appropriate framework for the translation of metaphorical expressions. In the first phase of the study, we surveyed the metaphorical expressions of two languages of English and Persian within the framework of The Great Chain of Being by Lakoff and Turner (1989) and the principle of Metaphorical Highlighting by Kövecses (2002) and Maxim of Quantity (Martsa, 2003). The animal metaphors were chosen based on three criteria: the high frequency of the animal terms in metaphors, the familiarity of the animal, and the frequency of use of the metaphor. For the second phase of the study, we posited the question, in translation of Orwell´s Animal Farm (1945), in which the characters are animals and the animals have not arbitrarily chosen, but rather according to their figurative images in the source language, what would the role of a translator be in case the animals´ images differ in the target language. We aimed to examine whether or not the animals had been described in the source text according to their metaphorical images in the source language, and if so, whether or not the current Persian and Portuguese translations of this novel have had any focus on the probable difference in the images of the animals between the source language and the target language. Regarding the relationship between the source language and the target language in terms of the type of similarities and differences between the metaphorical meaning of the animals´ names and the intention of the author in introducing some animals that are different from or opposite to the expectations of the source text readers, different cases of translation were pointed out and discussed. Thereupon, possible translation procedures were proposed for each condition.
A presente pesquisa adotou uma abordagem contrastiva e descritiva cingida a metáfora e personificação animal. O objetivo principal deste estudo é apresentar discussão e estratégias em tradução de personificação. Na tradução de personificação, onde as entidades personificadas estão associadas às normas convencionais e sistemas metafóricos de uma comunidade linguística e onde as personificações são diferentes ou opostas nas duas línguas envolvidas na tradução, a atenção do tradutor é chamada para a natureza da metáfora (e mais especificamente, da personificação). O objetivo é encontrar as origens dos conceitos metafóricos: como as metáforas se geraram; como as entidades são "metaforizadas" e conceptualizadas. Esperavam-se resultados no sentido de responder a questões sobre por que razão os significados figurativos de metáforas não são os mesmos em todas as línguas. Analisaram-se as origens de metáforas para explicar as razões de semelhanças e de diferenças nas imagens metafóricas de entidades de uma língua quando estas são vertidas para outra língua. Considerou-se ser um contributo para a tradução de expressões metafóricas contrastar os conceitos metafóricos constitutivos, no que diz respeito às diferenças entre as imagens metafóricas de metáforas animais. Na primeira fase do estudo, Foram pesquisadas as expressões metafóricas de duas línguas; do inglês e do persa, no âmbito de “The Great Chain of Being” por Lakoff e Turner (1989) e do princípio de “Metaphorical Highlighting” por Kövecses (2002) e “Maxim of Quantity” (Martsa, 2003). As metáforas animais foram escolhidas com base em três critérios: a alta frequência de termos animais representados em metáforas, a familiaridade do animal, bem como a frequência de uso da metáfora. Para a segunda fase do estudo, foi posta a seguinte questão: na tradução do livro de “Animal Farm” de Orwell (1945), em que os personagens são os animais e estes não foram arbitrariamente escolhidos, se estarão de acordo com as suas imagens figurativas na língua de partida, e o que será o papel do tradutor no caso das imagens dos animais serem diferentes na língua de chegada. O objetivo foi examinar se os animais foram descritos no texto de origem de acordo com as suas imagens metafóricas na língua de partida e, em caso afirmativo, se as atuais traduções persas e portuguesas deste romance têm qualquer diferença nas imagens dos animais entre a língua de partida e a língua de chegada. Quanto à relação entre a língua de partida a língua de chegada, em termos do tipo de semelhanças e diferenças entre o significado metafórico dos nomes dos animais e a intenção do autor na introdução de alguns animais que são diferentes ou oposto às expectativas dos leitores do texto de origem, foram apontados e discutidos diferentes casos de tradução. Seguidamente, foram propostos possíveis procedimentos de tradução para cada caso.

La thèse analyse les métaphores animales dans le théâtre tragique et comique. Dans la tragédie les métaphores représentent l’histoire et les meurtres cruels de femmes violentes qui ont oublié leur rôle de mères et d’épouses, ces images poétiques représentent donc idéologiquement la violence des mères de la tragédie, Clytemnestre, Medea et d’Hécube. Dans la comédie à la place de métaphores animales concernent le caractère de Cléon, ce qui signifie qu’ils assument une valeur politique claire et veulent dénoncer la démagogie. Chaque image est analysée de manière comparative et selon les rapports d’intertextualité entre la comédie et la tragédie
The thesis analyzes the animal metaphors in the tragic drama and comedy. In tragedy metaphor represent the history and the cruel murders of ciolent women who have forgotten their role as mothers and wives. These poetic images thus represent ideologically the violence of anti-mothers of the tragedy, Clytemnestra, Medea, Hecuba. In comedy instead many animal metaphors relate to the character of Cleon, meaning that they assume a clear political value and want to denounce the demagogue. Each image is analyzed in a comparative manner and according to reports of intertextuality between comedy and tragedy

Les lombriciens Amynthas et Metaphire sont les deux genres de Megascolecidae qui dominent uniquement dans l'Asie du Sud-Est et de l'Est. Au sud de la Chine, l'île de Hainan possède une biodiversité végétale et animale remarquable et ainsi est reconnue comme un des hotspots de la Chine. Cependant, seules 35 espèces lombriciennes avaitent été décrites avant 2006. En termes de paléogéographie, les points de vue divergent sur son origine tectonique complexe. Les objectifs de cette thèse sont de (1) étudier la biodiversité lombricienne sur l'île de Hainan (2) analyser la phylogénie de ces lombriciens et reconstruire leurs états ancestraux (3) analyser la relation entre les caractéristiques morpho-anatomiques et les espèces, y compris celles des régions adjacentes. Aujourd'hui, nous avons recensé 107 espèces et sous-espèces dont 71 nouvelles espèces découvertes après 2006. Les analyses phylogénique et taxonomique indiquent que les caractères morpho-anatomiques concernant la sélection sexuelle sont les plus importants pour interpréter l'évolution des lombriciens de l'île de Hainan. En plus, ces lombriciens possèdent des affinités avec ceux de Sud-Chine, l'Asie du Sud-est et de l'Est. Globalement, notre étude révèle que les distributions actuelles des lombriciens pheretimoides dans l'île de Hainan correspondent à l'histoire tectonique de cette île et qu'ils sont plus ou moins déterminés par les événements paléogéographiques des plaques Sud-Chine et Indochine
Amynthas and Metaphire are two genera within the family Megascolecidae. Both of them dominate only in the Southeast and East Asia. The biodiversity richness of vegetables and animals makes Hainan Island, the southernmost part of Chine, one of the hotpots in China. However, only 35 earthworm species are reported before 2006. In terms of paleogeography, there are distinct view points on the tectonic origin of Hainan Island. The objectives of the thesis are (1) to investigate the earthworm community in Hainan Island (2) to analyze the phylogeny of these earthworms and reconstruct their ancestral states (3) to analyze the corresponding relationship of morpho-anatomical characteristics and species in Hainan Island and in its adjacent regions. Currently, earthworm species in Hainan Island amount up to 107 species and subspecies, including 71 new species and subspecies described after 2006. The phylogenetic and taxonomical analyses indicate that the morpho-anatomical characteristics under the sexual selection are the most important to earthworm evolution. Furthermore, the earthworm species of Hainan Island have affinitive to those of South China, Southeast and East Asia. Overall, our study reveals that the present distributions of pheretimoid earthworms in Hainan Island are affected by the tectonical history of this island and they are determined more or less by the paleogeographical events of South China plate and Indochina plate

Cette thèse a pour objet une étude lexicologique du Livre des animaux d’al-Gâhiz, dans une perspective diachroniques visant à tracer l’évolution du lexique verbale de l’arabe. Nous avons adopté pour cette étude une approche comparative entre deux états de langue, l’arabe médiéval représentée par le livre des animaux et l’arabe moderne représentée par Arabic-corpus. Nous avons, dans le cadre de cette thèse, ciblé notre étude sur les lexèmes verbaux, ils représentent en effet des unités lexicales éminemment relationnelles, nous avons démontré leurs comportements variationnels de polysémie, aussi bien en synchronie qu’en diachronie. Le sémantisme des verbes est déterminé par des facteurs sémantico- syntaxiques, relationnels acquérant de la valeur différentielle selon la construction.Nous avons adopté un cadre théorique varié mais basé essentiellement sur la théorie des tropes (métaphore, métonymie), ainsi que sur le Schéma d’arguments élaboré par (J. Dichy : 1999-2000). Nous avons étudié les verbes dans un contexte minimal qui est la phrase ; chaque construction contenant un lexème verbal est analysé dans un schéma d’arguments. Ceci consiste à préciser les environnements possibles pour chaque mot, en spécifiant les constructions syntaxiques et en indiquant la nature sémantique des environnements à travers les traits spécificateurs. Dans cette perspective, la structure argumentale s’est avérée être un outil aussi cohérent qu’efficace; l’organisation syntaxique met en évidence le fonctionnement du verbe, laissant entrevoir les rôles joués par les divers éléments qui gravitent autour de lui. La systématique développée selon ce qui a été décrit nous permettra de modéliser non seulement le rapport entre constructions verbales coexistant en synchronie dénommée par Heine (2002) «phase de coexistence synchronique», mais encore la création diachronique d’une construction à partir d’une autre qui existait déjà auparavant. Nous illustrons les implications d’une telle approche sur la base des changements qu’ont subis en diachronie les verbes étudiés, l’objectif étant de démontrer comment interagissent les changements de constructions d’un verbe en particulier dans la création du sens. Ainsi que de souligner les régularités dans le changement du lexique verbal arabe. L’étude des variations lexicales ou morphosyntaxiques dans les textes étudiés, nous permet d’apprécier les régularités qui relèvent en propre du commun de la langue de l’époque médiévale, de la langue moderne, et d’autres régularités qui relèvent quant à elles de l’individuel. Dans une perspective visant en second lieu, à cerner quelques aspects du langage d’al-Gâhiz et de rendre compte de sa dynamique créative
This thesis concerns a lexical study of the Book of animals Al-Gâhiz in a diachronic perspective to trace the evolution of the verbal lexicon of Arabic. We adopted for this study a comparative approach between two states of language, Arabic medieval represented by the book of the animals and the modern Arab represented by Arabic-corpus.We, as part of this thesis focused our study on the verbal lexemes, they are indeed eminently relational lexical units, we have demonstrated their variational behavior of multiple meanings, both in synchrony in diachrony. The semantics of verbs is determined by syntactic sémantico-factors, relational acquiring the differential value according to construction.We have adopted a varied but essentially theoretical framework based on the theory of tropes (metaphor, metonymy), as well as the diagram of arguments developed by (J. Dichy: 1999-2000). We studied the verbs in a minimal context that is the sentence; each building containing a verbal lexeme is analyzed in a pattern of arguments. This is to clarify the possible environments for each word, specifying the syntactic constructions and indicating the semantic environments through specifiers traits. In this perspective, the argument structure has proven to be as consistent as effective tool; the syntactic organization highlights how the verb, suggesting the roles of the various elements that revolve around it. Systematic developed according to what has been described allow us to model not only the relationship between verbal constructions coexisting in synchrony called by Heine (2002) "synchronic coexistence phase" but also diachronic creation of a building from a one that already existed.We illustrate the implications of such an approach based on the changes that have suffered diachronic studied verbs, the objective being to demonstrate how buildings interact changes a verb especially in the creation of meaning. And to highlight the regularities in the change of the Arab verbal lexicon. The study of lexical or morphosyntactic variations in the texts studied, allows us to appreciate the patterns that fall in own common language of medieval, modern language, and other patterns which fall on them of the individual. In a perspective for second, to identify some aspects of language al-Gâhiz and realize its creative dynamic

Ce travail propose de lire un moment de l’histoire littéraire française à travers le prisme de l’animal, et plus particulièrement de ses représentations anthropomorphes. À partir de la littérature et de la pensée du xixe siècle, il s’agit de complexifier une définition restrictive de la notion d’anthropomorphisme en réfléchissant au statut de l’animal dans l’imaginaire romantique. L’anthropomorphisme est traditionnellement considéré comme une perception du monde naïve et spontanée et cette tendance à douer les choses et les êtres d’émotions, d’intentions ou de réactions supposées propres aux hommes repose sur un raisonnement analogique qui est à l’origine de genres littéraires aussi universels que la fable ou d’autres types d’apologues, qui héritent de ce préjugé de simplicité : l’anthropomorphisme serait ce mode de représentation non réaliste, divertissant voire comique, qui n’instruit qu’au prix d’une distorsion de la réalité. Au xixe siècle émerge une nouvelle conception de l’animal, en rupture avec celle de l’âge classique. L’histoire naturelle et la pensée romantique découvrent des parentés profondes entre l’homme et l’animal, qui donnent à l’anthropomorphisme un fondement épistémologique et philosophique, mais aussi affectif et politique, puisque l’idée d’une continuité entre les vivants est l’un des piliers de l’argumentation républicaine en faveur de la protection, puis du droit des animaux, depuis la période révolutionnaire. À partir d’un corpus littéraire, philosophique et scientifique, et d’une attention à l’histoire des animaux, de leur statut et de leurs traitements, ce travail voudrait dresser un panorama des paradigmes analogiques par lesquels les hommes ont pensé leurs liens aux animaux dans la première moitié du xixe siècle. Cette période apparaîtra ainsi comme un moment important de la reconfiguration du symbolisme animal, qui invente une forme d’allégorie réaliste, conciliant souci de l’animal et confiance en l’analogie
This work attempts to read a moment of French literary history through the lens of animals, and more specifically anthropomorphic representations of them. From the 19th literature and thought, it will put forward a less restrictive definition of the notion of anthropomorphism by considering the status of animals in the romantic imaginary. Anthropomorphism is traditionally perceived as a naïve and spontaneous perception of the world. This tendency to endow things and beings with emotions, intentions or reactions supposedly inherent to humans is based on an analogical thinking that underlies literary genres as universal as fables or other kinds of apologues, that are also seen as simple, as if anthropomorphism was only this non-realistic, entertaining and even comical, mode of representation, that educates only thanks to a distortion of reality. During the 19th century, a new conception of animals emerges, breaking with the classical era. Natural history and romantic philosophy discover deep similarities between men and animals, that provide anthropomorphism with an epistemological and philosophical basis, but also affective and political ones, since the idea of a continuity between the being is one of the pillars of republican thinking on animal protection and animal rights since the Revolution. Looking at literary, philosophical and scientific texts, but also at the history of animals, at their status and treatments, this work would like to provide an overview of analogical paradigms through which men have conceived their relationships with animals over the first half of the 19th century. This period will therefore appear as an important moment of the reconfiguration of animal symbolism, inventing a type of realistic allegory, combining the concern for animals and a faith in analogical thinking

碩士
國立臺灣師範大學
美術學系
105
The main purpose of this paper is the study of fantasy art. Because the field of fantasy art is comprehensive with diverse forms, which also has neither a specific style nor too many historical annotations, the research was based on fairy tales and fantasy literature. The author points out that the core development of the stories in fairy tales are based on people and real life. Through the discussion of “metaphor” and “imagination” in making fairytales correspond to reality; furthermore, studying the two natures of fantasy literature and fantasy art to find possible metaphors of real life, and to look back towards the reflection of the author’s creation and concept of metaphor. The author sorts out the elements of fantasy in looking for the relationship between the theory of J. R. R. Tolkien’s “The Second World” and the creation of fantasy worlds, also to analyze the artistic expression of “Alice in Wonderland” and works of Daniel Merriam. Through the research of these works, the author has found her own domain for her individual creation and imagination of fantasy world. With the concept of animal behavior as a metaphor for human behavior, the author not only created her own artistic approach towards her fantasy art creation, but also made the context and discussion more complete. The essay is divided into five chapters: Introduction, Foundation of Creative Research Theory, Creative Concept and Practice, Work Analysis, and Conclusion. In the second chapter, the author discusses the connotation and forms of fantasy art, and the theoretical basis of behavior theory. To complete the creation of discussion according to the author’s animal metaphors and the creation of fantasy world, the author constructed the concept and practice procedure in the third chapter. In the fourth chapter, the author stated the analysis of the creations, and the final summery.

碩士
國立成功大學
外國語文學系
105
The study aims at exploring the metaphorical and metonymic meanings of animal proverbs in Taiwan Southern Min and analyzing the relationships between animal expressions and the interpretations. We explain the way how animal expressions are interpreted and how the metaphorical and metonymic relationships of animal proverbs are constructed by adopting conceptual metaphors, the GREAT CHAIN METAPHOR, Mental Space Theory, and the target-in-source metonymy. When a proverb implies a conceptual metaphor, it has the animal expression as its object or theme. When a proverb contains animal affairs and human affairs, it can be explained by the blending theory. Based on the GREAT CHAIN METAPHOR, animal expressions are divided into two groups, one with animal behaviors and the other with human behaviors, and both of them imply metaphorical meanings. A proverb may adopt animal organs to represent the animal, and the proverb also has a metaphorical meaning related to human affairs. This study shows the constructions and procedures of the metaphor about animal proverbs in Taiwan Southern Min and generalizes the semantic mapping between animal source domains and human target domains. The finding of the current study could help people to facilitate familiarization with Taiwan Southern Min by understanding those proverbs.

碩士
輔仁大學
語言學系
83
This thesis studies the animal metaphor in Mandarin and Taiwanese.　The animal metaphor concerned in this study is the animal metaphor is ''x is a y'' where x represents a preson and y an animal term. The purpose of this study is to find out its interpretations from the native speakers of Mandarin and Taiwanese. A questionnaire which contains fifty-two animal terms is thus made to get the information from people about animal metaphor. This thesis consists of three parts. The first part of this study represents some related literature of animal metaphor and some theories of metaphor and of metaphor interpretation. The three related literature offer this study some ideas and methodology about animal metaphor research. The main theory of this study is that of ''similarity'' which helps explain animal metaphor and its interpretation from a comparative view. The most possible interpretation of a metaphor is the salient properties that x and y share. The seconf part of this study is the analyses and discussion of the results of the questionnaire. The interpretations of each animal terms are discussed firstly by dividing the animal terms into five biological groups. Then the cases (one interpretation with one animal term) are divided into three groups and analyzed according to their percentages of agreement from people. Some categories of animal metaphor are stated and illustrated. The last part of this thesis state some findings of this study, makes a justifications and a conclusion, and give some suggestions for further research. The main findings are about the little dissimilarity of animal metaphor between Mandarin and Taiwanese, and people''s different feelings toward different kinds of animals.

碩士
輔仁大學
跨文化研究所語言學碩士班
101
This thesis aims to investigate a study of animal images in figurative languages by taking horse metaphors as example. In this research, the examples of horse metaphors in Mandarin, English, and Italian will be shown, and all metaphors will be classified by domain as the conceptual metaphor HUMANS ARE HORSES according to Lakoff and Johnson’s conceptual models. First of all, the corpuses including horse proverbs/idioms in Mandarin, English, and Italian will be collected from various dictionaries and websites. By a closer examination on the collected data in Mandarin, English, and Italian, it is demonstrated that the closer the interaction humans and animals have, the more vocabulary there may be in language. In addition, the study claims that these linguistic expressions will be retained in language through fossilization and grammaticalization of the conceptual metaphor. Furthermore, the origin of the term “metaphor” will be provided in this study by tracing its history back to Aristotelian age. And the milestone of metaphors in linguistic theory proposed by George Lakoff and Mark Johnson will be discussed. It is indicated that metaphors are not only poetic imagination and rhetorical flourish, but also a linguistic product associated with human concept. With the theories mentioned in this research, the thesis will investigate the metaphorical expressions of horse from the cross-cultural viewpoint. By examining how people use horse as metaphor to describe a person, it is concluded that humans’ mental perception toward the universe is similar even in different languages.

碩士
淡江大學
大眾傳播學系碩士班
99
This thesis concerns about the established animal issues in post modern society. We use subjects based on laboratory animal experiment and a person has bitten by a wild animal to search for established animal images and its influences the ways animals should be treated and towards people themselves. First of all, we started with the study of Kövecses（2002） and his explanation on the Great Chain of Being model presented by Lakoff and Turner（1989）. We took a comparative tactic to examine the kind of metaphor applied in laboratory animal news discourse, and to find out how these metaphors manifest a discourse system of emphasis, negligence, and embedded connotation. Analysis showed the metaphoric system of laboratory animal experiments its meaning of humanization. The hidden background behind this culture was that modern society relied on government assistance in the biotechnology industry in order to develop new drugs for the purposes of economic profit. We still use a metaphor to analyze the issue of people biting by wild animals based on the Great Chain of Being model. The crime is a kind of collective consciousness that means the people’s crime and animalism which reflects to the animal itself. In summary, the established reality of animals in contemporary society relates to the purposes of how animals’should be utilized, and how to people should view themselves.

碩士
東吳大學
德國文化學系
97
The Danzig Trilogy refers to the three novels written by the 1999 Nobel Prize winner, German author Guenter Grass. They are “The Tin Drum” (1951), “Cat and Mouse” (1961), and “Dog Years” (1963). Grass grew up in the city Danzig, also known as Gdańsk. During the World War II, he volunteered for submarine service and left his hometown. Since 1945 he has lived primarily in West Germany. Only in his fictions could he return to the Danzig of his childhood. In his literary works, especially in the trilogy, there are plenty of different “animal figures” which can not be neglected. Comparing with those animals in other author’s fictions, Grass’ animals apparently seem to be quite unique. They display usually absurd circumstances, produce a certain kind of paradox, and offer effects full of irony. And all of these can be easily identified as characteristics of Grass’ works. Grass himself has once indicated, that the animals in his literary works usually imply metaphors of human or human society. Actually, through animal metaphors, his ironies further more reveal ridicules situations, occurrences, individuals or events, and give rise to the curiosity and rationality of the readers. As a result, this kind of irony effect keeps the readers staying in a distance from the text, where certain “alienation” in between is then established. The alienation effect, also known as distancing effect (German: Verfremdungseffekt), is a theatrical and cinematic device coined by the famous German dramatist, poet, and author, Bertolt Brecht. According to Brecht, the effect prevents the audience from losing itself passively and completely in the character created by the actor, and consequently leads the audience to be a consciously critical observer. Brecht's point of view had a great influence on Grass for sure, and what exactly behind his animal metaphors, which he attempted to criticize, is the absurd, irrational chaos and the disorder of different ideologies under the Nazi regime. As for Grass, only by means of those animals, non-human being characters and their metaphors, as well as the surreal symbols, can the absurd reality be finally effectuated. And that is to say, without the cat, the mouse, the freaky drum-playing dwarf, without the dogs and scarecrows, which all appear in the Danzig Trilogy, Grass would never have found a narrative approach to begin his stories.

碩士
國立臺灣大學
語言學研究所
100
The present thesis aims to investigate gender metaphors in Mandarin Chinese by adopting corpus-based method and questionnaire in which two factors: gender and age are taken into account to examine how different gender metaphors would be in different times and from different perspectives of different ages and genders in present time. Conceptual metaphor is not only regarded as an important mechanism of human thinking, but recognized as a device to reflect cultural values and norms which are often conveyed by speakers with more power toward other socially disadvantageous people. Men are usually those with power. Study on gender metaphor is thus considered as a manner to reveal the evaluations under the society of sexual inequality. However, little research of gender metaphor has been done except in European languages. Moreover, the data sources of previous studies are from the dictionaries, which are limited in reflecting the present values, and which lack different perspectives of different speakers. Via this study adopting two methodologies of corpus and questionnaire, we intend to fill the gap. The results based on dictionary show an asymmetrical structure of women metaphor and men metaphors. Besides, those metaphors are full of men’s values. The source domains describing women include PLANTS, ANIMALS, SUBSTANCE, FOOD, and OBJECT. However, only the previous three source domains are employed to refer to men. Among them, WOMEN ARE PLANTS is the most productive. Women’s age, beauty, and skittishness are highlighted. Otherwise, MEN ARE ANIMALS is the most prominent when men are the target domain. The tallness and the sturdiness are features emphasized. The questionnaire is analyzed from three levels: category of the source domains, types, and features of the target domains. The results show that other than the existed source domains found in the dictionary, there are eight novel source domains investigated. Besides, the asymmetrical structure has become more symmetrical. Among the categories, when there are conventional metaphors describing one gender in one category, the frequency of using this category to describe that gender is more prominent than to describe the other gender. Moreover, the speakers of one gender use more the conventional metaphorical expressions describing such gender to refer to themselves than speakers of the other gender do. Those findings show that gender metaphors have a great influence on the stereotypes of gender and that those metaphors describing two genders are regarded as an evidence for social construction of gender because each gender follows the society expects them to act, according to those metaphors. Otherwise, there are many types mentioned with high frequency not because of conventionality but of cultural background, language knowledge, and experience. For example, WOMEN ARE WATER is the conceptual metaphor of the highest frequency across genders and ages, which do not show in the dictionary. Finally, in term of selected features from the target domains, women’s appearance is more emphasized than that of men, while men’s social aspect are more focused than that of women. Furthermore, the differences of describing personalities reflect the change of personalities with ages. With ages, the focus of women’s tenderness increases, while the unpredictability of emotion decreases. On the other hand, the emphasis of men’s reliability decreases, whereas the impulsiveness decreases. By this study, we examine gender metaphors in Mandarin Chinese diachronically and synchronically, and complement the English-based literature on gender metaphors. Diachronically, the present study shows how gender metaphors change with the revolution of gender equality, but it also reveals that gender stereotypes are still entrenched in the society. Synchronically, we take age and gender into account to provide multiple perspectives in gender metaphors.

碩士
國立臺灣藝術大學
雕塑學系
107
The thesis explored the author’s works created from college to graduate school. It started from the discussion of how culture and backgound influenced his creation. The author presented his works with animal wood carvings, using the symbolic images of horses and deer to leave room for viewers’ imagination. By discussing the difference between seeing and understanding, the author, through his works, “ridiculed” viewers for their neglect of the truth of the matter due to individul subjectivity. The “Calling a Stag a Horse” collection was developed to respond the environment we are living in and social values. The thesis aimed to track down the history of the author’s works of art. The thesis was separated into several sections, including the origin of the ideas, the symbols of “ridicule,” the presentation of “animal wood carvings,” the exploration of his artistic form, and the establishment of the “Calling a Stag a Horse” collection. The first chapter began from the author’s home environment and cultural experiences, went on clarifying how his experience of growing up influenced the materials and themes. of his creations, and then discussed his research motivation and purpose. The second chapter clarified “ridicule” as an art technique and discussed how it was applied in the auhor’s works of art. The third chapter started with animal images; explored the artistic expression of modern animal wood carvings and introduced three artists. It ended with analyzing the author’s animal wood carvings and his design concept. The forth chapter analyzed the author’s creations in terms of texture, colors, carving, mortise and tenon joints. The fifth chaper examined the author’s inspiration and ideas for creating sculpture; found out his journey toward of creation; and settled his direction of creations. Last, the author concluded the thesis and offered a prospect of his future creations.

碩士
輔仁大學
語言學研究所
98
This study aims to reveal conceptual metaphor in Mandarin animal idioms in the light of ma ‘horse’. I first classify them according to their semantic molecules, then turn to explore the related culture. I find that the relationship between Mandarin and its culture is very close and it fits in with the Sapir-Whorf Hypothesis. Metaphor is for most people a device of the poetic imagination and the rhetorical flourish. According to Lakoff and Johnson’s Conceptual Metaphor Theory (1980), the metaphorical use of ma—idioms can be found that they are not just the rhetorical flourish. The way we think, what we experience, and what we do every day is very much a matter of metaphor. In other wards, there is a coherent conceptual organization underlying all these idioms of ma ‘horse’. Using Fauconnier’s Mental Space Theory (1997), and discussing the horse’s operation of conceptual metaphor in Mandarin animal idioms, it has been shown that the process of metaphorical meaning construction is a context-based process. Specifically speaking, this thesis regards Conceptual Blending Theory as the research method to discuss questions of this topic. I first set up two input spaces which contain the elements from the context, and then find out the general features which are common to the two input spaces in idioms. After the data from two input spaces blends together, the output of the blended space is the cultural meaning of metaphor.

The relationship between the works of Marie de France and ancient and medieval literary influences has been well documented in the critical literature. Few critics, however, have addressed the importance of nature, and specifically animal imagery, in the Lais. The twelfth century witnessed, in all realms of human intelligence and endeavor, an unprecedented effort to systematize knowledge and rationalize human experience. Animal imagery, a traditional form of representation, was prevalent in diverse treatments in the Bible, in the works of the ancients, in Ovid, and in the matiere de Bretagne that was so much in vogue during the time of Marie de France The present investigation proposes a critical analysis of the role of animal imagery in six lays. Depiction of animals varies throughout the lays, but one constant unites the images: they are all presented in a state of metamorphosis, either physical or profoundly symbolic transformation. Metamorphosis is intimately associated with metaphor, which is intrinsic to thought and generative of language and literature, therefore the metamorphic animal characters can be interpreted metaphorically on generic, textual and socio-cultural levels Because genre is by nature both representational and transformational, the textual metamorphic animal images are validated by Marie's choice of the lay, a flexible and evolving narrative form, as a basis for her artistic recreation of the oral Bretannic tales. Choices made by the author from the available literary, social, political and cultural paradigms of her era produce new metaphorical readings along the syntagmatic axis of metamorphic animal imagery. This transformative process becomes a literary metaphor for the medieval compositional theory of translatio studii plus inventio The dependence of metaphor upon the receiver makes the Lais especially open to re-creation, indeed co-creation, through the glosses of succeeding generations of readers who interpret the metaphors of metamorphic animal imagery in light of their own paradigmatic experience. The animal images reveal metamorphosis to be the governing metaphor of the lays
acase@tulane.edu

碩士
淡江大學
企業管理學系碩士在職專班
96
This study used the metaphor of animal ecology to build the conceptual models for the managers’ Personality in leadership and organization fitness. It takes organizational structure and organization culture as the ecological environment on the inside of an organization through animal ecological theory. This study tries to find the best fitness among manager’s personality traits, organization culture and organizational structure; that is to say, it discusses that the manager of each level how to survive in the ecological environment. The personality traits of manager can be grouped into several types - tiger, peacock, koalas, owl, and chameleon by the PDP (Professional Dynametric Programs). Organization culture is sorted to be three classifications - hureaucracy, innovation and support. Organizational structure is divided into several levels - top, middle, first-line level and employee. In this research, we collect extensive literature in according to the qualitative way and then exploring the fitness between managers’ personality in leadership and organization with the concept of the five elements by analogy. 1.When it talks about the managers’ Personality in leadership fitness from each level in an organization, the relationship between leader ad employees should find each other’s complementarity, but not the same personality. 2.The strength of manager’s personality will have influence on the fitness between manager and organization. 3.The portfolio of the best fitness between organization culture and managers’ personality in leadership is as following: (1)Innovative culture -tiger and chameleon. (2)Supportive culture - peacock. (3)Bureaucratic culture - koalas and owl. 4.The portfolio of the worst fitness between organization culture and managers’ personality in leadership is as following: (1)Bureaucratic culture - top and middle management who belong to tiger style. (2)Bureaucratic culture - top and middle management who belong to peacock style. (3)Innovative and supportive culture - top management who belong to owl style. (4)Innovative and supportive culture – top management who belong to koalas style. 5.When management try to survive in organization, the way to lead employees will make a big difference by individual character. (1)Management who is tiger style will take beneficial way to themselves. (2)Management who is peacock style will take good relationship as first choice. (3)Management who is koalas style will lead employees by their authority power. (4)Management who is owl style will use precise analysis to lead people as their leadership style. (5)Management who is chameleon style will lead followers through the adapter of organization culture.