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Journal articles on the topic 'Literary metaphors'
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1
Vries, Clarissa de, W. Gudrun Reijnierse, and Roel M. Willems. "Eye movements reveal readers’ sensitivity to deliberate metaphors during narrative reading." Empirical Studies of Literariness 8, no. 1 (December 31, 2018): 135–64. http://dx.doi.org/10.1075/ssol.18008.vri.
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Abstract Metaphors occur frequently in literary texts. Deliberate Metaphor Theory (DMT; e.g., Steen, 2017) proposes that metaphors that serve a communicative function as metaphor are radically different from metaphors that do not have this function. We investigated differences in processing between deliberate and non-deliberate metaphors, compared to non-metaphorical words in literary reading. Using the Deliberate Metaphor Identification Procedure (Reijnierse et al., 2018), we identified metaphors in two literary stories. Then, eye-tracking was used to investigate participants’ (N = 72) reading behavior. Deliberate metaphors were read slower than non-deliberate metaphors, and both metaphor types were read slower than non-metaphorical words. Differences were controlled for several psycholinguistic variables. Differences in reading behavior were related to individual differences in reading experience and absorption and appreciation of the story. These results are in line with predictions from DMT and underline the importance of distinguishing between metaphor types in the experimental study of literary reading.
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Feodorov, Aleksandar. "Peirce’s garden of forking metaphors." Sign Systems Studies 46, no. 2/3 (November 19, 2018): 188–215. http://dx.doi.org/10.12697/sss.2018.46.2-3.01.
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The philosophic system of the founder of pragmatism Charles Sanders Peirce is rarely grasped from the point of view of its metaphoric usage. However, some of his most original yet often misunderstood and contested ideas such as those of ‘matter as effete mind’ and ‘the play of musement’ are metaphoric representations. In the present paper I am offering a new way to discuss the role of metaphors in Peirce’s philosophy by taking a twofold approach to the problem. On the one hand, metaphor itself becomes an object of inquiry. I touch upon the appearances of metaphoric thinking at the level of his classes of signs and metaphor’s relation to abductive inference. I trace those appearances in the process of their becoming from the spontaneity of Firstness towards the actuality of Secondness via the generalizing effects of Thirdness. Then I propose a flexible graphic model of metaphor that is parallel to Peirce’s inherent evolutionism. This model is seen as a “gentle” methodological tool for deriving meaning. To illustrate its applicability I include a playful nod to the literary works of Jorge Luis Borges to show how hard logical thought and aesthetic beauty complement each other.
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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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Altaras-Dimitrijevic, Ana, and Marija Tadic. "Figuring out the figurative: Individual differences in literary metaphor comprehension." Psihologija 40, no. 3 (2007): 399–415. http://dx.doi.org/10.2298/psi0703399a.
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This paper explores the cognitive and affective-conative correlates of metaphor comprehension. We first introduce the concept of metaphor by describing its essential features and functions. Then, we give a short review of key findings derived from cognitive and developmental studies of metaphor comprehension. Finally, we discuss individual differences in metaphoric skill and sensitivity and present the results of an empirical investigation in which we sought to determine the relationship between literary metaphor comprehension, the subjective experience of metaphors and the readers? verbal intelligence and personality traits. On the basis of our research findings, it is argued that metaphoric ability represents a central facet of intelligence and that the Test of Literary Metaphor Comprehension designed in our study may be viewed as a valid measure of verbal ability. .
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Li, Didi, and Daojia Chi. "A Sweet and Painful Emotional Experience: Love Metaphors from a Cross-Cultural Perspective." International Journal of English Linguistics 10, no. 6 (September 7, 2020): 137. http://dx.doi.org/10.5539/ijel.v10n6p137.
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More and more researchers have begun to study the conceptual metaphor from the perspective of cognitive linguistics, and to connect the metaphor with language, culture and people’s lives. The Emotional metaphor is an important aspect of cognitive linguistics, and love is an important emotion shared by all human beings. The study is an attempt to examine and compare how metaphorical expressions of love are employed in the texts of English and in the Chinese literary texts. The findings show that several love metaphors are shared in English texts and in Chinese literary texts that are based on common cognitive experiences. However, although many other different cultures also influence the linguistic expressions related to love metaphors, this study identifies specific love metaphors unique to English texts and to Chinese literary texts.
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Abdo, Ibrahem Mohamad Khalefe Bani. "Preserving Style in Translating Metaphors of a Literary Text from English into Arabic." Journal of Social Sciences (COES&RJ-JSS) 9, no. 4 (October 1, 2020): 1559–74. http://dx.doi.org/10.25255/jss.2020.9.4.1559.1574.
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This paper investigates the stylistics issues in translating metaphors of George Orwell's Animal Farm from English into two different Arabic translations and whether the metaphors’ style is maintained or not in the target texts. The research presents concepts related to metaphor translation such as text types and semantic/ communicative translation. This study is based on Newmark’s (1988) classifications of metaphors. The data are selected randomly from the novel, then the target texts equivalents are provided to investigate the maintaining of metaphors’ style in TT (1) and TT (2) as compared to the ST. The study concludes that the translators try their best to reproduce the same image in the TT (target text) as closely as possible. Although, it is important for a metaphor to be retained in the translation, however, the study reveals that some metaphors has been translated word-by-word in both target texts (TT1 and TT2). TT (2) follows the target readers’ culture (Arabic culture) in translating some of these metaphors to some-extent more than the TT (1). Metaphors are translated in both denotative and connotative associations. TT2 has deleted some metaphors from the translation (TT2) which may cause some loss in meaning. TT1 is to some-extent successfully conveyed all metaphors which may express the translator’s fluency as a well-known author. Omissions reveal that TT2 is conventional to the target culture. Finally, the study concludes that TT1 is more restricted to the ST style; whereas, TT2 is restricted more to the target language (Arabic).
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Wang, Tingting, and Cheng Duan. "A Study on the Pragmatic Value of Interpersonal Metaphor in Literary Works — A Case Study of Tess of the D 'Urbervilles." Asian Culture and History 11, no. 1 (November 14, 2018): 11. http://dx.doi.org/10.5539/ach.v11n1p11.
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Grammatical metaphor refers to depicting the same scenes or things in the objective world with different forms of expression. It mainly includes two parts: interpersonal metaphor and ideational metaphor. Interpersonal metaphor is divided into metaphors of mood and metaphors of modality. Metaphors of mood are the transfer from one modal domain to another. The metaphors of modality change from implicit to explicit and reflect in the form of proposition. Language not only has the function of expressing the speaker's personal experience and inner activity, but also can express the speaker's identity, attitude, motivation and his/her inference, judgment and evaluation of things. Therefore, based on the frequency of the use of interpersonal metaphor, the reader can accurately grasp the information exchanged by the speakers. This paper applies interpersonal metaphor to analyze the discourses of the main characters in Tess of the D'Urbervilles by using declarative which is used as command as well as question; interrogative, which is used as command as well as statement, etc. in metaphors of mood and using the subjective explicit as well as objective explicit in metaphors of modality. Through the different expressions of the character discourse, speech function embodied in the discourse is interpreted to help the reader understand the theme of the text more easily, thereby revealing the pragmatic value of interpersonal metaphor in the analysis of literary works.
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MCQUIRE, MARGUERITE, LAUREN MCCOLLUM, and ANJAN CHATTERJEE. "Aptness and beauty in metaphor." Language and Cognition 9, no. 2 (July 1, 2016): 316–31. http://dx.doi.org/10.1017/langcog.2016.13.
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abstractMetaphors are comparisons that link dissimilar conceptual domains. We hypothesized that the aptness of a metaphor is linked to the reader’s experience of beauty, and that age and expertise influence these aesthetic judgments. We had young adults, literary experts, and elderly adults rate metaphors for beauty or aptness. Experimental materials consisted of single-sentence novel metaphors whose familiarity, figurativeness, imageability, interpretability, and overall valence ratings were known. Results suggest that beauty and aptness of metaphors are linked for elderly adults but are orthogonal for young adults and literary experts. Elderly participants seem to conflate emotional content with aptness. Young adults are most swayed by a perceived feeling of familiarity when rating for aptness, but not for beauty. Literary experts are relatively unaffected by the psycholinguistic variables, suggesting an emotionally distanced approach to these sentences. Individual differences in literary training and life experience have varying effects on the aesthetic experience of metaphor in regard to beauty and aptness.
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Kuiken, Don, and Shawn Douglas. "Living metaphor as the site of bidirectional literary engagement." Empirical Studies of Literariness 8, no. 1 (December 31, 2018): 47–76. http://dx.doi.org/10.1075/ssol.18004.kui.
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Abstract Articulation of an interactive model of literariness calls for separate specification of (a) a text’s perceptible mode of representation, (b) a reader’s mode of engagement with a text so perceived, and (c) the generative (e.g., creative, expressive) effects of the interaction between this mode of representation and mode of reader engagement. We present a model that identifies two aspects of metaphoric textual representation: structured sequences of nominal metaphors and quasi-metaphoric structures with optional metaphoric construal. This model also distinguishes two modes of reader engagement: expressive enactment and integrative comprehension (Kuiken & Douglas, 2017). The generativity of literary reading is located especially within the interplay between expressive enactment and sequences of metaphoric (and quasi-metaphoric) modes of representation. Evidence suggests that readers reporting expressive enactment also report inexpressible realizations and a temporal progression leading through epistemic tensions that comprise “living metaphor” (Ricoeur, 1981). Thus the generativity – and aesthetic effects – of literary reading are found within the departures from conventionality that comprise the emergent meanings of complex metaphoric structures.
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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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Rodwin, Marc A. "Strains in the Fiduciary Metaphor: Divided Physician Loyalties and Obligations in a Changing Health Care System." American Journal of Law & Medicine 21, no. 2-3 (1995): 241–58. http://dx.doi.org/10.1017/s009885880000633x.
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Owen Barfield, the British solicitor and literary scholar, reminds us that many legal concepts have their origin as metaphors and legal fictions. We often fail to see the nature of legal metaphors, Barfield argues, because over time they ossify and we read them literally rather than figuratively. Look closely at changes in law over time, Barfield advises us, to see how effectively metaphor works in law and language. Many legal categories and procedures we now use had their origin in using a metaphor that revealed a new way of looking at a problem or that helped solve a legal problem. Legal metaphors also help us to identify critical limits and strains in adapting to new facts and circumstances.George Annas has pointed out that our choice of metaphors for medicine can reframe our debates about health policy reform. And Analee and Thomas Beisecker remind us that patient-physician relations have been viewed through many metaphors. These include parent-child relations (paternalism); seller-purchaser transactions (consumerism); teacher-student learning (education); relations among partners or friends (partnership or friendship); or rational parties entering into negotiations or contracts (negotiation or rational contract).
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Kjär, Uwe. "Die Übersetzung von Verbalmetaphern." Babel. Revue internationale de la traduction / International Journal of Translation 37, no. 4 (January 1, 1991): 193–202. http://dx.doi.org/10.1075/babel.37.4.02kja.
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This paper is on metaphors involving verbs such as "Der Himmel weint." (literally, The sky is crying/weeping.") and comprises a comparative translation study. The source material consists of 11 prose works from German post-war literature (authors: Bienek, Boll, Frisch, Grass, Handke, Lenz, Nossack and Walser) and 6 works from Swedish post-war literature (authors: Andersson, Bergman, Delblanc, Gustafsson and Lagerkvist). The empirical investigation builds on a corpus where, for the first time, all the metaphors of a certain type in literary works have been excerpted and treated statistically, totally well over 2800 instances of metaphor. Up to now there has been no study in the field of verb metaphors (and their translation into Swedish) based on a material of a comparable size. One obvious result is that novel verb metaphors constitute a very important and stylistic device in German and Swedish post-war prose. Further, the investigation provides answers to a number of quantitative issues which might be of interest in the fields of literary analysis, translation theory and linguistics. For example, 47.7% of target-language replacements of source language metaphors reveal maximal equivalence, however the continuum lies between 24.9% and 67.7%. The comparative translation study was supplemented with an "inverted analysis", revealing certain tendencies with regard to compensatory mechanisms.
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Thi Vu, Viet-Anh, and Thu Nguyen Thi Hong. "Ontological Cognitive Metaphor of Love in English Songs of the Late 20th Century from Cognitive Perspective." International Journal of Language and Literary Studies 2, no. 2 (June 8, 2020): 30–44. http://dx.doi.org/10.36892/ijlls.v2i2.254.
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The paper provides an overview of the linguistic theory relevant to cognitive metaphor and shed light into ontological metaphors of love in songs. The writer found out typical metaphorical images of love in the famous English love songs of the late 20th century from cognitive prospective. There are 86 cited sentences from 68 love songs used with 16 metaphorical expressions of three types of metaphor: structural metaphors, orientational metaphors and ontological metaphors in which ontological metaphor was focused to analyze. That how these metaphorical images are explored in the songs with the cognitive and rhetorical value can offer a new look into literary and linguistics. In addition, the writer recommends strategies in finding out, comprehending and analyzing this type of metaphor in various contexts as well as suggests some suitable ways for readers to apply metaphor in writing texts more effectively.
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Šeškauskienė, Inesa, and Oksana Valentjeva. "Poetic journeys and other metaphors underlying literary criticism of poetry in English and Russian." Revista Brasileira de Linguística Aplicada 15, no. 2 (June 2015): 421–52. http://dx.doi.org/10.1590/1984-639820156067.
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The paper sets out to examine the metaphoricity of the discourse of literary criticism dealing with poetry. The research carried out in the framework of contemporary metaphor studies relying, first of all, on the Conceptual Metaphor Theory and its followers, attempts to uncover metaphors structuring the discourse of literary criticism in two distinct cultures - English and Russian. The methodology of the investigation is based on the key principles of the metaphor identification procedure (STEEN et al., 2010) and metaphorical patterns (STEFANOWITSCH, 2006). The results suggest that the main source domain for conceptualizing poetry in literary criticism in both languages is a person. However, this domain features much more prominently in English, whereas the domains of sound and music, painting and journey are more relevant in Russian. Many metaphors are inevitably evaluative - employed to express the writer's positive or negative attitude.
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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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Shalimova, D. V., and I. V. Shalimova. "Peter Newmark's Translation Procedures as Applied to Metaphors of Literary Texts (Based on Stephen King's Works)." Bulletin of Kemerovo State University 22, no. 1 (March 31, 2020): 278–87. http://dx.doi.org/10.21603/2078-8975-2020-22-1-278-287.
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The present research featured P. Newmark's translation strategy and procedures applied to the translation of metaphors in literary texts, namely Stephen King's oeuvre. The study revealed the effect of functional style on metaphor translation. The type of metaphor, e.g. dead, cliché, stock, adapted, recent, and original, also proved important for adequate translation. The authors performed a comparative and correlative analysis of metaphors in translations made by different authors. The study was based on descriptive, cognitive, semantic, and lexicographic methods. The general functional analysis revealed grammar and lexical transformations that metaphors undergo in the process of application of P. Newmark's translation strategy and procedures. The article focuses on the optimal ways of metaphor translation as described by P. Newmark. The translator can preserve the original image in the translated text, keep the original metaphor, replace the original image with a common one, render the metaphor using a figurative comparison while preserving the original image and notion explication, ignore the notion explication of the metaphor, or totally remove the image. The analysis proved the significance of P. Newmark's approach to metaphor translation and its methodological value for modern translation theory and practice. The results obtained can be applied both in professional translation and in corresponding disciplines.
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Attridge, Derek, Bartosz Lutostański, and Marta Nowicka. "Performing Metaphors: The Singularity of Literary Figuration." Tekstualia 4, no. 31 (April 1, 2012): 183–97. http://dx.doi.org/10.5604/01.3001.0013.7460.
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In Performing Metaphors: The Singularity of Literary Figuration Derek Attridge redefi nes the work of art in terms of alterity, invention and singularity. For a given work of art to occur, it must be performed, that is, justice must be done to it as a literary event and as the eventness of that event. One of the most vital features of the (process of) performance of literature is metaphor, argues Attridge, adducing various works, from philosophy (David Hume) to poetry (Robert Graves) to everyday spoken speech (quoted by a cognitive linguist, Ronald Carter) to prove his point.
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Ghanooni, Ali Reza. "A cross-cultural study of metaphoric imagery in Shakespeare’s Macbeth." Translation and Interpreting Studies 9, no. 2 (November 28, 2014): 239–56. http://dx.doi.org/10.1075/tis.9.2.05gha.
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Metaphor is an important literary device, and its translation poses the challenge of switching between different cultural, conceptual, and linguistic frames of reference. This study uses cross-cultural comparison to investigate the metaphoric imagery used in six translations of Shakespeare’s Macbeth into three languages: French, Italian, and Persian. To accomplish the aims of the study, metaphoric images in this play were identified in the source and target texts and then subjected to comparative analysis using Newmark’s categorization of strategies for translating metaphors. After analyzing the translations in the above-mentioned languages, it became apparent that all the translators, including the two Persian translators, tended to retain the same metaphoric images as in the source text. This is somewhat surprising given the greater linguistic and cultural distance between English and Persian. The findings suggest that the literal treatment of metaphors — and not their explicitation — may be a translation universal, at least in regard to canonical texts.
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Matiychak, Aliona. "Metaphor as a Literary Device of Conceptualizing Reality in Polycodic Fiction." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 191–208. http://dx.doi.org/10.31861/pytlit2020.101.191.
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The article highlights the problem of metaphorical thinking as a way of conceptualizing reality in Steven Hall’s fiction “The Raw Shark Texts”. The relevance of the study is due to the need to expand the analysis of the communicative features of the literary text with an iconic component. The main goal of the article is to analyze the features of the text polycoding as a form of artistic communication and to find out the role and functions of the metaphor as a means of conceptualizing reality in the polycodic text of the novel. S. Hall makes full use of graphics possibilities in the text of his fiction, expanding the scope of the novel to a heterogeneous form, combining verbal and iconic means at the content-structure level. The combination of complex means of various semiotic systems, the inclusion of other components in the verbal structure of the text, paradoxically does not complicate its perception, but rather simplifies the understanding of the text, enriches the possibilities of its interpretation, gives the recipient more freedom for decoding. The text-forming function of the Hall’s compositional metaphor is the ability to be expanded throughout the fiction text, indicated in chapter titles, reinforced by basic concepts (conceptual metaphors) and supported in the plot (visual metaphors, primary and creative metaphors). Reproducing the features of sensory mechanisms and their interaction with the psyche, the author was able to grasp the common between concrete objects and abstract concepts, to compare the incomparable. This approach allows us to consider the conceptual metaphor as a structural component of the novel, focusing on the specifics of the metaphorical construction of new realities. The comprehensiveness of the compositional metaphor in the novel “The Raw Shark Texts”, with all its constituents (conceptual, visual, primary and creative metaphors), its pervasiveness and the ability to reveal images within the entire fiction text gives it originality, integrity in the entirety of all its verbal and visual means.
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Kocay, Victor. "La Métaphore : modes d'emploi ou « Voici des îles »." Dalhousie French Studies, no. 117 (March 29, 2021): 169–82. http://dx.doi.org/10.7202/1076100ar.
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This article attempts to show that metaphors can be used in different ways in literary texts. After a brief discussion on metaphor as a creative linguistic device (Ricoeur), I argue that the meaning and the function of a metaphor in a literary text depend, at least in part, on the intentions of the author. I refer to three different authors. For Proust, metaphor allows for a more accurate representation of reality because it remains close to physical sensations. For Colette, metaphors play a psychological role in that they allow the author to align reality according to a specific aesthetic. And for Camus, metaphor is a sign of disorder that nonetheless points to a different and better social order. The expression, “Voici des îles” is borrowed from Michel Serres.
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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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Wegener, Mark. "Liturgical Juxtapositions and Literary Metaphors." Liturgy 19, no. 3 (June 2004): 41–52. http://dx.doi.org/10.1080/04580630490459486.
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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.
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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.
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Denisenko, Vladimir N., and Valeriya T. Vered. "Linguocultural transfer of metaphors in a literary text." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 60–67. http://dx.doi.org/10.20339/phs.6-20.060.
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This article aims to assess the degree of transfer of the original metaphorical image into a foreign language linguistic and cultural space and to identify the general patterns of translation of the author’s metaphor in a literary text. An attempt is made to determine the nature of the correlation between the transfer and the communicative-pragmatic effect of the conversion unit. The study uses a three-dimensional model of metaphor, which is a synthesis of the proper linguistic (language), mental (thought) and communicative aspects. The actual linguistic aspect means the logical and semantic structure of the metaphor. Understood as the general properties of an object and its reflection arising from the principle of similarity, the tenor, the vehicle and the ground are revealed. From the point of view of the mental aspect, the metaphor is considered as a universal cognitive mechanism for the nomination of the surrounding reality and the creation of artistic images. The communicative aspect includes the study of metaphor from the perspective of its functioning in speech — the pragmatic attitude of the speaker determined by the content and form of his statement is pointed out. The semantic equivalence of metaphors in the original text and in the translation text is established on the basis of the componential analysis. The results are classified according to two criteria: 1) the preservation of the principle of implicit metaphorical rethinking and 2) the identity of the meanings actualized during the renaming process, which allows to identify cases of the complete and the partial transfer of the metaphor and to describe the concomitant lexical and grammatical interlanguage transformations. The partial transfer is to be recognized as the most common phenomenon that takes place during the translation of the metaphorical expression. The impossibility of the complete transfer of the source metaphor is explained by both the features of the internal development of languages and the nature of the linguistic thinking of the two peoples. The absence of the metaphor in translation is considered as a factor that reduces the pragmatic equivalence of texts.
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Trubkina, Anna I. "Conceptual Metaphor «Human Being – Nature» In Literary Text: Pragmatics and Functions." Current Issues in Philology and Pedagogical Linguistics, no. 3(2020) (September 25, 2020): 64–71. http://dx.doi.org/10.29025/2079-6021-2020-3-64-71.
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The relevance of the study is determined by the anthropocentrism of the modern scientific paradigm of linguistics and the need to establish correlations of the constituents of linguistic consciousness and objects of the external world in the structuring and functioning of the conceptual metaphor in the literary text. Conceptual metaphor is a mental topological projection of interacting areas of linguistic consciousness and the surrounding world. The purpose of the article is to study the functional and pragmatic potential of metaphorical models built on the basis of the conceptual metaphor «Human Being – Nature» in a literary text. The material for the study was the literary texts of the novels of I.S. Turgenev’s “Rudin”, “Fathers and Sons”, “Smoke”, “Virgin Soil”, containing representative metaphorical micro and macro contexts. The complex of research methods includes the method of continuous sampling, deductive-inductive method, conceptual analysis, and the method of linguistic interpretation. The functions of metaphorical contexts, which are based on the conceptual metaphor Human - Nature, consist in the possibility of representing the inner world of characters, their general cultural potential, social status and origin; the use of metaphors in the speech of characters (external and internal) allows us to talk about the figurative perception of the world by these heroes, about the level of their emotionality and linguistic creativity, since metaphors are a kind of human thinking patterns. Analysis of the implementation of the conceptual metaphor «Human Being- Nature» in a literary text allows one to discover and describe the priority cognitive structures of the author’s linguistic consciousness and values inherent in the individual author’s picture of the world. Research prospects are in the possibility of identifying priority conceptual metaphors in the individual author’s picture of the world on the basis of literary texts in order to identify and describe the dominants of linguistic consciousness and the value picture of the world of a particular author
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Ahuja, Atula, Suparak Techacharoenrungrueang, and Sudaporn Luksaneeyanawin. "Metaphors of womanhood in the literary works of contemporary Indian writers." Metaphor Variation in Englishes around the World 4, no. 1 (September 22, 2017): 131–58. http://dx.doi.org/10.1075/cogls.4.1.07ahu.
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Abstract This study examines the notion of womanhood in the literary works of contemporary Indian authors by analyzing conceptual metaphors of womanhood. More specifically, the data collected in this study are metaphorical expressions (MEs) from nine fictional works set in India’s three main ethnically and linguistically diverse regions occupied by three linguistic groups, namely, the Indo-Aryan, the Dravidian, and the Tibeto-Burmese. The identification of MEs follows the Metaphor Identification Procedure VU University Amsterdam (MIPVU; Steen et al. 2010a). The analysis focuses on cross-cultural variation in conceptual metaphor, applying Conceptual Metaphor Theory (CMT; Lakoff & Johnson 1980) and the cognitive dimension of socio-cultural diversity proposed by Kövecses (2008). Through the analysis of conceptual metaphor, the paper provides insights into the current social context regarding the status and roles of women in India.
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Ashuja’a, Abdulhameed A., Sumaiah M. Almatari, and Ali S. Alward. "Exploring Strategies of Translating Metaphor from English into Arabic with Reference to Scientific Texts." International Journal of Comparative Literature and Translation Studies 7, no. 3 (July 31, 2019): 26. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.3p.26.
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Metaphors play an important role in conveying meaning not only in literary texts but also in scientific genres. Although there have been many translation studies on metaphor in literary texts, studies on metaphor translation in scientific settings seem to have been overlooked and received less attention. Therefore, this study aimed to identify the strategies used in translating scientific metaphors from English to Arabic by Yemeni senior translation students in three universities. This was achieved by using a translation test consisting of (33) metaphors selected from various sources based on Lakoff and Johnsen’s (1980; 2003) classification of metaphor. The test was given to a sample of 91 students who were randomly selected. 72 participants completed the test. Data were analyzed quantitatively and qualitatively. Results showed that eight strategies, adapted from Alshunnag (2016), were used. The highly frequent strategy was the literal strategy and the least frequent was the explication strategy. The use of literal strategy indicated the difficulty of finding a metaphorical expression of a different type for the English metaphors in Arabic which might be due to the limited time available for translation and lack of knowledge of the metaphorical structure in both the source and target languages. It was recommended, therefore, that more comparative studies should be done to help improve translation training offered to students who should also be provided with training sessions which are more conducive to learning.
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Cieśla, Piotr. "Literary Diagnosis. Metaphorisation of Cancer Diseases in Ulf Ellervik’s Popular Science." Świat i Słowo 36, no. 1 (March 4, 2021): 113–23. http://dx.doi.org/10.5604/01.3001.0014.7967.
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The aim of this article is to discuss the metaphorisation of the discourse of neoplastic diseases in Ulf Ellervik’s popular science published between 2011 and 2016. Of my particular interest are the source domains chosen by the author. Conceptual metaphor theory is used to analyse cancer metaphors as a way of popularising science, especially the biochemistry of life.
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Khan, Sardaraz, and Roslan Ali. "DICHOTOMY OF LANGUAGE & THOUGHT IN THE INTERPRETATION OF METAPHOR IN THE QURAN." Journal of Nusantara Studies (JONUS) 6, no. 1 (January 28, 2021): 95–117. http://dx.doi.org/10.24200/jonus.vol6iss1pp95-117.
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Previous literature either deciphered the literary and rhetorical aspects of metaphor or focused on its conceptual basis in the interpretation of the Quran. No attempt has so far been made to harness the linguistic and conceptual metaphor approaches to provide a comprehensive interpretation of the metaphors in the Quran. This paper reviews the existing literature on the interpretation of metaphor in the Quran from different theoretical perspectives. The review reveals that the application of different theoretical approaches has led to the dissociation of language and thought in the interpretation of metaphors. The linguistic approaches miss the bulk of conventional metaphors, while the cognitive approaches ignore the linguistic aspects of metaphor. The findings also reveal that the linguistic studies of metaphor concern themselves with the rhetorical beauty of the Holy Quran, while the conceptual metaphor studies explore the generic categorization of concepts. This paper calls for a more elaborate mechanism, which can account for both the linguistic and conceptual aspects of metaphor, to fill the gap between the linguistic and conceptual knowledge in the existing literature for a comprehensive interpretation of metaphors in the Quran.
Keywords: Cognitive models, conceptual metaphor, lexical concept, linguistic metaphor, majaz, metaphor.
Cite as: Sardaraz, K., & Ali, R. (2021). Dichotomy of language & thought in the interpretation of metaphor in the Quran. Journal of Nusantara Studies, 6(1), 95-117. http://dx.doi.org/10.24200/jonus.vol6iss1pp95-117
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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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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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Mechraoui, Sara. "Conceptual Metaphors in Milan Kundera’s Novel, Life Is Elsewhere." Arab World English Journal For Translation and Literary Studies 5, no. 2 (May 15, 2021): 18–38. http://dx.doi.org/10.24093/awejtls/vol5no2.2.
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This study’s primary purpose is to account for the unstated interpretation of Kundera’s novel Life Is Elsewhere (1973) from a cognitive stylistic perspective. His style seems at the first plain, but his philosophical and psychological treatment of subjects is significantly necessary than the narratological world he creates. The identification of the conceptual metaphors and both mega and micro-metaphors constitute the core elements of this paper. Following the title of life as elsewhere metaphor, the metaphors used in the novel are identified in the selected passages based on the metaphoricity they display. Thus, the procedure used is informed by the Metaphor Identification Procedure University Amsterdam since it is strategic and feasible. Excerpts from the novel are selected instead of the whole text for reasons of scope and space. The study’s findings are supposed to open up areas for research on the effects of metaphor-based analysis on working out the meaning of difficult contemporary items as far as literary dictum is concerned.
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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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Ghumashyan, Varduhi. "The Impact of Metaphor on G.G. Byron’s Linguopoetic Thinking." Armenian Folia Anglistika 16, no. 1 (21) (April 15, 2020): 90–97. http://dx.doi.org/10.46991/afa/2020.16.1.090.
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The issue touched upon in this article refers to the extraordinary use of innumerable metaphors in one of the greatest works by George Gordon Byron – Childe Harold’s Pilgrimage. Among literary devices it is especially metaphor that is peculiar to Byron’s linguopoetic thinking. The linguostylistic and linguopoetic methods of analysis help to bring out metaphor as an important device for Byron. Through metaphors he portrays his heroes, their feelings and thoughts and makes the reader feel his powerful flight of imagination. The author does not convince the reader to make the resulting points, but he makes him/her indirectly judge the heroes and understand situations. Thus, Byron’s metaphors are the result of his linguopoetic thinking. They give a certain charm and musical perception through plain words and word-combinations, and serve as a bridge between physics and poetics across temporal and spatial scale.
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Heywood, John, Elena Semino, and Mick Short. "Linguistic metaphor identification in two extracts from novels." Language and Literature: International Journal of Stylistics 11, no. 1 (February 2002): 35–54. http://dx.doi.org/10.1177/096394700201100104.
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This article examines a series of issues involved in identifying metaphors in texts. Metaphor identification is, in turn, a fundamental part of the more complex issue of how to relate linguistic metaphors in texts to the conceptual metaphors of cognitive metaphor theory. In section 1 we list a number of general issues involved in metaphor identification. In sections 2 and 3 we examine two short fictional extracts from novels written in the 1990s (one from popular fiction and one from serious fiction), relating our detailed analyses to the general questions raised at the beginning of the article. We thus raise and exemplify a series of issues which do not have easy resolutions but which must be grasped (a) if a corpus-based approach to metaphor is to become a reality and (b) if the relations between conceptual and linguistic metaphors are to be fully understood. Interestingly, this attempt to be extremely detailed and systematic in turn leads us to comment on differences in aesthetic effects between the use of metaphors in the two extracts examined.
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Shopin, Pavlo. "Multisensory perception and tactile metaphors for voice in the work of Herta Müller." Journal of Literary Semantics 48, no. 2 (October 25, 2019): 129–43. http://dx.doi.org/10.1515/jls-2019-2011.
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Abstract In this article, I examine tactile metaphors for voice in the work of Herta Müller. I use conceptual metaphor theory and consider the process of multisensory perception to argue that tactile metaphors can activate multiple senses. Müller evokes tactile experience to reason about voice in her works. These seemingly modality-specific metaphors relate voice to more than one sensory impression. While multisensory perception enables the author to associate her characters’ voices creatively with different sensory phenomena, it simultaneously problematizes scholarly efforts to analyze metaphorical language and categorize figurative associations according to sensory modalities. In her literary works, tactile metaphors for voice appear well-established and even conventional, but Müller defamiliarizes them and foregrounds a metaphorical reading of tactile language. Since analytical reasoning about metaphors can be problematic because of multisensory perception, Müller’s works can be challenging to interpret as she focuses the reader’s attention on the figurative meaning of language.
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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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Deignan, Alice. "“Image” metaphors and connotations in everyday language." Annual Review of Cognitive Linguistics 5 (November 29, 2007): 173–92. http://dx.doi.org/10.1075/arcl.5.08dei.
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In this paper, I argue that the general notion of an image metaphor, which has been traditionally confined to so-called “one-shot metaphors”, as used in literary and poetic language, could be expanded to describe many expressions that are found in everyday language. Following Caballero (2003a), I argue that the division in cognitive linguistics of metaphors into “image” and “conceptual” is over-simplistic. I show that many of the most frequent metaphors in my data have characteristics which would qualify them for inclusion in both categories. I also argue that connotational meaning is an important characteristic of these expressions, unifying their literal and non-literal meanings. A detailed analysis of the Bank of English corpus concordance for heel shows the numerical importance of such metaphors. I refer to research into metaphor that takes an emergentist perspective, and which has led a number of other existing distinctions to be questioned. I argue that these expressions, termed “metaphoremes”, which are difficult to classify using existing distinctions, should be regarded as prototypical on the grounds of their frequency, rather than as anomalous.
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Baranova, Jūratė. "Thought and Metaphor: Does Philosophy Teaching Clash or Collaborate with Literary Education?" European Journal of Social Sciences Education and Research 11, no. 2 (June 10, 2017): 350. http://dx.doi.org/10.26417/ejser.v11i2.p350-358.
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M. Mahlios, D. Massengill-Show and A. Bary in the article “Making Sense of Teaching through Metaphors: a Review across the Studies” investigated how metaphors influence teachers approach to teaching, curriculum and their work with pupil (Mahlios, Massengill-Show, Barry 2010: 49-71). The aim of this thesis is rather different: to investigate the relation between the thought (concept) an the image described by words (metaphor). The question would be asked: is it possible such a phenomenon as the literary argument, which was formulated by Jacques Derrida in discussion with Habermas. If it is possible, next question; how it is possible? How can the consequences of this clash between metaphor and concept be reflected in the philosophy of education? Can literature as interdisciplinary subject on equal grounds be included into philosophy curriculum? Can philosophy on equal grounds be included into literature curriculum? If not - what is the reason for their separation? If on the contrary on chooses the opposite premise that they can be included - what are the philosophical suppositions for their meeting? This article tries to overview the problem from the historical perspective and to suggest the theoretical approach relying on Jacques Derrida conception.
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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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Martinsen, Bodil. "Semantiske neologismer." HERMES - Journal of Language and Communication in Business 1, no. 1 (July 17, 2015): 97. http://dx.doi.org/10.7146/hjlcb.v1i1.21349.
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Neologisms can, roughly speaking, be divided into formal and semantic neologisms. Focusing notably on the latter, the present paper adresses the question of how they are formed and suggests, based on Greimas' theory on the structuring of the meaning of the linguistic sign, that semantic neologisms are formed via a metaphoring process. This view challenges the traditional subdivision of semantic neologisms into metaphors, metonomy, generalization and specialization and topples the myth that the use of metaphors is exclusively a literary phenomen. Thus, metaphos are commonly used, e.g. in journalism.
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Van Huyssteen, G. B. "The sexist nature of sexual expressions in Afrikaans." Literator 17, no. 3 (May 2, 1996): 119–36. http://dx.doi.org/10.4102/lit.v17i3.625.
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Cognitive metaphor theories indicate that sexual metaphors are metaphors in which a taboo domain of knowledge is described in terms of a non-taboo domain of knowledge. Data from the Afrikaans language substantiate the idea that mappings between these two domains are motivated on cognitive as well as on pragmatic grounds. In this article, it will be attempted to indicate how sexism is sustained by sexual metaphors in the Afrikaans-speaking community. The fact that sexism is underlaid by sex role stereotypes, leads to the conclusion that sexism is also sustained by means of the use of metaphors. The fact that different metaphors exist in different sub-culture groups indicates that metaphorical mappings are strongly influenced by culture and ideology. Data from feminist communities substantiate this assumption. Finally, the possibility of metaphor transformation as a mechanism of purification with regard to sexism and stereotyping is investigated.
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Zahirali Alizade, Gulnar. "METAPHORS IN THE NOVEL “SISTER CARRIE” BY THEODORE DREISER." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 57–60. http://dx.doi.org/10.36719/2663-4619/66/57-60.
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The thesis deals with the issue of investigation of metaphors in Theodore Dreiser's novel “Sister Carrie”. The use of metaphors makes the novel more expressive and imaginary. Key words: metaphor, expressive means, stylistic means, fiction, Sister Carrie The issue of expressiveness in fiction is exceptionally important in the perception of the main idea of the novel. Creative heritage of outstanding writers, such as Theodore Dreiser, always attracted and attracts the attention of most researchers, both linguists and literary critics. Study of language means of these writers bears a great sense for revealing many sides of national literary language as a whole, for example, its history, expressive possibilities, rules and tendencies of language development in a definite period of time. All of these are possible only due to the deep penetration of the researchers to the creative laboratory of the writer. The theoretical and methodological basis of the study, conditioned by the aims and task set before the research, requires the following methods: semantic – contextual and functional analysis of metaphors; descriptive method of various approaches to the use and nature of metaphors; the method of theoretical substantiation of the essence of this stylistic device; method of continuous sampling of the actual language material; the method of comparative-typology.
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Attridge, Derek. "Performing Metaphors: The Singularity of Literary Figuration." Paragraph 28, no. 2 (July 2005): 18–34. http://dx.doi.org/10.3366/para.2005.28.2.18.
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Chen, Hongjun, Xiaoshuang Peng, and Huili Wang. "ERP Differences Between Literary and Nonliterary Metaphors." Language and Cognitive Science 2, no. 1 (2016): 27–53. http://dx.doi.org/10.17923/lcs201601002.
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Nurman, Moh, and Lidia Dindiana. "METAPHORS ANALYSIS IN BRING ME THE HORIZON’S “AMO” ALBUM SELECTED SONG LYRICS." E-LINK JOURNAL 8, no. 1 (June 30, 2021): 40. http://dx.doi.org/10.30736/ej.v8i1.424.
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The aims of this research is to know the types of metaphors found in Bring Me The Horizon’s “Amo” album selected song’s lyrics and what is the intended meaning of the song’s lyrics. There are two research questions. They are: 1) what types of metaphors are found in Bring Me the Horizon’s selected song lyrics? 2) What is the intended meaning of the song’s lyrics? The reason behind this research was conduct is to get more knowledge about figurative language especially metaphor and how it works in the literary world. This research uses descriptive qualitative method in analyzing the lyrics. The result of this research shows six types of metaphors by Newmark. Those are dead, cliché, stock, recent, original metaphor and simile. Two out of their three songs of Bring Me the Horizon, that is Medicine and In the Dark use dead metaphor and simile the most. It is then concluded that the intended meanings of their three songs is to tell other people who ever felt belittled, have social issues or being looked down to keep going and not affected by those hurtful words. In other words, Bring Me the Horizon uses the function of figurative language especially metaphor to express their message and applied them into their works. Keywords: Metaphor, meaning
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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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Macenka, Svitlana. "Music as Metaphor and Music Metaphors in Belles-Lettres and Scientific Music-Literary Discourse." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 88–108. http://dx.doi.org/10.31861/pytlit2020.101.088.
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In view of the importance of music as metaphor in the famous works of German literature (Thomas Mann's Doctor Faustus, Hermann Hesse's The Bead Game) and with reference to numerous statements made by the authors about music as an important element of their creativity, the article offers insight into the advantages of metaphorical approach to the analysis of music in literature as one that is productive and compatible with intermediality. As some Germanic literary studies papers attest, the proponents of metaphorical understanding of the interaction between literature and music (e.g. English modernist literature researcher Sarah Fekadu, Hermann Hesse's scholar Julia Moritz, theoretician of literature and jazz relations Erik Redling) rely on leading concepts about metaphor (those by Wilhelm Köller, Hans Blumenberg, George Lakoff and Mark Johnson) to substantiate the specific idea of musicality behind literary text. In particular, J. Moritz suggests that the musicality of a literary text should be perceived as metaphor which enables different ideas, depending on context or literary phenomena. Music and literature in this case form a completely different link, in which not the forms of art themselves but the perceptions of them are transformed in such a way as to create a new image which reveals a specific quality of literary text. It is emphasized that the metaphorical model helps solve the dilemma of whether “real” music can be found in literature as we no longer speak of such medium as “music” but of musicality as a specific quality of literature. That is why, literature which possesses musicality does not need to give up its essence to imitate music. The interdisciplinary character of the metaphorical understanding of music is also discussed and exemplified by current music studies papers which study literature. Music studies scholars do not deny the interaction between the two sign systems – music and literature. Thus, Christian Thorau claims that metaphorical calling is the calling of “contrastive exemplification”, figurative and sensual calling of common and different qualities. Semiotic prospect maintains sensibility where heterogeneous sign constellations (for instance, painting and music but also music and verbalized text) produce the moment of conflict through different sign forms regardless of the strength of semantic compatibility or difference. Within the semiotic mode this conflict may be studied as cross-modal metaphorism.
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Tychinina, Alyona. "In Search of the Meaning of Umberto Eco’s Narrative Metaphor “To Catch a Orange Dove”." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 256–77. http://dx.doi.org/10.31861/pytlit2020.101.256.
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The narrative specifics of Umberto Eco’s novel “The Island of the Day Before is regarded through a basic idea of the narrative metaphor “The Orange Dove”. The methodological basis of the study is a summary concept of the relationship between narrative and metaphor. These are O. Freidenberg’s hypothesis of metaphor as a future narrative form of plots and genres; F. Ankersmit’s narrative logic of metaphor’s transformation into a plot through a “point of view”; P. Recoeur’s “common innovative nucleus” in narrative and metaphor designed for productive imagination; G. Genette’s “narrative modality” and regulation of narrative information through metalepsis; R. Barthes’ dichotomy of “functions and indices” as an analogy of metonymic and metaphorical relations. In the article under discussion, we consider metaphor as a narrative principle that ensures its own presentation, generates its rhythm, creates personosphere, and involves a reader in an intellectual game. Such a way of metaphor formation marks U. Eco’s literary style. In his novel “The Island of the day Before”, the following distinctive range of metaphors play a very constructive role: metaphor of sleep, metaphor of love as a source of creative activities, metaphor of duality, metaphor of hatred. Above all, it is worth pointing out author’s epistemological metaphor, which is closely related to the search of truth: in the latter sense, the “Orange Dove” is associated with a post-modernist analogue of the “Blue Rose”, borrowed from the epoch of Romanticism. Due to the technique of metalepsis (“the figure of speech denoting author’s intrusion”), offered by G. Genette, the narrator demonstrates his metaphoric intentions through the discourse of a character-narrator. In conclusion, narrative metaphor of the novel directs the narrative strategy to a variety of its numerous versions, which may be implemented owing to reader’s competence.