Academic literature on the topic 'Novel metaphors'

This essay studies the translation of metaphorical concepts and lexical variation in relation to walking in a text about hiking in the Lake District. These two linguistic features are deemed to be important in fulfilling the communicative intention of the source text and the aim of the essay is to investigate to what extent these two linguistic features have been retained translation and what motivates different translation strategies. The qualitative study of metaphors focuses on the metaphorical concept THE LAKE DISTRICT IS A PERSON analyses how often different translation strategies are employed when translating metaphors. The results show that which strategy was preferred depended on whether the metaphor was lexicalised or novel and a qualitative analysis aims to explain these differences in preference. A qualitative study of the lexical variation regarding walking between the two languages found the number of different words used to be fairly similar in both languages. Context was determined to be more important than the exact meaning when translating words related to hiking. At times context therefore also motivated a single word to be translated into several different words in the target text or vice versa.

Tesis para optar al grado de Magíster en Lingüística mención Lengua Inglesa<br>This study is a description of the use of conceptual metaphors and their metaphorical expressions in stand-up comedy routines, implemented by a multimodal approach, both qualitative and quantitative. It aims at identifying the metaphors used in this type of discourse as well as classifying the most recurrent topics used and explained when using a metaphor. It also characterizes the influence of novel metaphorical expressions on the purpose of humor. In order to fulfill its objectives, a literature review of the most important concepts and theories in relation to Conceptual Metaphors and Humor was made. Specifically, the studies proposed by Kyratzis (2003) and Dynel (2009) where a possible explanation of the relationship between metaphors and humor was given. Afterwards, the metaphors found in the scripts of two stand-up comedy routines were analyzed mainly in terms of target domain is source domains and then classified according to their topics. Finally, the comedian’s attributed purpose of humor was studied in the moments where she used novel metaphorical expressions, to see if they contributed to humor. Results suggest that, in an extended humorous discourse, there is not a close relation between novel metaphorical expressions and humor.

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.

This study investigates how and to what effect metaphors and similes from Tayeb Salih‘s novel Mawsim al-Hiǧra ilā ash-Shamāl (1966) were translated into English – a worthy topic, given the many linguistic and cultural differences between Arabic and English, and the difficulty of translating figurative language. The novel depicts aspects of the life and culture of the Sudanese people. Initially banned in the Arab world, it was voted, in 2001, the most important Arabic novel of the twentieth century. This brought Tayeb Salih (1929–2009) fame and recognition, and translation into more than twenty languages. Season of Migration to the North (1960), the English translation by Canadian-born orientalist Denys Johnson- Davies (1922–2017), is the object of this particular study. This qualitative study employs descriptive translation studies (DTS) as the main theoretical framework, supplemented by insights gained from equivalence theories, theories of culture, the functionalist approach and cognitive studies. Following a textual approach, the study investigates the Arabic source text, the English target text, applicable translation theories and secondary literature on metaphors and similes as sources of information and/or data. It discusses the aforementioned translation theories, definitions, components and types of metaphors and similes in Arabic and English, as well as strategies and procedures of translating metaphors and similes. The researcher identifies, describes and analyses a selection of similes and metaphors in the Arabic source text, and how they were conveyed in the English target text. The study concludes with a discussion of the effects of the translation choices made and the strategies used.<br>Dissertation (MA (Applied Language Studies))--University of Pretoria, 2020.<br>African Languages<br>MA (Applied Language Studies)<br>Unrestricted

The study of emotion is an interdisciplinary field. One key aspect of this field is the cultural variation of emotion. This thesis is a contribution to the above area by means of a specific analysis of the ancient Greek conception of the emotion ἔρως. The focus for this study is the Greek Novel, a collection of literary works emerging from the Greek speaking culture of the eastern Mediterranean during the Roman imperial period (1st to 4th cent C.E.). These novels are based upon the universal topics of love and sexual passion, while at the same time reflecting and reworking both the specific social and literary climate of the period and ancient Greek folk and philosophical models of psychology. My thesis argues that the role of conceptual metaphor in the understanding of ἔρως as an emotion has not yet been fully appreciated, and that an understanding of metaphor is essential for gauging which parts of the folk model of the emotion are culturally specific or universal, and how these sections interact.

From early eighteenth-century literature to contemporary Gothic literature, the existence of Gothic conventions is evident. These Gothic conventions include family secrets, ruins or isolated mansions, hidden passageways, and bad weather. During an era when women were viewed as inferior and were expected to conform to the domestic expectations of their male counterparts, some female writers took it upon themselves to use their writing as a way to voice and illustrate the conditions that women endured. A thorough examination of Gothic Trappings in Charlotte Brontë’s Jane Eyre and Hannah Crafts’ The Bondswoman’s Narrative shows representations of various spaces that essentially confined women resulting in their silence. When analyzing the position of women during the nineteenth-century and the spaces that they were confined to, it becomes evident that the genre of Gothic literature serves as a device to challenge the restrictions placed on women in patriarchal society.

Bibliography: pages 211-226.<br>This dissertation explores aspects of the German Bildungsroman, several nineteenth century English versions, and Lawrence's revitalisation of a genre which had become unfashionable and almost moribund. It examines Jude the Obscure (1896) and three of Lawrence's novels in the light of a distinction between a Bildungsroman and an Entwicklungsroman, showing where Hardy and Lawrence merge generic tradition and individual predilection to modify the forms. Hardy is chosen for comparison and contrast with Lawrence, partly because of Lawrence's own critical interest as evidenced in "The Study of Thomas Hardy" (written concurrently with the Brangwen saga), and because Jude the Obscure represents the state of the Bildungsroman at the turn of the century. Chapter One describes specific narrative features of the Bildungsroman to arrive at a "schema" of Bildung, and differentiates between Bildung and Entwicklung. Though its scope is necessarily restricted, its aim is an awareness of the grid of conventions upon which and against which the individual work operates. Chapter Two offers Jude the Obscure as Bildungsroman. It argues that Hardy, with his "radical", "Meliorist" approach, deliberately questions and frustrates the tradition. Hardy refuses the socially acceptable reconciliation of the paradigm, and has lost the Romantic vision of Nature as recourse, a vision Lawrence abundantly retains. The metaphor of organic growth, a legacy of the English Romantics, is central to Lawrence's modification of the paradigm in Sons and Lovers, The .Rainbow and Women in Love. His fidelity to a sequential chronology is justified in terms of Entwicklung, a pattern of continuous growth, so that "form is content". Lawrentian questers belong to a Romantic elite of unique individuals who grow to fulfilment naturally, breaking out of their enclosures. Entwicklung is socially subversive, rejecting conventional social integration, questioning its assumption of the individual's helpless passivity, and transcending the limitations of class and birth. Though the phases of Bildung and choice of imagery are traditional, Lawrence's metamorphosis is highly original and Modernist in terms of sheer narrative experimentation and sensibility. And the traditionally "closed" ending of the paradigm is exchanged for open-ended ambivalence, not only a reflection of Lawrence's philosophy that art should never be contained, but itself echoing the instability and insecurity of the new age.

Submitted by Fernando Goes null (1245759@fclar.unesp.br) on 2016-05-18T22:14:05Z No. of bitstreams: 1 Tese Fernando Goes.pdf: 2547645 bytes, checksum: 279618eb8baa3bacc71126688d4f44ba (MD5)<br>Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-05-20T18:45:00Z (GMT) No. of bitstreams: 1 goes_f_dr_arafcl.pdf: 2547645 bytes, checksum: 279618eb8baa3bacc71126688d4f44ba (MD5)<br>Made available in DSpace on 2016-05-20T18:45:00Z (GMT). No. of bitstreams: 1 goes_f_dr_arafcl.pdf: 2547645 bytes, checksum: 279618eb8baa3bacc71126688d4f44ba (MD5) Previous issue date: 2016-04-29<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Moacir Costa Lopes a publié son premier roman, Maria de cada porto, en 1959. On y trouve déjà un style fluide dans le traitement différencié du temps, ainsi que dans la thématique de la mer, jusqu’alors peu développée dans la littérature brésilienne. Lopes a été un romancier de la mer. Il a exploré la représentation spatiale, l’ambiance maritime, dont peu de personnes ont parlées, en les décrivant de façon unique dans la littérature brésilienne, guidé par son expérience de marin. L’ambiance maritime de Lopes est la réunion de plusieurs espaces conditionnés par la force symbolique de la mer. Dans ses romans, Lopes évoque ces nombreux espaces de façon profonde et métaphorique, en donnant la vie à l’ambiance maritime qu’il lie profondément à la structure de ses récits. On observe ainsi chez Moacir Costa Lopes une singularité spatiale de l’univers maritime par rapport aux autres espaces mis en œuvre dans la littérature brésilienne. L’objectif de ce travail est d’étudier la particularité de cet espace maritime chez Lopes et la façon dont il l’érige en métaphore dans ses romans. On souhaite démontrer une conjonction entre la thématique de la mer et la poétique de l’auteur en montrant comment ses récits absorbent les forces maritime qu’il figure en créant un champs spatial différencié dans le roman brésilien.<br>Moacir Costa Lopes publica seu primeiro romance, Maria de cada porto, em 1959. Já nesta primeira obra de Lopes é possível observar um estilo fluido com tratamento diferenciado dado ao tempo, bem como à temática do mar, pouco desenvolvida na literatura brasileira. Lopes foi um romancista do mar, trabalhou a representação da espacialidade, do ambiente marítimo, que poucos abordaram, descrevendo-os de modo quase único na literatura brasileira, até, orientado pelo ponto de vista de sua experiência como marinheiro. O ambiente marítimo de Lopes é uma junção de vários espaços condicionados pela força simbólica do mar. Em seus romances, Lopes aborda esses inúmeros espaços de modo profundo e metafórico, tornando o ambiente marítimo algo vivo e extremamente atrelado à estrutura de suas narrativas. Nas obras de Moacir Costa Lopes, portanto, é possível perceber certa independência espacial do mundo marítimo frente a outros espaços que marcaram o romance brasileiro. Estudar a singularidade do espaço marítimo de Lopes e o como essa categoria é erigida e profundamente metaforizada em seus romances é o maior objetivo deste estudo. Espera-se verificar certa conjunção entre o tema do mar e a poética de Lopes e demonstrar de que modo as narrativas desse autor absorvem as forças do ambiente marítimo por ele imaginadas a fim de gerarem um campo espacial diferenciado para o romance brasileiro.