Academic literature on the topic 'Pictorial metaphors'
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Journal articles on the topic "Pictorial metaphors"
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Hartel, Jenna, and Reijo Savolainen. "Pictorial metaphors for information." Journal of Documentation 72, no. 5 (2016): 794–812. http://dx.doi.org/10.1108/jd-07-2015-0080.
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Purpose Arts-informed, visual research was conducted to document the pictorial metaphors that appear among original drawings of information. The purpose of this paper is to report the diversity of these pictorial metaphors, delineate their formal qualities as drawings, and provide a fresh perspective on the concept of information. Design/methodology/approach The project utilized pre-existing iSquare drawings of information that were produced by iSchool graduate students during a draw-and-write activity. From a data set of 417 images, 125 of the strongest pictorial metaphors were identified and subjected to cognitive metaphor theory. Findings Overwhelmingly, the favored source domain for envisioning information was nature. The most common pictorial metaphors were: Earth, web, tree, light bulb, box, cloud, and fishing/mining, and each brings different qualities of information into focus. The drawings were often canonical versions of objects in the world, leading to arrays of pictorial metaphors marked by their similarity. Research limitations/implications Less than 30 percent of the data set qualified as pictorial metaphors, making them a minority strategy for representing information as an image. The process to identify and interpret pictorial metaphors was highly subjective. The arts-informed methodology generated tensions between artistic and social scientific paradigms. Practical implications The pictorial metaphors for information can enhance information science education and fortify professional identity among information professionals. Originality/value This is the first arts-informed, visual study of information that utilizes cognitive metaphor theory to explore the nature of information. It strengthens a sense of history, humanity, nature, and beauty in our understanding of information today, and contributes to metaphor research at large.
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Qi, Xiaoyang, and Roslina Mamat. "Emotions in Jimmy Liao’s Picturebook: A Case Study of Pictorial Metaphors." Journal on Asian Linguistic Anthropology 4, no. 2 (2022): 20–39. http://dx.doi.org/10.47298/jala.v4-i2-a2.
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Pictorial and visual metaphors have been the subject of much conceptual metaphor theory (CMT) research since the 1990s, and possibly prior to this time. The graphic metaphor constitute one category of multimodal metaphor, and hence one that suggests and requires an understanding of abstract concepts in visual information (Forceville 1996). A picturebook, for example, is a distinct type of visual genre containing various such pictorial metaphors. It is also generally acknowledged that picturebooks have narrative value, and convey emotions, while also stimulating the development of intellectual and aesthetic affordances. Similarly, these semiotic repertoires also contribute to the mental capacities of people, not least of which is their health. As many people undergo loneliness and solitude in the spreading of the current pandemic, such semiotic banks provide such a service. This research examines the pictorial metaphors in Beautiful Solitude, painted by the Chinese picturebook artist, Jimmy Liao, following his survival from leukemia. The study employs Kovecses's three-stage emotional metaphor frame; emotional motives, emotional existence, and emotional expression. The study observes the visual design grammar of the paintings as a theoretical framework to analyse these pictorial metaphors of emotion. The results of the study include the impact that these visual metaphors have on the portrayal and treatment of mental health. This study contributes to work on pictorial metaphors and thus suggests ways in which individuals envisage self, other, and the world, when in pain and when they sense themselves as isolated from their surroundings and communities.
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Cao, Shuo, Xuanyi Zhao, and Ziya Xu. "The Effect of Verbal Anchoring on the Processing of Advertising Pictorial Metaphors." Chinese Journal of Applied Linguistics 44, no. 1 (2021): 68–89. http://dx.doi.org/10.1515/cjal-2021-0005.
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Abstract Although investigating metaphors in advertising is gaining in popularity, there are still certain unresolved arguments, such as the interaction between elements of different modalities. This study, composed of three behavioral experiments, aims to identify how verbal anchoring (literal anchoring, metaphor anchoring and unrelated anchoring) influences the processing of pictorial metaphors in advertising, by observing the cognitive and affective indicators, advertising comprehension and advertising likeability. The results showed 1) that metaphors in pictorial modality were recognized more quickly than those in verbal modality, 2) that verbal anchoring facilitated participants ’ comprehending and appreciating of pictorial metaphors and 3) that literally-anchored metaphors with a moderate level of novelty yielded the most favorable cognitive responses. The study not only enriches the existing theoretical framework of multimodal metaphors in advertising, but also proposes an optimal match between pictorial metaphors and verbal elements, for advertisers and manufacturers to design effective multimodal advertisements.
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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 (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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Cavazzana, Alessandro, and Marianna Bolognesi. "Uncanny resemblance." Cognitive Linguistic Studies 7, no. 1 (2020): 31–57. http://dx.doi.org/10.1075/cogls.00048.cav.
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Abstract What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual metaphors, which are considered to be the most complex ones, and we compare them to those that in language are called indirect metaphors. Our proposal is that a syllogistic mechanism of comprehension permeates both metaphors expressed in the verbal modality as well as metaphors expressed in the pictorial modality. While in the verbal modality the metaphoric syllogism is solved by inference, we argue that in the pictorial modality the role of inference is performed through mental imagery.
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ALOUSQUE, ISABEL NEGRO. "Verbo-pictorial metaphor in French advertising." Journal of French Language Studies 24, no. 2 (2013): 155–80. http://dx.doi.org/10.1017/s0959269513000045.
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ABSTRACTIn the last thirty years the development of the Cognitive Metaphor Theory (e.g. Lakoff, 1987, 2006; Lakoff and Johnson, 1999) has led to vast research into metaphor. The study of linguistic metaphor was followed by a body of work into pictorial metaphor (Forceville, 1994, 1996) and multimodal metaphor (Forceville, 2007, 2008, 2009). In the present contribution we explore the use of verbo-pictorial metaphors in advertising through a corpus of French print ads. Starting from the claim that adverts serve a persuasive purpose, it will be argued that multimodal metaphor contributes to that purpose. The paper addresses three issues: a) how multimodal metaphors are manifested in the French advertisements; b) how image and text interact in a concrete type of multimodal metaphor in French print advertisements, namely verbo-pictorial metaphor; c) how verbo-pictorial metaphor performs a pragmatic function in advertising.
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Deng, Wensheng, Xiangyu Xu, Qianni Han, et al. "Seeing Isn’t Always Believing: Case Studies of Pictorial Metaphors in Cross-Cultural Communication." Studies in Linguistics and Literature 9, no. 1 (2025): p113. https://doi.org/10.22158/sll.v9n1p113.
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In the age of images, people are constantly bombarded with visual stimuli, leading to instances of deception. This article examines three pictorial metaphors through the lenses of semiotics and cognitive psychology. First, it provides a redefinition and recategorization of pictorial metaphors. Second, it delves into the mechanism of pictorial metaphors: association, which consists of relativity, similarity and proximity. Finally, it presents three key takeaways: First, it’s necessary for us to possess a visual literacy to adapt to the image-saturated era. Second, pictorial metaphor is a means to transfer emotions and attain emotional value. Third, it is crucial for us to maintain a critical awareness of visual narratives.
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Forceville, Charles. "Compasses, beauty queens and other PCs: Pictorial metaphors in computer advertisements." HERMES - Journal of Language and Communication in Business 13, no. 24 (2017): 31. http://dx.doi.org/10.7146/hjlcb.v13i24.25568.
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Computer advertisements make extensive use of pictorial metaphors. The model pro-posed in Forceville (1996) is used as a starting point to analyze 27 advertisements in PC Magazine, July/August 1999 (American edition) that contain a pictorial metaphor. The aim is twofold: (1) to further contribute to the theory of pictorial metaphor by testing the model against a new corpus; (2) to make an inventory of the source domains used in the metaphors,andtherebytomakesome observations about the ways in which represen-tations of computer technology interact with our daily lives.
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Poppi, Fabio I. M., Marianna Bolognesi, and Amitash Ojha. "Imago Dei: Metaphorical conceptualization of pictorial artworks within a participant-based framework." Semiotica 2020, no. 236-237 (2020): 349–76. http://dx.doi.org/10.1515/sem-2018-0077.
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AbstractThis article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures described by the participants often diverge from those advanced by the researchers. These findings challenge the methods by which metaphor identification and analysis in pictorials is currently approached. As a matter of fact, most of the research in pictorial metaphors tends to reduce stimuli such as artistic paintings to unique metaphoric interpretations generally produced by a single researcher by means of introspection. By addressing this methodological problem in metaphor research, this article contributes to the development of a theoretical and operational participant-based framework that takes into account the role of metaphoric conceptualization within the domain of art and art cognition.
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Heinze, Ulrich. "Pictorial body metaphors in Japanese advertising." Language and Dialogue 4, no. 3 (2014): 425–54. http://dx.doi.org/10.1075/ld.4.3.04hei.
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This article explores the use of the body metaphor as a core communicative tool in times of economic crisis and national indebtedness, and the ways in which it thwarts political dialogue. It first traces the body metaphor in the manga version of Hitler’s Mein Kampf, following Andreas Musolff’s theory of the ‘body politic’ in Nazi Germany. It then argues that the economic resurrection, or ‘miracles’, in postwar Germany and Japan replaced the discourse of the body nation with that of the body economy. Charles Forceville has shown how advertising uses pictorial metaphors to depict commodities and emphasise their qualities. My analysis of Japanese commercials reveals that their metaphors work to ‘incorporate’ consumers through the act of oral consumption, merging them with the commodities. An ‘oral fixation’ is presumed, rendering the relationship between the body economy and the consumer as one between mother and infant. Advertising functions as the wrapping, or ‘skin’, of this body economy, encouraging us to suckle at the mother’s breasts and at the same time to inject unlimited amounts of money into her veins.
Dissertations / Theses on the topic "Pictorial metaphors"
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Xiao, Ping. "Generating ideas for pictorial advertisements : starting with pictorial metaphors." Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/283093.
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Behind every good advertisement there is a creative concept, a Big Idea. In contrast to the countless number of ads, a small number of patterns of effective communication (idea templates) have been uncovered, which are invariant across content and context. In this thesis, we investigate the formalization of idea templates and use it as the basis for building computational means of generating ideas. We present a computational approach of generating one type of ideas, pictorial metaphor. A two-stage approach is proposed and implemented: Stage 1 finds concepts that are salient in a given property; Stage 2 evaluates the aptness of the concepts found as metaphor vehicles. The ideas generated by our approach were evaluated against past successful ads.<br>Detrás de cada buen anuncio publicitario hay un concepto creativo, una “Gran Idea”. En contraste con la innumerable cantidad de anuncios, se ha identificado un número limitado de patrones de comunicación efectiva (plantillas de ideas), invariantes respecto a los posibles contenidos y contextos.
En esta tesis investigamos la formalización de las plantillas de ideas, y la usamos como base para construir herramientas computacionales de generación de ideas. Presentamos una estrategia computacional para generar un tipo de ideas, metáforas pictóricas. Se propone e implementa una estrategia en dos pasos: en el paso 1 se encuentran los conceptos que son prominentes en una propiedad dada; el paso 2 evalúa la idoneidad de los conceptos encontrados como vehículos de la metáfora. Las ideas generadas con nuestro método han sido evaluadas en comparación con anteriores anuncios exitosos.<br>Al darrere de cada bon anunci publicitari hi ha un concepte creatiu, una "Idea Excel•lent". En contrast amb la gran quantitat d'anuncis, s’ han identificat un nombre limitat de patrons d'idees de comunicació efectiva (plantilles d’idees), invariants respecte als possibles continguts i contextos.
En aquesta tesi hem investigat la formalització de les plantilles d'idees i la utilitzem com a base per construir eines computacionals per a la generació d'idees. Presentem una estratègia computacional per generar un tipus d'idees, les metàfores pictòriques. Es proposa i implementa una estratègia en dos passos: al pas 1 es troben els conceptes que són prominents en una propietat determinada; al pas 2 s’avalua l'adequació dels conceptes trobats com a vehicles de la metàfora. Les idees generades pel nostre mètode han estat avaluades comparant-les amb les d’anuncis d’èxit anteriors.
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Hermansson, Marleen. "Metaphor and Metonymy Related to the Concept of Anger in the Television Series Teenage Mutant Ninja Turtles." Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149228.
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This study explores uses of metaphor and metonymy related to the concept of anger in the American television series Teenage Mutant Ninja Turtles from 2012. The theoretical framework of the study is Conceptual Metaphor Theory. The data consists of metaphors and metonymies in the verbal and the pictorial mode. The pictorial data are visual expressions of the type called pictorial runes. In both modes, the underlying conceptual metaphors are identified, and the results are then compared between modes. The main finding is that the verbal mode contains a greater variety of metaphorical expressions. Explanations suggested for differences found between modes are: different technical possibilities of the two modes; universality in the pictorial mode and language specific metaphors as well as universal ones in the verbal mode; a connection of pictorial and verbal data respectively to different genres within the series; and the different narrator roles between the two modes.
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Turner, James B. "Development and evaluation of a pictorial metaphor technique in cognitive analytic therapy." Thesis, Sheffield Hallam University, 2016. http://shura.shu.ac.uk/19161/.
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This research has explored and evaluated the use of metaphor and pictorial metaphor (PM) in Cognitive Analytic Therapy (CAT). A four part action research, mixed methods enquiry was designed and administered to explore, qualify and measure the use of a pictorial metaphor technique as part of the therapeutic encounter in CAT. The technique arose intuitively from the author’s clinical practice and had received positive feedback from individual patients and CAT therapists. In CAT metaphor is a recognised clinical focus yet there has been no systematic study of the development and effects of working with metaphor and especially PM. Study1 involved utilising a workshop and focus groups method across the CAT community at a number of regional, national and international conferences. A concurrent review of the available literature following a ‘Topical or narrative’ review methodology, to capture a wide base of literature, was undertaken. Study2, a Delphi study of expert practice, was managed across the CAT international community. Initial interest was gained from n=101 CAT therapists with a return rate of n=48. Study3 articulated the results of the Delphi and the literature review into a training programme ‘resource material’ delivered to a number of study groups. Evaluation questionnaires were completed and a follow up reflective questionnaire sent to participants who opted in. The follow up questionnaire was designed to capture responder’s reflections on utilising the technique in their clinical work. Study4 involved a pilot of a pre and post training self-assessment the ‘MaP-SELF’ measuring participant’s perceived competence in working with metaphor and PM. Study1 realised general support for the direction of the research with some preliminary cautions and process considerations to take forward. One of these was recognising working with ‘art’ is a deliberate step; the therapist being the ‘drawer’ may be a challenge as art is usually generated by patients. Study2 developed unique insights into metaphor and pictorial metaphor extracting 76 unique statements for rating that considered ways of working with the topic. A number of insights as to the process and function of metaphor were achieved alongside important practice considerations and some answers to dilemmas arising from Study1. Study3 developed, evaluated and refined a workshop and associated training materials that were designed to support therapist’s recognition and skill in the application of metaphor and PM in their clinical work. Analysis of evaluations and reflections found that it was possible to extend practitioners skill in this area. Attendees in workshops were better able to recognise and work with PM and were able to generate ‘PMs’ at the end of the workshop. Importantly Study3 extended the metaphor practice to include a heterogeneous group of counsellors which provided a reference point for the use of the technique in the wider therapeutic community. Study4 provided useful insights into the effectiveness of a self-assessment alongside further workshop evaluation. Analysis supports the self-assessment as a useful tool finding a perceived increase in self-efficacy in the PM technique. Results support the PM technique as accessible to participants, focussing their thinking as part of the therapeutic encounter. Responders valued metaphor and PM as a way to develop the relationship, generate insights and stimulate recall of problem procedures. Participants rated the workshop favourably and found them encouraging in increasing their skill level. Importantly workshops validated their current practice and increased confidence. The self-assessment had utility as an assessment as well as a guide for best practice.
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Ventalon, Geoffrey. "La compréhension de la métaphore dans les images." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080115/document.
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La métaphore est une figure de style dans laquelle la signification d’un mot est transférée à un autre mot. Par exemple, l’énoncé « Axel est un renard » est une métaphore pouvant signifier qu’un homme appelé Axel est une personne rusée. La métaphore n’est pas seulement textuelle, elle se présente souvent sous une forme imagée. Par conséquent, l’image d’un homme avec un corps de renard pourra être traduite verbalement par : « cet homme est un renard ». Selon Forceville (2007, 2009), la métaphore picturale se définit en fonction de son type (métaphore contextuelle, métaphore hybride, métaphore de comparaison et métaphore intégrée), de sa structure (métaphore monomodale et multimodale) et de son usage (dans la publicité, dans les campagnes sociales, dans les caricatures politiques ou encore dans l’Art). L’objectif de ce travail est de créer une base de connaissances de métaphores picturales en examinant leur composition (topiques, véhicules). Les études expérimentales réalisées examinent la compréhension de métaphores picturales monomodales de type hybride en se focalisant sur le processus d’attribution de propriétés dans des situations où l’effet de la langue maternelle (française versus espagnole), du contexte, de l’âge et de l’usage de la métaphore est mesuré. La discussion met en évidence les apports et les limites de ce travail qui conduisent à des perspectives de recherche en considérant les travaux contemporains du domaine, l’utilisation d’outils spécifiques (e.g. oculomètre) et en élargissant le contexte d’étude de la métaphore à d’autres domaines de la psychologie (e.g. Neuropsychologie), d’autres publics (e.g. enfants) et des cultures éloignées (e.g. coréenne)<br>A metaphor is a figure of style in which the meaning of a term is transferred to that another term. For example, the sentence “Axel is a fox” is a metaphor in which a man is smart. The metaphor is not only introduced in a text. It can be depicted in a picture. Therefore, the image of a man with a body of a fox can refer to the sentence: “this man is a fox.” According to Forceville (2007,2009), a pictorial metaphor can be characterized considering its type (contextual metaphor, hybrid metaphor, simile and integrated metaphor), considering its structure (monomodal and multimodal metaphor) and its use (in commercials, in social campaigns, in political cartoons or in Art). The aim of this work is to create a knowledge base of pictorial metaphors examining their characteristics (topics, vehicles). Experimental studies examined the understanding of monomodal pictorial hybrid metaphors by focusing on property attribution process in several situations regarding the effect of the native language (French versus Spanish), context, age and the use of the metaphor. The discussion section illustrates perspectives of research considering current studies focused on pictorial metaphor comprehension and the use of specific tools (e.g. eye tracker). The understanding of pictorial metaphors could be applied to others field of expertise of psychology (e.g. Neuropsychology), other people (e.g. children) and different cultures (e.g. Korean)
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Sugi, Akiko. "Semantics of New Kingdom iconography : a case study of the nh-symbol as a paradigm of understanding the interaction between pictorial metaphor and literary expression." Thesis, University of Liverpool, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272835.
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Gomes, Languisner. "ExpressÃes idiomÃticas: explorando as trilhas da geraÃÃo do sentido." Universidade Federal do CearÃ, 2009. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=3910.
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As questÃes que nos levaram à investigaÃÃo do tema foram: (i) Quais sÃo os mecanismos envolvidos na geraÃÃo do sentido metafÃrico/literal das expressÃes idiomÃticas (EIs) e suas desconstruÃÃes pictÃricas (DPs)? (ii) Qual à o papel da metÃfora/mesclagem conceptual na geraÃÃo do sentido metafÃrico/literal entre as duas modalidades (EI verbal e DP nÃo-verbal)? e (iii) Qual à o papel das projeÃÃes congruentes e nÃo congruentes de cada uma das modalidades na geraÃÃo do sentido metafÃrico/literal? Para responder a esses questionamentos tivemos como objetivo principal descrever a estrutura interna da rede de integraÃÃo conceptual dos mecanismos responsÃveis pela geraÃÃo do sentido metafÃrico/literal das EIs e suas DPs e como objetivos especÃficos: (i) descrever e propor um modelo que revele a arquitetura interna da rede de integraÃÃo conceptual envolvida nos processos de geraÃÃo do sentido entre as duas modalidades (verbal e nÃo-verbal), (ii) descrever como processos de figuratividade e/ou literalidade participam nas modalidades verbal e nÃo-verbal e interferem na geraÃÃo do significado e (iii) propor um modelo que revele a estrutura interna do percurso gerativo do sentido das EIS e suas DPs nas redes de integraÃÃo conceptual. (RP). Para composiÃÃo do corpus da pesquisa foram selecionadas as seguintes obras: (a) A vaca foi pro brejo â the cow went to the swamp (FERNANDES, 2001) e (b) Pequeno DicionÃrio de ExpressÃes IdiomÃticas (ZOCCHIO; BALARDIN, 1999). Da obra de Fernandes (2001) foram escolhidas as expressÃes (1) âo bom cabrito nÃo berraâ, (2) ânÃo ter papas na lÃnguaâ e (3) âsà falam abobrinhasâ; de Zocchio e Ballardin (1999), a expressÃo âengolir sapoâ. Para atingirmos nossos objetivos, tomamos como base os postulados da Teoria da IntegraÃÃo Conceptual (FAUCONNIER; TURNER, 2003) e da Teoria da MetÃfora Conceptual de Lakoff e Johnson (1980, 1999). A partir das anÃlises, o modelo projetado da estrutura interna das redes de integraÃÃo conceptual revelou que a inter-relaÃÃo entre EI e sua RP permite uma multiplicidade de projeÃÃes que participam na geraÃÃo do sentido. O modelo tambÃm permite ampliar as relaÃÃes conceptuais gerando diferentes mesclagens, de forma que a imagem em relaÃÃo à sua representaÃÃo verbal pode ser parcial ou totalmente congruente. O grau de (in)congruÃncia entre o literal e o idiomÃtico Ã, no continuum, decisivo para a determinaÃÃo do resultado mesclado. Foi possÃvel tornar evidente que hà uma estreita ligaÃÃo entre uma modalidade e a outra. Isso aponta para desvelar que a natureza do processamento da EI pode ser de base metafÃrica ou literal. Ainda com base nas anÃlises, o modelo de mesclagem proposto comprovou ser eficiente para a demonstraÃÃo da organizaÃÃo interna das redes na geraÃÃo do sentido, a partir da inter-relaÃÃo entre a representaÃÃo verbal e nÃo-verbal. Na estruturaÃÃo das redes entram em jogo as vÃrias projeÃÃes criativas e imaginativas, o que possibilita novas configuraÃÃes de sentido (re)construÃdo sucessivamente.<br>We had some questions that have driven our investigation: (i) What are the mechanisms that are involved in the metaphorical/literal meaning generation of the idiomatic expressions (IE) and its pictorial representation (PR)?, (ii) What is the role of the conceptual metaphor/blending in the metaphorical/literal meaning generation between the two modalities (verbal IE and non-verbal PR)? And (iii) What is the role of the congruent projections of each modality in the metaphorical/literal meaning generation? To answer these questions we had a main objective: describe the internal structure of the conceptual integration network of the mechanisms responsible for the metaphorical/literal meaning generation of the idioms and its PRs and some specific objectives: (i) to describe, by use of a model, the internal structure of conceptual integration network and of the mechanisms involved in the generation of meaning of IEs and their PRs; (ii) to describe the figurative and/or literal process that interferes in the meaning generation and (iii) propose a model that demonstrates the internal structure of the IE meaning generation and its PRs in the conceptual integration network.. The following works had been selected to compose the research corpus: (a) A vaca foi pro brejo â the cow went to the swamp (FERNANDES, 2001) and (b) Pequeno DicionÃrio de ExpressÃes IdiomÃticas (ZOCCHIO; BALARDIN, 1999). From the work by Fernandes (2001), the expressions (1) âo bom cabrito nÃo berraâ, (2) ânÃo ter papas na lÃnguaâ e (3) âsà falam abobrinhasâ were selected; from Zocchio and Balardin (1999), the IE âengolir sapoâ. In order to reach our objectives, we based our research on the postulates of the Theory of Conceptual Integration (FAUCONNIER; TURNER, 2003) and on Lakoff and Johnsonâs (1980, 1999) Theory of Conceptual Metaphor. With the analyses as a starting point, the designed model of the internal structure of conceptual integration networks revealed that the interrelation between the IE and its PR allows a multiplicity of projections which contribute to the generation of meaning. The model also allows the expansion of conceptual relationships, generating different blends, so that the image, in terms of its verbal representation, may be partially or totally congruent. The degree of (in)congruence between the literal and the idiomatic is, in a continuum, decisive for the determination of the blended result. It was possible to show that there is a close connection between one modality and the other. This suggests that the nature of the processing of an IE may have a metaphorical or literal basis. Still based on the analyses, our model of blends proved to be efficient to demonstrate the internal organization of the nets in the generation of meaning, from the interrelation between verbal and non-verbal representation. In the designing of the networks, the various creative and imaginative projections come into play, which allows for new configurations of meaning to be successively (re)constructed.
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Ventalon, Geoffrey. "La compréhension de la métaphore dans les images." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080115.
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La métaphore est une figure de style dans laquelle la signification d’un mot est transférée à un autre mot. Par exemple, l’énoncé « Axel est un renard » est une métaphore pouvant signifier qu’un homme appelé Axel est une personne rusée. La métaphore n’est pas seulement textuelle, elle se présente souvent sous une forme imagée. Par conséquent, l’image d’un homme avec un corps de renard pourra être traduite verbalement par : « cet homme est un renard ». Selon Forceville (2007, 2009), la métaphore picturale se définit en fonction de son type (métaphore contextuelle, métaphore hybride, métaphore de comparaison et métaphore intégrée), de sa structure (métaphore monomodale et multimodale) et de son usage (dans la publicité, dans les campagnes sociales, dans les caricatures politiques ou encore dans l’Art). L’objectif de ce travail est de créer une base de connaissances de métaphores picturales en examinant leur composition (topiques, véhicules). Les études expérimentales réalisées examinent la compréhension de métaphores picturales monomodales de type hybride en se focalisant sur le processus d’attribution de propriétés dans des situations où l’effet de la langue maternelle (française versus espagnole), du contexte, de l’âge et de l’usage de la métaphore est mesuré. La discussion met en évidence les apports et les limites de ce travail qui conduisent à des perspectives de recherche en considérant les travaux contemporains du domaine, l’utilisation d’outils spécifiques (e.g. oculomètre) et en élargissant le contexte d’étude de la métaphore à d’autres domaines de la psychologie (e.g. Neuropsychologie), d’autres publics (e.g. enfants) et des cultures éloignées (e.g. coréenne)<br>A metaphor is a figure of style in which the meaning of a term is transferred to that another term. For example, the sentence “Axel is a fox” is a metaphor in which a man is smart. The metaphor is not only introduced in a text. It can be depicted in a picture. Therefore, the image of a man with a body of a fox can refer to the sentence: “this man is a fox.” According to Forceville (2007,2009), a pictorial metaphor can be characterized considering its type (contextual metaphor, hybrid metaphor, simile and integrated metaphor), considering its structure (monomodal and multimodal metaphor) and its use (in commercials, in social campaigns, in political cartoons or in Art). The aim of this work is to create a knowledge base of pictorial metaphors examining their characteristics (topics, vehicles). Experimental studies examined the understanding of monomodal pictorial hybrid metaphors by focusing on property attribution process in several situations regarding the effect of the native language (French versus Spanish), context, age and the use of the metaphor. The discussion section illustrates perspectives of research considering current studies focused on pictorial metaphor comprehension and the use of specific tools (e.g. eye tracker). The understanding of pictorial metaphors could be applied to others field of expertise of psychology (e.g. Neuropsychology), other people (e.g. children) and different cultures (e.g. Korean)
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Shih, Yun-Tai, and 石耘臺. "A Picture Says a Thousand Words:The Interpretations of Advertising Pictorial Metaphors by Native Speakers of American English and Taiwanese Learners of English." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/91600893365448071399.
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碩士<br>國立交通大學<br>英語教學研究所<br>97<br>English Abstract
The studies of metaphor endure a great history of research. Metaphors are not only a form of figure of speech in human communication, but also a sales pitch often employed by advertisers. There has already been a plethora of studies on advertising metaphors in consumer research; however, little research has explored advertising metaphors in pictorial form. Meanwhile, there is only a small body of research done to ascertain how second language learners perceive advertising metaphors.
This study, therefore, aims to explore how native and non-native English speakers interpret advertising pictorial metaphors. I intend to answer three research questions: (1) How do the native and non-native speakers of English interpret advertising pictorial metaphors? (2) What factors that determine the success of pictorial metaphor interpretations? and (3) How do the native and non-native speakers of English perceive the advertisements with and without considering advertiser’s intention? I follow the research design and adopt the coding scheme of pictorial metaphors from Forceville (1996). A questionnaire containing four advertisements and question items is administered to collect data in American and Taiwan. In this study, a research assistant who is an American is invited to provide assistance in selecting advertisements, contacting American participants, collecting data in the United States, and being a second rater. The non-native data is collected from 20 TESOL graduate students enrolled in three different universities in Taiwan, and the native data is gleaned from another 20 TESOL graduates at the University of Texas in San Antonio, U. S. A.
Based on the results, the English native speakers from the United States have more success in identifying pictorial metaphors than their counterparts. In other words, the American participants seemed to be more attuned to the pictorial metaphors in the present study. Meanwhile, we also manage to account for the participants’ performances in interpreting metaphors by seeking possible factors. By considering contextual, societal, and individual factors, we re-examine the four advertisements and the metaphor interpretation process. As for participants’ views towards the advertisements, in some advertisements, the participants hold similar perspectives despite they belong to disparate cultural backgrounds. Moreover, even for participants who belong to the same group, their viewpoints can differ tremendously. Some pedagogical implications towards teaching English in EFL context and suggestions to improve future research are discussed in the final chapter.
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Arruda, Maria Rodrigues. "Aqui a natureza é a estrela : mesclagem conceptual e redes de espaços mentais na campanha Hollywood da Hortifruti." Master's thesis, 2012. http://hdl.handle.net/10400.2/2542.
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Dissertação de Mestrado em Estudos Portugueses Multidisciplinares apresentada à Universidade Aberta<br>A presente dissertação tem como objetivo analisar a criatividade e o imaginário presentes na conceptualização da publicidade por meio das metáforas dos anúncios impressos da campanha publicitária Hollywood, da marca Hortifruti, sob o processo de mesclagem conceptual. O seu foco está nas metáforas verbo-pictóricas enquanto um recurso criativo explorado na publicidade, nas quais a imagem, assim como o texto, também é uma veiculadora de metáforas.
O nosso corpus é constituído pelos vinte e um anúncios impressos que totalizam a campanha Hollywood, sendo ele dividido segundo os espaços genéricos presentes nas mesclagens conceptuais de cada anúncio.
A publicidade impressa, além da linguagem verbal, também recorre aos elementos visuais como criadores de metáforas, um recurso fundamental que atribui características a um produto ou serviço e o destaca na imensa miríade de marcas existentes na nossa sociedade atual. Outdoors e anúncios em revistas, os dois tipos de publicidade impressa através dos quais se apresenta a campanha Hollywood, valem-se de um forte apelo visual e de textos breves que possam capturar a atenção do leitor de uma forma surpreendente, inesperada e de fácil memorização. Assim, as metáforas, assim como as metonímias, são mecanismos cognitivos ideais que facilitam esse escopo publicitário seja por meio da imagem, seja por meio da linguagem verbal.<br>The aim of this thesis is to analyze both the creativity and imagination contained in the conceptualisation of advertising through the metaphors of print ads about the Hollywood advertising campaign, regarding the brand Hortifruti, under the process of conceptual blending. Its focus is on the verbo-pictorial metaphors as a creative resource exploited in advertising, where both the image and the text, are considered a vehicle of metaphors.
Our corpus consists of twenty-one print ads that complete the Hollywood campaign, being the same divided according to the generic spaces present in conceptual blending of each ad.
The print ads, as well as verbal language, also uses the visual elements as creators of metaphors, a feature that assigns fundamental characteristics of a product or a service and highlights it in the vast myriad of brands existing in our society today. Billboards and magazine ads are the two types of print ads through which the Hollywood campaign introduces itself, making use of a strong visual appeal and brief texts that can capture the reader's attention in a surprising, unexpected and memorable way. Thus, metaphors, as well as metonymies, are ideal cognitive mechanisms that facilitate this advertising target either through image, or through verbal language.
Books on the topic "Pictorial metaphors"
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Forceville, Ch. Pictorial Metaphor in Advertising. Taylor & Francis Group Plc, 2004.
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Urban, Roger F. Life behind the metaphor: Rudolf Nureyev and the Dutch National Ballet. Nureyev Legacy Project, 2007.
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Kaulbach, Hans-Martin. Bombe und Kanone in der Karikatur: Eine kunsthistorische Untersuchung zur Metaphorik der Vernichtungsdrohung. Jonas, 1987.
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Edwards, Janis L. Political cartoons in the 1988 presidential campaign: Image, metaphor, and narrative. Garland Pub., 1997.
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Metaphors and similes for Yahweh in Hosea, 14:2-9 (1-8): A study of Hoseanic pictorial language. P. Lang, 1998.
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Forceville, Charles. Pictorial Metaphor in Advertising. Taylor & Francis Group, 2002.
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Forceville, Charles. Pictorial Metaphor in Advertising. Routledge, 2002. http://dx.doi.org/10.4324/9780203064252.
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Forceville, Charles. Pictorial Metaphor in Advertising. Taylor & Francis Group, 2002.
Find full textBook chapters on the topic "Pictorial metaphors"
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Forceville, Charles. "Chapter 11. Mixing in pictorial and multimodal metaphors?" In Metaphor in Language, Cognition, and Communication. John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/milcc.6.11for.
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Costantini, Cristina, and Lucia Morra. "Representing Sovereignty in Renaissance England: Pictorial Metaphors and the Visibility of Law." In Law, Culture and Visual Studies. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-9322-6_4.
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Górska, Elżbieta. "Spatialization of abstract concepts in cartoons. A case study of verbo-pictorial image-schematic metaphors." In Current Approaches to Metaphor Analysis in Discourse, edited by Ignasi Navarro i Ferrando. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110629460-013.
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Ogede, Ode. "Parable, Metaphor, the Pictorial Frame, Emblem of Moral Decadence: Fiction in Revolt, Washing Dirty Linen in Public (Maria Ajima's The Web)." In Nigeria's Third-Generation Literature. Routledge, 2023. http://dx.doi.org/10.4324/9781003290186-2.
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El Refaie, Elisabeth. "A Tripartite Taxonomy of Visual Metaphor in Graphic Illness Narratives." In Visual Metaphor and Embodiment in Graphic Illness Narratives. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190678173.003.0004.
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This chapter uses the analysis of 35 graphic illness narratives to identify the various forms that visual metaphor may take in this genre. A novel tripartite classification system that distinguishes between pictorial, spatial, and stylistic metaphors is proposed. Pictorial metaphors, which use images of concrete animate or inanimate objects to stand for something else, have received a lot of scholarly attention in recent years, but this study offers the first systematic description of the other two types of visual metaphor. Spatial metaphors exploit the relative size, arrangement, and orientation of elements on the page to convey more abstract meanings, whereas in the case of stylistic metaphors, features such as color, shape, level of detail, and quality of line are used to indicate an abstract concept or a nonvisual sense perception. These three categories can be further subdivided, and in many instances several distinct types of metaphor are used in combination.
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Di Biase Dyson, Camilla. "Metaphor." In UCLA Encyclopedia of Egyptology. eScholarship Publishing, 2017. https://doi.org/10.5070/g9.3889.
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When tracing the epistemological but also thematic development of metaphor studies in Egyptology, what can be seen is a change from a typological perspective, which sought to categorize both motifs and metaphor types, to a more cognitive perspective, which was more interested in the processes behind the linguistic phenomena. In the last few years there has also been increased interest in the development of metaphors in pan-textual as well as multimodal perspective and in the usage and extent of metaphors in all range of phenomena, such as textual, graphemic, and even pictorial media.
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"Creativity in pictorial and multimodal advertising metaphors." In Discourse and Creativity. Routledge, 2014. http://dx.doi.org/10.4324/9781315833224-17.
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Kulvicki, John. "Metaphor." In Modeling the Meanings of Pictures. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847472.003.0006.
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Pictures can be used metaphorically. Many non-standard uses of pictures have been inaccurately classified as metaphorical. In addition, many seemingly metaphorical uses of pictures might not be that because they are used along with language. So, the first part of the chapter isolates strictly pictorial metaphors as a phenomenon. The chapter then shows that a semantic account of metaphor due to Josef Stern (2000) tidily accounts for these uses. This semantic operation is related to Kaplan’s dthat, but it does not yield a new singular content. Instead, it yields a new attributive content. In this way, pictures can be used to represent all manner of qualities that cannot figure in ordinary pictorial contents.
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"5. Metaphors and atmospheres: Murnau, fantasy and the Kammerspielfilm." In Pictorial Affects, Senses of Rupture. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110613551-006.
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Ursyn, Anna. "Visualization as a Knowledge Transfer." In Advances in Library and Information Science. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7659-4.ch034.
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This chapter inspects visualization tools and applications enabling visualization of data, information, and knowledge. The background is provided first about visualizing information in a pictorial yet abstract rather than illustrative way. Further text discusses visual metaphors as a basic structure in metaphorical language of visualization. Selected methods and tools are introduced, and the ways visualization transfers knowledge and mediates between the user and the physical world supporting cognitive ways of learning and teaching are shown. Nature-derived metaphors serve as bio-inspired, interdisciplinary models. The importance of visual and technological literacy is discussed, along with a need of teaching visualization methods as an important part of the current educational strategies. Concluding remarks examine how metaphorical visualization may support learning and teaching, and why visual and technological literacy should be taught and trained since early childhood.
Conference papers on the topic "Pictorial metaphors"
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Xiaoyang, Qi, and Roslina Mamat. "Emotions in Jimmy Liao’s Picturebook: A Case Study of Pictorial Metaphors." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-2.
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Pictorial and visual metaphors have been the subject of much conceptual metaphor theory (CMT) research since the 1990s, and possibly prior to that time. The graphic metaphor constitutes one category of multimodal metaphor, and hence suggests and requires an understanding of abstract concepts in visual information (Forceville 1996). A picturebook, for example, is a visual genre containing various such pictorial metaphors. It is generally acknowledged that picturebooks have narrative value, and convey emotions, while stimulating the reader’s intellectual and aesthetic affordances. These semiotic repertoires also contribute to health. As many people experienced solitude in the COVID pandemic, such semiotic banks provided a service. This research examines the pictorial metaphors in ‘Beautiful Solitude,’ painted by the Chinese picturebook artist, Jimmy Liao, following his survival from leukaemia. The study employs Kovecses's three-stage emotional metaphor framework; emotional motives, emotional existence, and emotional expression. The study observes the visual design grammar of the paintings as a theoretical framework to analyse these pictorial metaphors of emotion. The results of the study include the impact that these visual metaphors have on the portrayal and treatment of mental health. This study contributes to work on pictorial metaphors, and thus suggests ways in which individuals envisage self, other, and the world, when in pain and at times when they sense themselves as isolated from their surroundings and communities.
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Arkhipova, Y. V. "Metaphor in political discourse: a multimodal analysis." In Новое поколение: достижения и результаты молодых ученых в реализации научных исследований. Новое поколение: достижения и результаты молодых ученых в реализации научных исследований, 2024. http://dx.doi.org/10.18411/npdrmuvrni-01-2024-03.
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This study expands on multimodal metaphors in political cartoons viewed as instances of multimodal discourse, adding evidence to the assumption that the fundamental principles of Conceptual Metaphor Theory by G. Lakoff and M. Johnson can also be applied to the multimodal metaphors‘ analysis in a relevant and operational manner. A special emphasis is put on the cognitive process of (de)focusing that makes either a verbal and or a pictorial element of a multimodal text foregrounded or backgrounded in discourse. Different models of metaphorical mappings are analyzed.
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Coimbra, Rosa Lídia, Helena Margarida Vaz Duarte, and Lurdes de Castro Moutinho. "Where the wine is velvet: Verbo-pictorial metaphors in written advertising." In ExLing 2006: 1st Tutorial and Research Workshop on Experimental Linguistics. ExLing Society, 2019. http://dx.doi.org/10.36505/exling-2006/01/0019/000019.
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Хуан, С. "Analyzing Political Metaphors and Image Propaganda in the Continuously Changing Sino Soviet Relations — Focusing on “Renmin Huabao” (“China Pictorial”)." In V Международная научно-практическая конференция «Современные исследования: теория, практика, результаты». Crossref, 2024. http://dx.doi.org/10.26118/6706.2024.77.41.010.
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Veljković Mekić, Jelena P. "POEZIJA ZA DECU KAO PODSTICAJ ZA GOVORNO STVARALAČKO IZRAŽAVANJE PREDŠKOLACA." In Književnost za decu u nauci i nastavi. University of Kragujevac, Faculty of Education in Jagodina, Serbia, 2024. https://doi.org/10.46793/kdnn23.417vm.
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Children between the ages of two and seven are in the intuitive intelligence stage and their intellectual and emotional development depend to a great extent on their use of speech, which is a part of almost all their activities in different ways. Various games with literary texts facilitate the acquisition of language and enable a spontaneous development of children’s creativity. Poetic language is unconventional, picturesque and enigmatic and, as such, stimulates children’s speech and helps them preserve their imaginative, unmolded, egoistic experience of the world, which in its essence is very close to the literary one. During creative language games children spontaneously create elements of poetry and poetic devices used by poets (rhyme, rhythm, paradox, association, metaphor, symbols, pictorial descriptions, enumerations, repetitions).