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Books on the topic 'Pictorial metaphors'

Author: Grafiati
Published: 24 April 2022
Last updated: 22 June 2025

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1

Forceville, Ch. Pictorial Metaphor in Advertising. Taylor & Francis Group Plc, 2004.

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2

Urban, Roger F. Life behind the metaphor: Rudolf Nureyev and the Dutch National Ballet. Nureyev Legacy Project, 2007.

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3

Kaulbach, Hans-Martin. Bombe und Kanone in der Karikatur: Eine kunsthistorische Untersuchung zur Metaphorik der Vernichtungsdrohung. Jonas, 1987.

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4

Edwards, Janis L. Political cartoons in the 1988 presidential campaign: Image, metaphor, and narrative. Garland Pub., 1997.

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5

Marasli, Elçin. Controlled denotations. [publisher not identified], 2012.

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6

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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7

Forceville, Charles. Pictorial Metaphor in Advertising. Taylor & Francis Group, 2002.

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8

Forceville, Charles. Pictorial Metaphor in Advertising. Routledge, 2002. http://dx.doi.org/10.4324/9780203064252.

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9

Forceville, Charles. Pictorial Metaphor in Advertising. Taylor & Francis Group, 2002.

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10

Pictorial Metaphor in Advertising. 1996.

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11

Pictorial Metaphor in Advertising. Routledge, 2002.

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12

Forceville, Charles. Pictorial Metaphor in Advertising. Taylor & Francis Group, 1998.

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13

Forceville, Charles. Pictorial Metaphor in Advertising. Taylor & Francis Group, 2002.

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14

Pictorial metaphor in advertising. Routledge, 1996.

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15

El Refaie, Elisabeth. Visual Metaphor and Embodiment in Graphic Illness Narratives. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190678173.001.0001.

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This study uses the analysis of visual metaphor in 35 graphic illness narratives—book-length stories about disease in the comics medium—in order to re-examine embodiment in traditional Conceptual Metaphor Theory (CMT) and propose the more nuanced notion of “dynamic embodiment.” Building on recent strands of research within CMT, and drawing on relevant concepts and findings from other disciplines, including psychology, phenomenology, social semiotics, and media theory, the book develops the argument that the experience of one’s own body is constantly adjusting to changes in one’s individual state of health, sociocultural practices, and the activities in which one is engaged at any given moment, including the modes and media that are being used to communicate. This leads to a more fluid and variable relationship between physicality and metaphor use than many CMT scholars assume. For example, representing the experience of cancer through the graphic illness narrative genre draws attention to the unfathomable processes going on beneath the body’s visible surface, particularly now that digital imaging technologies play such a central role in the diagnosis and treatment of the disease. This may lead to a reversal of conventional conceptualizations of knowing and understanding in terms of seeing, so that vision itself becomes the target of metaphorical representations. A novel classification system of visual metaphor, based on a three-way distinction between pictorial, spatial, and stylistic metaphors, is also proposed.
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16

Metaphor Vietnam Present Memories. Fotohof Editions, 2009.

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17

Williams, Tami. Negotiating Art and Industry in the Postwar Context. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0003.

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This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.
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