Academic literature on the topic 'Poetical metaphors'
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Journal articles on the topic "Poetical metaphors"
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Ślósarska, Joanna. "Pojęcie pola metaforycznego w poetyce kognitywnej." Przestrzenie Teorii, no. 1 (February 15, 2007): 87–96. http://dx.doi.org/10.14746/pt.2002.1.5.
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The paper presents basic conceptualisations of the metaphoric field in the views of N. Babuts, G. Lakoff, M. Johnson, M. Turner, R. W. Gibbs, and R. Tsur. In the course of considering these views the following problems are discussed: differentiation of the conceptual from linguistic metaphors, hypothesis of a cognitive base for linguistic creation of poetical tropes, creation of poetical figures in relation to standard metaphors in natural language, dynamics of the processes of conceptual and linguistic métaphorisations, categories of the mental image and of the vantage point. The whole discussion is placed within a context of the two basic paradigms of cognitive science - mental and empirical.
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JUREWICZ, JOANNA. "The Rigveda, the cognitive linguistics and the oral poetry." European Review 12, no. 4 (2004): 605–13. http://dx.doi.org/10.1017/s106279870400050x.
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My aim is to show how the principal notions of cognitive linguistics, namely metaphor and metonymy are helpful in the analysis of the ancient Indian poetical text, the Rigveda. Their use enables us to reconstruct aspects of thinking of the Rigvedic poets and to explain some obscure metaphors. The basic way of conceptualization of desire in the Rigveda is presented.
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Vokoun, Jaroslav. "Metaphors of Church Division: A Lesson From Poetical Ecclesiology." Studia theologica 15, no. 1 (2013): 91–115. http://dx.doi.org/10.5507/sth.2013.006.
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Volkova, Anna G. "THE RECEPTION OF FRANCISCAN MYSTICS IN EUROPEAN POETRY OF THE 17TH CENTURY." Vestnik of Kostroma State University, no. 3 (2020): 117–21. http://dx.doi.org/10.34216/1998-0817-2020-26-3-117-121.
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European poetry of the 17th century has its own complicated metaphoric language the interpretation of which depends on understanding of different contexts. It is especially true about religious poetry that does not only use metaphors, motifs and stories from the Bible but also perceive the biblical text through some confessions and often through some directions within a confession. Such cultural and historical code is important and necessary for reception and interpretation of poetical text. Franciscans as a special direction in Roman Catholic spirituality influenced very much on European literature and especially on religious poetry of Middle ages, Renaissance and Baroque i.e. the late 16th – 17th centuries. The main point of the article is studying of key images and motifs of Franciscan spirituality that were expressed in German mystical poetry (on texts by Johannes Scheffler familiarly known as Angelus Silesius). Except traditional motifs of poverty, God’s love, one can find out thoughts about relationships between the Creator and its creature popular in theology and religious experience of Franciscans in his poetry. In poetry such ideas as an experience of communication with God are transmitted through poetical language, metaphors and also through special mean of concordia discors or connecting unconnectable.
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Fürstenberg, Henrike. "Durch die Blume gesagt. Erotische Blumenmetaphorik in romantischer Lyrik: Stagnelius, Wergeland und Aarestrup." European Journal of Scandinavian Studies 49, no. 2 (2019): 252–77. http://dx.doi.org/10.1515/ejss-2019-0020.
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Abstract Likening females to flowers is not a groundbreaking poetical strategy. However, romantic poetry seems to deal with this well-known metaphor in a particularly expressive way. In this paper, three poems by three different romantic authors — Erik Johan Stagnelius, Henrik Wergeland, and Emil Aarestrup — are analyzed with regard to their use of metaphors merging floral and erotic subjects, particularly in viewing women as flowers. The three chosen poems highlight the effectiveness of metaphorical operations in the context of romantic conceptions of unity. They are marked by a strong metalinguistic awareness in that they are reflective of their uses of metaphorical language in an ironic and playful manner that reveals different shifts of meaning. More precisely, the metaphors serve to illuminate alternative layers of meaning related to the romantic language: In the end, it is language that brings about the erotic relationship, language that does not merely describe but actually shapes the beloved one.
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Коницкая [Konickaja], Елена [Jelena], та Бируте [Birutė] Ясюнайте [Jasiūnaitė]. "Метафоры утренней и вечерней зари в литовской и русской поэзии". Acta Baltico-Slavica 40 (28 грудня 2016): 186–205. http://dx.doi.org/10.11649/abs.2016.006.
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Metaphors of Dawn in Lithuanian and Russian Poetry This article analyzes the realizations of certain basic metaphors of dawn/sunset in the works of twentieth-century Lithuanian and Russian poets. The first part of the article examines important discrepancies between biomorphic, zoomorphic and anthropomorphic metaphors, as well as mythological metaphors. In Lithuanian poetry, dawn/sunset is associated with different objects compared to Russian poetry (wild strawberries and cherry, birds, fish and snakes in Lithuanian poetry; cranberries, melons and apples, birds and animals in Russian poetry). There is a lack of anthropomorphic metaphors for girl or woman in Lithuanian poetry. The associations of dawn/sunset with mythic entities are also entirely different. In the realization of the metaphor of DAWN/SUNSET – JEWELS, DAWN/SUNSET – FABRIC/ITEM MADE of FABRIC, DAWN/SUNSET – METAL/ITEM MADE of METAL, both similarities and significant differences are registered.The second part of the article examines more closely the similarities between the realizations of three basic metaphors, in which the dawn/sunset is interpreted as: 1) fire or blaze; 2) a burning object; 3) liquid.The analyses embraces about 200 poetry texts excerpts: 95 excerpts from the poetry works by 28 Lithuanian authors and 105 excerpts from the works by 30 Russian authors. In both languages, the metaphoric expressions of the first group highlight the bright colors of dawn/sunset; intensity; impression of a burning object. The metaphorization of the dark hues of dawn is specific to the Russian poetry. Semantically close to this group are metaphors of the DAWN/SUNSET – BURNING OBJECT. Dawn/sunset is interpreted as fire, bonfire, holy fire, burning coals, a lantern or torch. The image of the sacrificial fire is more widespread in the Russian poetry than in Lithuanian. In both poetic systems, folkloric images are used to develop the basic metaphor. The realization of the common metaphor DAWN/SUNSET – LIQUID as DAWN/SUNSET – BLOOD is associated with the metaphor SUNSET – DEATH in the Lithuanian poetry, while in Russian poetry – with the metaphor SUNSET – WOUND. The metaphor DAWN/SUNSET – TEAR is equally rare. In the metaphor DAWN – WATER/WATER RESERVOIR, the overlap of the images and relation to the more general metaphor LIGHT – WATER is evident in the both groups. In the group DAWN/SUNSET – CHEMICAL LIQUID. The image of paint (including cosmetics) is widely used in the both poetical systems. In the latter group, one can notice the overlap of the metaphor DAWN – WINE. It is specific to the Russian metaphoric system the use of pickle, cod-liver oil images.The Lithuanian and Russian poetic systems are characterized by both specific and common metaphors of dawn and dusk. These metaphors reveal some differences in the frequency of using various models, as well as in their particular content. Metafory świtu w poezji litewskiej i rosyjskiej Artykuł analizuje realizację pewnych zasadniczych metafor świtu/zmierzchu w utworach dwudziestowiecznych poetów litewskich i rosyjskich. W pierwszej części artykułu omówiono istotne rozbieżności między metaforami biomorficznymi, zoomorficznymi, antropomorficznymi, jak też metaforami mitologicznymi. W poezji litewskiej świt/zmierzch kojarzy się z różnymi obiektami porównywanymi z poezją rosyjską (dzikie truskawki i jagody, ptaki, ryby i węże w poezji litewskiej; żurawina, arbuzy i jabłka, ptaki i zwierzęta w poezji rosyjskiej). W poezji litewskiej brak metafor antropomorficznych w odniesieniu do dziewczyny lub kobiety. Skojarzenia świt/zmierzch z hasłami mitycznymi są także całkowicie odmienne. W realizacji metafor ŚWIT/ZMIERZCH – KLEJNOTY, ŚWIT/ZMIERZCH – TKANINA/ ARTYKUŁ WYKONANY Z TKANINY, ŚWIT/ZMIERZCH – METAL/ ARTYKUŁ WYKONANY Z METALU, odnotowane zostały zarówno podobieństwa, jak i znaczące różnice.W drugiej części artykułu bliżej zbadane zostały podobieństwa w realizacji trzech podstawowych metafor, w których świt/zmierzch interpretowany jest jako: 1) ogień lub blask; 2) palący się przedmiot; 3) płyn.Analiza obejmuje ok. 200 wyjątków z tekstów poetyckich: 95 pochodzi z wierszy 28 autorów litewskich, zaś 105 z utworów 30 rosyjskich autorów. W obu językach wyrażenia metaforyczne z pierwszej grupy uwypuklają jaskrawe barwy świtu/zmierzchu; intensywność; wrażenie płonącego obiektu. Metaforyzacja ciemnych odcieni świtu właściwa jest poezji rosyjskiej. Semantycznie bliskie tej grupie są metafory ŚWIT/ZMIERZCH – PALĄCY SIĘ OBIEKT. Świt/zmierzch interpretowany jest jako ogień, fajerwerk, święty ogień, rozżarzony węgiel, lampion lub pochodnia. Obraz ognia sakryfikowanego bardziej rozpowszechnił się w poezji rosyjskiej niż litewskiej. W obu systemach poetyckich wyobrażenia folklorystyczne służą do wywołania podstawowych metafor. Realizacja powszechnej metafory ŚWIT/ZMIERZCH – PŁYN jako ŚWIT/ ZMIERZCH – KREW kojarzy się z metaforą ZMIERZCH – ŚMIERĆ w poezji litewskiej, podczas gdy w rosyjskiej – z metaforą ZMIERZCH – RANA. Metafora ŚWIT/ ZMIERZCH – ŁZA jest także rzadka. W metaforze ŚWIT – WODA/ ZASOBNIK WODY nałożenie się na siebie obrazów i relacji z ogólniejszą metaforą ŚWIATŁO – WODA jest oczywiste w obu tych grupach. W grupie ŚWIT/ZMIERZCH – PŁYN CHEMICZNY obraz farby (łącznie z kosmetykiem) jest używany szeroko w obu poetyckich systemach. W tej ostatniej grupie można zauważyć nakładanie się na siebie z metaforą ŚWIT – WINO. Właściwe rosyjskiemu systemowi metafor jest użycie obrazów pikle, olej z wątroby dorsza itd.Systemy poetyckie litewski i rosyjski cechują zarówno konkretne, jak i ogólne metafory świtu i zmierzchu. Te metafory zdradzają pewne różnice w częstotliwości używania różnych modeli, a zarazem ich szczególne treści.
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Білоконенко, Інна Сергіївна. "Stylistic dominants of poetical cycle “Amoretti” by E. Spencer." Філологічні студії: Науковий вісник Криворізького державного педагогічного університету 14 (January 15, 2016): 136–45. http://dx.doi.org/10.31812/filstd.v14i0.215.
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This article analyzes the main stylistic devices in the sonnets of E. Spencer “Amoretti”. It was determined that his poetry is characterized by a broad system of stylistic devices: Phonostylistic (alliteration, anaphora, epiphora, metaplasm) syntactic shapes, paths (metaphors, epithets, personification, metonymy, antonomasia, hyperbole, litotes, oxymoron, comparison). The author also uses allusions, symbols, and allegories. It was demonstrated that the style of E. Spencer suggests he was a master with a special sense of poetic form, organically stylistic devices, the brightness of language constructs.
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Vyshenska, Olga. "THE FUNCTIONING OF CONCEPTUAL METAPHORS IN SHORT STORIES OF L. PIRANDELLO (on the material of a collection of short stories "Novelle per un anno")." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 35 (2019): 127–42. http://dx.doi.org/10.17721/2663-6530.2019.35.11.
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This article deals with the functioning of the conceptual metaphors in the short stories of Luigi Pirandello (on the material of a collection of short stories "Novelle per un anno"). Conceptual metaphor appears as one of the central objects of studies within cognitive linguistics and represents the process of interaction between two conceptual domains, one of which (the source domain) helps to organize another (target domain). The history of the formation of ideas about the concept of metaphor dates back to the time of antiquity, and to this day there is a continuing growing interest of researchers in the functioning of the metaphor in its interrelation with the language. For a long time, the metaphor was one of the central objects of linguistic research, in particular of rhetoric and stylistics, and was considered solely as a way of poetical expression of the surrounding reality. Thus, in the classical sense a metaphor is a figure of speech, in which occurs an implicit comparison of two objects based on their similarity. In the second half of the twentieth century there is a rethinking of the concept of metaphor, in particular, from the standpoint of cognitive linguistics. Linguists perceive the metaphor as an element of the cognitive process and believe that language and thinking are closely interrelated, and that metaphor appears to be a natural factor in the process of expressing thoughts and ideas about the surrounding world. Thinking is therefore considered to be a metaphorical process, and metaphor is considered to be a key factor in the formation of speech. Within the cognitive paradigm, linguists focus on the functioning of a metaphor in the process of thinking, whereas its ornamental and expressive functions become less important. Through the usage of metaphors, people are able to express their ideas about the surrounding world, as well as to recreate their own thoughts and ideas, which form part of their unique world outlook. The process of formation of conceptual metaphors occurs due to the existence of a number of conceptual correspondences between the elements of the source and target domains, or metaphorical mapping. The presence of structural, orientational and ontological metaphors in speech is a direct reflection of how language and thinking interact closely with one another. These metaphors are the reproduction of the universal human experience, as well as they can be determined by the purely individual peculiarities of the cognitive processes of the individual, due to cultural, biological and perceptual experiences. The cognitive function of structural metaphors is that the speaker is able to understand the content of the target domain through the prism of the source domain. This is achieved through means of conceptual metaphorical mapping of both domains. Orientational metaphors, unlike structural ones, do not form one concept in terms of another; they create a whole new system of concepts in relation to another system. Ontological metaphors operate with abstract concepts related to human existence, which are often quite complex in terms of description or explanation. Ontological metaphors in the short stories of L. Pirandello represent the author's perception and description of the human experience of handling material objects, in particular as regards the human body as a container of emotions and feelings and container metaphors in general, as well as the introduction of personification in relation to emotions. Conceptual metaphors in the short stories of L. Pirandello acquire a positive, neutral and negative evaluative component and are the reflection of the writer's thinking and shaping his conceptual image of the world, in particular concerning conceptual metaphors related to emotions, ideas and states. There are numerous orientational metaphors as well as ontological metaphors related to human experience and abstract concepts. Also, in the short stories of L. Pirandello there are structural metaphors, which are often more or less universal in terms of expressing abstract concepts with the help of concrete ones. After analyzing the examples of the functioning of conceptual ontological, orientational and structural metaphors, it is important to note that in the work of L. Pirandello conceptual metaphors are connected with the psychological state of the characters associated with emotions related to the feeling of the existential crisis, and sometimes to the emotions of despair, sorrow, anxiety, pain. Many of the metaphors also have a relatively neutral evaluative meaning and describe the emotional state of the characters immersed in calm, meditative reflection on their lives. Some metaphors have a positive evaluative meaning, thus creating the contrast effect of the transition from one emotional state to another. Exploring the functioning of conceptual metaphors in L. Pirandello's short stories, it is fair to say that they are an important component of the author's discourse and represent the conceptual image of the writer's world. This gives a reason to conclude that the use of a conceptual metaphor in discourse directly influences the way people perceive the surrounding world, therefore conceptual metaphors are part of thought and discourse formation, and are a reflection of the perception of the world.
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Рабчук, Ірина. "АПОЗИТИВНА СИНТАКСЕМА ЯК ВИРАЗНИК ТРОПЕЇЧНИХ ЗНАЧЕНЬ У ХУДОЖНЬОМУ ТЕКСТІ". Studia Ukrainica Posnaniensia 8, № 2 (2020): 57–69. http://dx.doi.org/10.14746/sup.2020.8.2.04.
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The article focuses on the fact that modern Ukrainian linguistic research is mainly devoted to the functioning of appositive epithets and metaphors syntaxemes in the poetical type of the belles-letters style. Therefore, the aim of the paper is an attempt at a comprehensive analysis of the tropical meanings of the appositive syntaxeme proper and semi-predicative appositive syntaxeme in texts of in prose and poetical belles-letters style, as well as a description of their stylistic roles. The article reveals that, in most cases, appositive syntaxemes are epithets, similes, and metaphors. Іt has been found that in belles-letters text, the appositive syntaxeme in detached and non-detached positions can take the form of the following tropes: personification, oxymoron, paronomasia, antithesis, amplification. Moreover, it is capable of expressing irony and sarcasm. The author records the cases of the use of semi-predicative appositive syntaxemes in the roles of synecdoches, periphrases and hyperboles. The author concludes that all appositive syntaxemes with tropical function create bright images of human characters as well as the other creatures, objects and phenomena that surround them. They allow writers to convey their thoughts, attitudes, and the peculiarities of their perception of the world.
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Buszewicz, Elwira. "Wzloty, odchylenia i lamenty, czyli imitatorzy wobec potrzeby nowości." Śląskie Studia Polonistyczne 14, no. 2 (2019): 45–66. http://dx.doi.org/10.31261/ssp.2019.14.03.
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Precursors and forerunners, when they seek for novelty, establish some norms and frameworks which, in turn, become defining for poetical genres and currents. So, what is the right of an imitator to search for new paths? The subject of the article are meta-poetic declarations of creators, who willingly and consciously follow in the footsteps of their great predecessors. The author points to the metaphors by means of which the poets defend their “space of freedoms” or concede to their powerlessness. The cases of the following poets are considered: Józef Bartłomiej Zimorowic in relation to Szymon Szymonowicz, Albert Ines and Andrzej Kanon in relation to Maciej Kazimierz Sarbiewski. Especially close attention was given to problematics and contexts of Albert Ines’s words prefacing a collection of poems that are quoted and translated in the article.
Dissertations / Theses on the topic "Poetical metaphors"
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Papavero, Claude Guy. "Ingredientes de uma identidade colonial: os alimentos na poesia de Gregório de Matos." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-19032008-103724/.
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No final do século XVII, quando Salvador era a capital do Brasil colonial, os hábitos alimentares da cidade e de seus arrabaldes rurais inspiraram muitas metáforas e metonímias ao advogado e poeta seiscentista Gregório de Matos, também conhecido pela alcunha de Boca de inferno. Transformados em fontes de tropos satíricos ou burlescos, os alimentos consumidos na colônia serviram ao poeta para ridicularizar muitos integrantes da sociedade soteropolitana. A obra de Matos documentou um processo histórico e revelou uma maneira local mazomba de conceber o mundo. Seus sarcasmos e suas ironias atacaram inimigos pessoais, cujos hábitos alimentares indignos ou aparências físicas criticaram. Eles se voltaram também contra categorias sociais de colonos que, por sua ascensão econômica, não respeitavam os códigos sociais e culturais vigentes na colônia. A obra de Matos permitiu a essa tese de doutorado em Antropologia Social investigar os conceitos de hierarquia que norteavam a sociabilidade das elites soteropolitanas. Ela foi preservada pelo público do poeta que copiou as poesias após seu exílio para Angola, comprovando a condição assumida por ele de porta-voz dos mazombos frente à crise que, nas últimas décadas do século XVII, afetou o estilo de vida perdulário da população colonial abastada. O recurso intencional a metáforas alimentares também delineou, involuntariamente, os hábitos cotidianos dos colonos. Apesar dos clichês e provérbios e das alusões obscenas do poeta aos manejos dos alimentos, os versos evidenciaram muitos hábitos de nutrição facilmente identificados pelo público. Verificou-se durante a investigação como três fontes principais de representações culturais modelavam a dieta alimentar soteropolitana: o pertencimento religioso dos colonos ao catolicismo, aspirações de ascensão social e a obediência aos preceitos da medicina humoral hipocrática.<br>At the end of the 17th. Century, when Salvador was the capital of the brazilian colony, the food habits of the city and of its rural surroundings inspired a series of metaphors and metonymies to the lawyer and poet Gregório de Matos, also known as \"the mouth of hell\". Transformed into sources of satiric or burlesque poems, the food taken in the colony served him to ridicule many members of Salvador\'s society. Matos\'s work documented a local manner (mazomba) of conceiving the world, specific to the elites. His sarcasms and ironies attackked personal enemies whose alimentary habits or physical appearances were criticised. They where also directed against social categories of the colony which, due to their economic ascension, did not respect the social and cultural codes established until then in the Portuguese colony. Matos\'s poetic workk allowed the present Ph.D. thesis on Social Anthropology to investigate the concept of hierarchy that guided the sociability in Salvador. The poet\'s work was preserved by his public, who copied the poems after his exile in Angola. This proves that he assumed the position of spokkesman of the rich colonial population facing the crisis that, in the last decades of the 17th. Century, affected their spend thrift style of life. The intentional resource to alimentary metaphors also described, involuntary, the daily habits of the colony. Although the clichés and proverbs inserted in the poems, and in spite of the obscenity of the allusions to food manipulations, they referred to several nutrition processes easily identified by the public. During the investigation it was verified that three main sources of cultural representation modelled the alimentary diet in Salvador: the religious belonging of people to Catholicism, aspiration to social ascension and the obedience to the precepts of the Hippocratic humoural medicine.
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Cranitch, Ellen. "The metaphor imperative : a study of metaphor's assuaging role in poetic composition from Ovid to Alice Oswald." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6870.
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Part I of the thesis considers the nature and function of metaphor in the articulation of both poetic theme and of poetic self. Using close analysis of texts by Ovid, Shakespeare, George Herbert and a number of contemporary poets, and drawing on material from both published and unpublished interviews which I undertook with Alice Oswald, Glyn Maxwell and Andrew Motion, (the transcripts of which are included in the appendices), this thesis uses metaphor theory, literary criticism and cognitive poetic criticism to argue that the assuaging role of metaphor is fundamental at critical junctures of poetic composition. Chapter One provides a historical survey of metaphor theory. Chapter Two, in order to determine the best methodology for my analysis of the key thesis texts, contrasts three different readings of Shakespeare's Sonnet 73. Chapter Three suggests the model of Ovidian metamorphosis as a means to examine the assuaging role of metaphor in crisis of consciousness and utterance. The dialectic of sameness and difference, a key property of metaphor, is shown to be intimately connected with the imperative for assuagement in the modern lyric poet. Chapter Four explores a number of ways in which metaphor is deployed by George Herbert to overcome the personal and poetic inhibitions he experiences as a result of his intimate awareness of a listening God. Chapter Five examines Andrew Motion's movement away from the metonymic towards the metaphoric mode in The Customs House. Chapter Six analyses how Alice Oswald, by creating a radically innovative metaphoric mapping between biography and simile pairs assuages the long litany of violent deaths drawn from Homer's Iliad. Chapter Seven examines the way Glyn Maxwell in The Sugar Mile, embraces dramatic analogue and metaphor as a means to address the horror of 9/11. All of the poets examined in the thesis are using metaphor to render the incomprehensible comprehensible. Part II of the thesis consists of my own poems.
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Scanlan, Emma. "Ominous metaphors : the political poetics of native Hawaiian identity." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/71812/.
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This thesis examines poetry by Native Hawaiian activists written between 1970 and 2016 in order to develop a detailed understanding of the multi-faceted ways poetry incorporates, transmits and enacts contemporary political identity. Whilst fundamentally a literary analysis, my methodology is discursive, and draws on a range of critical approaches, archival research and interviews with poets, in order to address why poetry is such a powerful form of resistance to American hegemony. By reading contemporary poetry as an expression of deeply held cultural and political beliefs, this thesis suggests that writing and performing poetry are powerful forms of political resistance. Adopting a lens that is attentive to both the indigenous and colonial influences at play in Hawaiʻi, it elucidates the nuanced ways that traditional literary techniques enter contemporary Native Hawaiian poetry as vehicles for cultural memory and protest. Attention to the continuities between traditional Hawaiian epistemology and the ways those same methods and values are deployed in twentieth and twenty-first century poetry, means this thesis is a part of a growing body of work that endeavours to understand indigenous literature from the perspective of its own cultural and political specificity. The introduction establishes the historical and critical context of the Hawaiian Sovereignty Movement and the Hawaiian Renaissance. It outlines the main developments in Native Hawaiian literary criticism since the late 1960s, including the reclaiming of traditional narratives and the privileging of indigenous epistemologies. Chapters One to Seven proceed chronologically, each addressing a particular collection, anthology or body of work. Chapter One focuses on Wayne Kaumualiʻi Westlake's radical rejection of Westernised Waikīkī, whilst Chapter Two explores the anthologies Mālama: Hawaiian Land and Water and HoʻiHoʻi Hou: A Tribute to George Helm and Kimo Mitchell, in relation to the Sovereignty Movement's dedication to Aloha ʻĀina (love the land). Chapters Three to Five deal with five poetry collections, two by Haunani-Kay Trask, and one each by Imaikalani Kalahele, Brandy Nālani McDougall and Māhealani Perez-Wendt. The chapters address how these poets articulate Native Hawaiian identity, nationalism and continuity through traditional moʻolelo (stories), which underpin the political beliefs of three generations of sovereignty activists. Chapters Six and Seven address contemporary performance poetry in both published and unpublished formats by Jamaica Osorio, David Kealiʻi MacKenzie, Noʻukahauʻoli Revilla and Kealoha, demonstrating how a return to embodied performance communicates aloha (love, compassion, grace). The conclusion, Chapter Eight, indicates projects that are already productively engaging Hawaiian epistemology in the areas of geography and science, and points towards developments in the digital humanities that could extend this indigenised methodology into literary studies, in order to further engage with the depth and multiplicity of storied landscapes in Hawaiʻi.
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Mehta, R. (Rajesh). "Metaphor in Ricoeur's hermeneutics of poetic language." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61170.
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Ricoeur advances a theory of metaphor as discourse. The notion of metaphor as event and as meaning is complicated by the form of written discourse and the distanciation which inscription engenders. By specifying the autonomy of the text in relation to the author's intention, the original audience, and the original context, Ricoeur argues that metaphor refers to its own world. Suggesting that the metaphorical arises from a "seeing-as" which contains a non-verbal element, he contends metaphors indicate a extra-linguistic mode of existence. The possibility of conceptualization lies for Ricoeur, at the core of the dynamism of the metaphorical. It is proposed in this thesis that Ricoeur's defence of the autonomy of speculative discourse is inadequate.
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Cook, Devon S. "Burke's Poetic Metaphor and Obama as Poet." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4437.
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At the end of Permanence and Change, Kenneth Burke calls for a new orientation toward life and social action which he refers to as “the poetic metaphor” (261). This essay connects Burke's briefly used poetic metaphor with his theories on the use of “poetic” language in the essay “Semantic and Poetic Meaning.” What results from this synthesis is a critical tool for rhetorical analysis which allows for the discussion of style as a vehicle for communication about ethics and morals in public discourse. Obama's The Audacity of Hope is used as the example of a text which uses “poetic” language in order to discuss moral and ethical issues in a national arena. Obama ultimately dramatizes his own synthesis of values, putting himself in the position of a trusted intermediary. This analysis provides clarity on Burke's thinking at the end of Permanence and Change and helps us understand his contribution to the study of rhetoric and cooperation.
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Wan, Kong, and 溫剛. "The relationship between plant metaphors and poetic themes in the Shijing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41547214.
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Downes, Daniel M. "Interactive realism : a study in the metaphors, models, and poetics of Cyberspace." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/NQ44414.pdf.
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Fung, Mary M. Y. "Translating poetic metaphor : explorations of the processes of translating." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/2311/.
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This thesis aims to explore the processes of translating by focusing on the translating of poetic metaphor. The methodology used is the application of George Lakoff's theory of conceptual metaphor to two case studies, in which problems of translating will be identified, and a theoretical conclusion will be formulated. The Introduction sets out the author's basic assumptions on the process of translating, the cognitive approach to metaphor, and the adoption of Lakoff's cognitive models of metaphor in the following case studies. Part I deals with the translating of metaphors of sickness in Shakespeare's Hamlet. Chapter one attempts to construct cognitive models of sickness as seen in contemporary English against which concepts of sickness in the Elizabethan age are compared. Chapter two undertakes a detailed examination of selected Chinese translations of metaphors of sickness in Hamlet organized in accordance with the cognitive models identified earlier. Chapter three draws preliminary conclusions on the translatability of basic metaphors common to English and Chinese and the difficulties encountered in others, which can be traced to cosmological differences between the two cultures. Part II studies metaphors of love in Sylvia Plath's poetry. Chapter four presents Plath's model of love on the basis of Zoltán Kövecses' model, and discusses its conflicts with traditional Chinese concepts of love. Chapter five analyses problems involved in Chinese translations, mainly of the 'perverted' model of love in Plath's poetry. A preliminary conclusion reached in chapter six points to cultural incoherence as the main obstacle in the translating of her innovative metaphors. After reviewing current opinions on the translation of metaphor, the author proposes a model of the translating of poetic metaphor in the hope that the findings from the case studies may contribute towards a general theory.
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Coleman, Ruann. "If / Then : measuring matter through metaphor : a poetic exploration of science." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97103.
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Thesis (MA)--Stellenbosch University, 2015.<br>ENGLISH ABSTRACT: This thesis investigates physical and philosophical measurement within the
context of a Masters Degree in Visual Arts. By unpacking concepts within science
through a philosophical approach to material, this study underscores and
investigates questions of certainty and the unknown. This entails the examination
of associated terms like ‘accuracy’ and ‘result,’ where such results are expressed
and arrived at through chance and temperament rather than mathematical
equations or formulas. Using the example of a Universal Conditional Statement,
specifically (x)(Px⊃Qx), this physical / philosophical methodology will be applied
to a practice-led artistic research. The given Statement simply denotes that what
is on both the left and right of the symbol “⊃” are interchangeable, subject to the
condition of “if… then”. This symbol is one that encapsulates and encompasses
this document, which seeks to explore the relation between ‘if’ and ‘then’, as
well as the known and unknown. Towards this end, and to understand, connect
and manipulate through the measuring of material, aspects such as ‘Facts’,
‘Laws’ and ‘Quasiserial Arrangements’ are investigated.
In addition, through the study of a physical measuring tool, the metre, and the
history of the metric system, this thesis also tracks and discloses information
regarding the quest for accuracy, demonstrating how this ever-evolving
objective goes hand in hand with inaccuracy, something especially apparent
in the calculation of the immeasurable and the unknown. Part of this focus
looks at Werner Heisenberg’s Uncertainty Principle, which reveals the hybrid
and extravagant behaviour of material and also affirms that the result of an
experiment is only as accurate as the domain in which it is set.
Concepts such as fact, uncertainty and material exploration are used by the
artist in the creative process to test, measure and influence material. In this
creative process, the body is sited as subject, as one that not only measures, but
is measured against. When the body is added to a set of conditions, aimed to
question material behaviour, the results prove unpredictable. Though material
exploration and the appropriation of measuring through metaphor, the haptic
and the tactile provides access and act as placeholders for the moments where
material behaves in ways we cannot predict.<br>AFRIKAANSE OPSOMMING: Vir die studie tot ’n Meestersgraad in Visuele kunste, ondersoek hierdie tesis die fisiese
en filosofiese aspekte van meetbaarheid as konsep. Die studie is geposisioneer binne
‘n wetenskaplike filosofiese benadering tot materiaal. Binne hierdie raamwerk word
oomblikke van ‘sekerheid’ beproef en die onbekende word geopenbaar. Dus, terme
soos ‘akkuraatheid’ en ‘resultate’ word bevraagteken en getoets, asook hoe hierdie
inligting geproduseer word deur oomblikke van ‘kans’ en ‘temperament’, eerder as
wiskundige vergelykings of formules. As ‘n methode vir artististiese navorsing word
daar gebruik gemaak van ’n voorbeeld van ‘n universele voorwaardelike verklaring
soos; (x)(Px⊃Qx), wat dan dien as ‘n metafoor vir fisiese asook filosofiese kwessies
vir meetbaarheid. Die gegewe stelling dui aan dat wat aan beide links en regs van
die symbool ⊃ is, kan as verwissellende gegewes beskou word - onderhewig aan ‘n
voorwaarde soos; ‘as … dan’. Hierdie simbool som hierdie navorsing op en mik om
die verhouding tussen die ‘as’ en ‘dan’ te verken, asook die verhouding tussen dit
wat bekend en wat onbekend is. Om materiaal te verken, deur die proses van meet
en manipulasie, word aspekte soos ‘feite’, ‘wette’ en “quasiserial arrangements”
ondersoek.
Deur die bestudering van ‘n fisiese meetinstrument, naamlik die metre, asook die
geskiedenis van die metrieke stelsel, wys hierdie tesis op die voortdurende soeke
na meetbare akkuraatheid. Wat dit demonstreer, is hoe hierdie fisiese instrument ‘n
ewig-veranderende aspek saamdra, en is daarvolgens gekoppel aan onakkuraatheid.
Dus, hierdie inligting word slegs weerpeel deur middel van - en is akkurraat volgens
en is die instumente wat beskikbaar is. Die instrument bepaal die resultaat. Deel van
hierdie ondersoek verwys ook terug na Werner Heisenberg se ‘onsekerheidsbeginsel’
wat die onbekende en buitensporige gedrag van materiaal tentoonstel, asook hoe
dit bevestig dat die uitslag van ‘n eksperiment sleg akkuraat is binne die konteks van
die domein waarin dit afspeel.
Konsepte soos ‘feite’, ‘onsekerheid’ en ‘materiaal verkenning’ word voortdurend
deur die kunstenaar in sy kreatiewe proses getoets. Dit is juis in hierdie proses waar
die meet en invloed van material ‘n groot rol speel. Die kunstenaar benader die
liggaam as ’n onderwerp wat meet en waarteen gemeet word. Wanneer die liggaam
saam met ‘n stel voorwaardes gevoeg word, word die gedrag van dit wat ondersoek
word onbepaalbaar en word die onvoorspelbaarheid van material beklemtoon. Deur
die aanwending van meet deur metafoor, vir die doeleinde vir ‘materiaal verkenning’,
word die haptiese en die tasbare toegang tot material plekhouers vir die oomblikke
waar materiaal onvoorspelbaar kan optree.
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Glover, B. W. "Tropical narratives : Studies in a fifteenth-century poetic of desire and writing." Thesis, University of Liverpool, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377593.
Full textAbstract:
This thesis seeks to re-evaluate the role of trope in English late-medieval poetic narratives. The main texts included in this study are The Floure and the Leafe, The Assembly of Ladies, Chaucer's Troilus and Criseyde, Lydgate's Temple of Glas, The Kingis Quair, Skelton's Bowge of Court and Garlande or Chapelet of Laurell, and The Isle of Ladies. Material drawn from other latemedieval texts is used for comparative and illustrative purposes. Study of these texts suggests that trope should be approached as a constitutive element of narrative structure, and so, while a particular use of familiar trope emerges in this study, the thesis also offers a methodology of reading which may be useful for understanding late-medieval narrative poems in general. One of the major issues discussed in the thesis is the relation of the individual text to a poetic discourse which is seen as pre-given and in determining relation to narrative structures. The thesis traces the emergence of a range of metaphors for the discussion of poetic and linguistic issues in narrative poems themselves. In particular, images of navigation are isolated as a major metaphorics of writing seen as an activity which engages with a problematics of the control of a pre-given discourse. Thus the thesis identifies the use made of trope, in a fifteenth-century poetic, to provide a comprehensive language for the discussion of meta-fictional and meta-linguistic issues. The introductory chapter examines the implications for fifteenth-century narrative of its response to an inherited (mainly) Chaucerian poetic discourse. The second section of this chapter also provides a study of the possible role of trope in narrative texts. The claim that trope is a constitutive element of narrative structures is tested by a reading of The Floure and the Leafe in section three of this chapter. In section four The Assembly of Ladies is studied as a text which exemplifies fifteenth-century narrative poems' selfconsciousness about the writing process. Chapter Two examines Chaucer's strategies towards lyric trope in Troilus and Criseyde, and then discusses Lydgate's reading of those strategies of The Temple of Glas. The objective of this chapter is to point out some of the different responses to the use of lyric tropes in poetic narrative. In Chapter Three The Kingis Quair is studied as a text which fictionalises the pleasure and confidence which may accrue from the 'mastery' or control of poetic discourse both past and present. In contrast, in Chapter Four, Skelton's Bowge of Courte presents a fiction of the anxieties of writing within a specific, prescribed poetic discourse. In this poem Skelton generates a narrative from the use of the typical anxieties of the conventional modesty topos. Skelton's Garlande or Chapelet of Laurell, provides a contrast to The Bowge for while it uses similar metaphors for its discussion of poetic issues, it constructs a fiction of poetic virtuosity; of over-confidence rather than high anxiety. Finally, in Chapter Five a study of The Isle of Ladies suggests that this text may stand as a comprehensive overview of fifteenth-century writers' knowing use of commonplace tropes and also of the relation of the individual text to its pre-given intertextually constituted, poetic discourse
Books on the topic "Poetical metaphors"
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Elemetni di metaforologia aristotelica: In appendice: Johann Wolfgang Goethe ; Rilettura sulla Poetica di Aristotele 1827. Gabriele Corbo, 1987.
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Gaadan, Kh. Zokhist ai︠a︡lguuny tolin dakhʹ adiltgal zu̇ĭrlėl. BNMAU Ardyn Bolovsrolyn I︠A︡amny Surakh Bichig Sėtgu̇u̇liĭn Nėgdsėn Redakt︠s︡iĭn Gazar, 1986.
Find full textBook chapters on the topic "Poetical metaphors"
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Hyman, Wendy Beth. "‘Deductions from Metaphors’: Figurative Truth, Poetical Language, and Early Modern Science." In The Palgrave Handbook of Early Modern Literature and Science. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-46361-6_2.
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Labahn, Antje. "Heart as a Conceptual Metaphor in Chronicles. Metaphors as Representations of Concepts of Reality: Conceptual Metaphors — a New Paradigm in Metaphor Research." In Conceptual Metaphors in Poetic Texts, edited by Antje Labahn, Susanne Gillmayr-Bucher, Elizabeth Hayes, et al. Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463221676-002.
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Stockwell, Peter. "Conceptual Metaphor." In Cognitive Poetics. Routledge, 2019. http://dx.doi.org/10.4324/9780367854546-8.
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Heslop, Kate. "Metaphors for Forgetting and Forgetting as Metaphor in Old Norse Poetics." In Acta Scandinavica. Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.as-eb.5.121344.
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Piata, Anna. "Is all poetic metaphor deliberate?" In Drawing Attention to Metaphor. John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/ftl.5.09pia.
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Scott, Jill. "Metaphors of Forgiveness after 9/11." In A Poetics of Forgiveness. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106246_8.
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Gregoriou, Christiana. "Poetic figures, foregrounding and metaphor." In English Literary Stylistics. Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-07425-6_3.
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Labahn, Antje. "Preface and Introduction." In Conceptual Metaphors in Poetic Texts, edited by Antje Labahn, Susanne Gillmayr-Bucher, Elizabeth Hayes, et al. Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463221676-001.
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Gillmayr-Bucher, Susanne. "What did Jotham talk about? Metaphorical Rhetoric in Judg 9:7–20." In Conceptual Metaphors in Poetic Texts, edited by Antje Labahn, Susanne Gillmayr-Bucher, Elizabeth Hayes, et al. Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463221676-003.
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Hayes, Elizabeth R. "Creation, Creator and Conceptual Metaphor in Psalm 19:2–7 and Genesis 1–3." In Conceptual Metaphors in Poetic Texts, edited by Antje Labahn, Susanne Gillmayr-Bucher, Elizabeth Hayes, et al. Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463221676-004.
Full textConference papers on the topic "Poetical metaphors"
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Nunberg, Geoffrey. "Poetic and prosaic metaphors." In the 1987 workshop. Association for Computational Linguistics, 1987. http://dx.doi.org/10.3115/980304.980349.
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Grominová, Andrea. "WORK WITH METAREALISM/NEO-BAROQUE POETIC TEXTS IN THE RUSSIAN AS A FOREIGN LANGUAGE CLASSROOM." In Aktuální problémy výuky ruského jazyka XIV. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-24.
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Based on key aspects of the analysis and interpretation of the poem Rural Cemetery (???????? ????????) by one of the main representatives of metarealism Alexei Parshchikov, the concept of Literary-interpretive seminar for university students of Russian as a foreign language will be outlined. Decoding of individual metaphors and metabols can lead to increased interest of students in historical, social, cultural and technical topics as well as the expansion of knowledge in various areas of life.
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Zamarripa Roman, Brian, Amy Vary Schwandes, and Jacquelyn J. Chini. "Attending to emotion in a metaphor for success in physics with poetic analysis." In 2019 Physics Education Research Conference. American Association of Physics Teachers, 2020. http://dx.doi.org/10.1119/perc.2019.pr.zamarripa_roman.
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