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Metaphor study has been a main feature of literary study since ancient rhetoric. A number of approaches to metaphor have been devised to answer questions about whether metaphors are ornamental or essential for meaning; whether metaphors are linguistic or psychological .Much work in cognitive science has demonstrated that metaphor is a basic pattern in the way that human mind works and that there is a basic distinction between linguistic expressions of metaphor and their underlying conceptual content .The present paper is an attempt to discuss a range of metaphors in Canto I of Keats' " The Fall of Hyperion " to the aim of identifying how full words can be taken as metaphorical by a number of readers .
To draw attention to a philosopher's metaphors is to belittle him-like praising a logician for his beautiful handwriting. Addiction to metaphor is held to be illicit, on the principle that whereof one can speak only metaphorically, thereof one ought not to speak at all. Yet the nature of the offence is unclear. I should like to do something to dispel the mystery that invests the topic; but since philosophers (for all their notorious interest in language) have so neglected the subject, I must get what help I can from the literary critics. They, at least, do not accept the commandment, "Thou shalt not commit metaphor ", or assume that metaphor is incompatible with serious thought.
1993
concepts like time, states, change, causation, and pur pose also turn out to be metaphorical. The result is that metaphor (that is, cross-domain mapping) is absolutely central to ordinary natural language semantics, and that the study of literary metaphor is an extension of the study of everyday metaphor. Everyday metaphor is characterized by a huge system of thousands of cross-domain mappings, and this system is made use of in novel metaphor. Because of these empirical results, the word metaphor has come to be used differently in contemporary metaphor research. The word metaphor has come to mean a cross-domain mapping in the conceptual system. The term metaphorical expression refers to a linguistic expression (a word, phrase, or sentence) that is the surface realization of such a cross-domain mapping (this is what the word metaphor referred to in the old theory). I will adopt the contemporary usage throughout this chapter. Experimental results demonstrating the cognitive reali ty of the extensive system of metaphorical mappings are discussed by Gibbs (this volume). Mark Turner's 1987 book, Death is the mother of beauty, whose title comes from Stevens' great line, demonstrates in detail how that line uses the ordinary system of everyday mappings. For further examples of how literary metaphor makes use of the ordinary metaphor system, see More Than Cool Reason: A Field Guide to Poetic Metaphor, by Lakoff and Turner (1989) and Reading Minds: The Study of English in the Age of Cognitive Science, by Turner (1991). Since the everyday metaphor system is central to the understanding of poetic metaphor, we will begin with the everyday system and then turn to poetic examples.
Acta Linguistica Hafniensia, 1993
Imagery is manifestly a basic and omnipresent constituent of the mental life of human beings, a cognitive prerequisite of symbolization and thought. The study of the poetic functions of imagery offers us a window into the cognitive semantics of the imaginative mind, but the literary contribution should not limit itself to illustrating the generalities of the mind; it should also address the issue of literature as such: what compelled humans to create art, poetry, and fiction, and in which sense can we be said to have a 'literary mind' (cf. Turner 1996)? Imagery is a universally central dimension in poetic meaning production. Yet, cognitive poetics has made little effort so far to elucidate its semantic and semiotic mechanisms. Important as it is, imagery appears to constitute an issue exempt from deeper inquiry not only by the inherent difficulties and complexities of iconic structure but also by uncomfortable feelings about the entire field of mental representations in behaviorist psychology, analytic philosophy of mind, and anti-phenomenological thinking in general. In order to develop the study of poetic imagery in the framework of a cognitive semantics and semiotics, we suggest interrelating plain literary reading and cognitive research as directly as possible, and thus openly focusing on and exploring meaning production as it occurs in the poetic text, rather than using poetry only to illustrate certain notions in cognitive semantics. Here, we will limit ourselves to analyzing two cases of reprocessed imagery, followed by some overall theoretical considerations on cognitive literary studies.
1983
Language is a strange and interesting tool. We use it all the time with great familiarity, yet the mechanisms underlying its operation are almost total strangers to us. Of course, we all know that language is a system of rules and conventions that makes possible the expression of thoughts, aspirations, promises, requests, questions and so on. However, particularly when one comes to the study of metaphor, this does not tell us very much. One reason is that a metaphor, at least at first glance, seems to depend on the violation of rules and conventions for its success and intelligibility. But nonsense also depends on such violations for its failures and unintelligibility. If, therefore, one attempts to treat metaphors (and other tropes) as violations of conventions, one will have to be sufficiently specific about which conventions are violated and in what manner, to distinguish metaphors from nonsense. To do that would be tantamount to providing a definition of metaphor, something that I shall not attempt in this paper (but see, , for discussions of this issue). Whether or not metaphors are to be accounted for in terms of conventions for violating conventions, there are several reasons why the topic of metaphor is a particularly interesting and challenging one. Which of these reasons one finds most compelling depends a great deal on one's perspective. From the perspective of a scholar of literature an important reason might be that a better understanding of the mechanisms underlying tropes in general, and metaphors in particular, is likely to lead to a better understanding of the nature and functions of literature itself. This is especially true if one views tropes as an essential ingredient of literature; metaphors, after all, have traditionally been regarded as the archetypal trope. For the teacher of literature (particularly to pre-adolescent children) one might have some quite practical reasons for wanting to understand the nature of figurative language. Children certainly cannot understand all of the metaphors they encounter (indeed many adults cannot either), and from this fact at least two interesting questions arise. First, what are the limits or constraints that exist on the comprehension of metaphors? Are they, as some psychologists (e.g., Asch & Nerlove, 1960; Cometa & Eson, 1978) have suggested, cognitive constraints, or are they merely the constraints imposed by a limited experience of the world? Second, if metaphors fulfill a necessary communicative function by permitting the articulation of literally inexpressible ideas , how is one to explain to someone who fails to understand a metaphor what that metaphor "means"? These questions are also of concern to the developmental and cognitive psychologist interested in the psychological processes underlying the comprehension of language in general.
2008
Anyone who has enjoyed a good novel, short story or poem will surely have paused, pondering some turn of phrase, image, or metaphor so memorable that it begs to be committed to memory, repeated, shared with friends. At the other extreme, the same reader will have scanned much wording that is so unremarkable as to simply go unnoticed. The goal of this paper is to discuss factors involved in mapping the complex and mysterious territory between those two extremes, using example metaphorical types that occur in the prose of one novelist, acclaimed Canadian writer Margaret Atwood.
Drawing Attention to Metaphor, 2020
This volume is the product of a conference, The premeditated path. Deliberate metaphor in ancient and modern texts, that was held in Berlin in July 2016 under the auspices of the Excellence Cluster 264 ‘Topoi: The Formation and Transformation of Space and Knowledge in Ancient Civilizations’. The impetus for the conference and its subsequent publication was twofold: firstly to attempt to engage with the different sides of the debate about “deliberateness” or “marking” in metaphor usage and secondly to see whether texts from the ancient world could offer some new perspectives on the signalling of metaphorical language.
Synthese, 1984
A number of philosophers, linguists and psychologists have made the dual claim that metaphor is cognitively significant and that metaphorical utterances have a meaning not reducible to literal paraphrase. Such a position requires support from an account of metaphorical meaning that can render metaphors cognitively meaningful without the reduction to literal statement. It therefore requires a theory of meaning that can integrate metaphor within its sematics, yet specify why it is not reducible to literal paraphrase. I introduce the idea of a “second-order meaning”, of which metaphor is but one instance, that is a function on literal-conventional, i.e., first-order meaning, and outline a linguistic framework designed to provide a representation of linguistic meaning for both. This framework is designed to represent linguistic units ranging from a single word to an entire text since I argue that the by-now familiar position that the sentence is the appropriate unit for metaphor has mislead us into asking the wrong questions about metaphorical meaning. With this apparatus, we can specify the conditions under which an utterance may transcend the constraints on first-order meaning (transgressions not always apparent on the sentential level), without thereby being “meaningless”. Conversely, we can specify the conditions that may render apparently odd utterances first-order meaningful rather than metaphorical. In this way we see how metaphorical language differs both from deviant language and from specialized language such as technical language, fanciful and fantastical language (in fairy tales, science fiction, etc.).
In Metaphor and Metonymy at the Crossroads, 253-81. Antonio Barcelona, ed. Berlin: Mouton, 2000
European Journal of English Studies, 2004
Journal of Pragmatics, 1998
Metaphor has long enjoyed a special status for students of rhetoric and literary criticism. For many, it exemplifies how literature differs from other, more mundane types of language use. The elucidation of metaphor has traditionally been viewed as a task for the humanities, but recent developments in the social sciences have challenged this academic franchise. The rise of psycholinguistics in the 1960s began this trend, with scientific study of the concept of grammar. The 1980s witnessed another step in this process the development of an approach referred to as the empirical study of literature. Although this term has been applied in various ways, I will define it rather narrowly for the purposes of this review. The empirical study of literature refers to the application of methodologies from experimental psychology and cognitive science to the study of literary production and comprehension.
Proceedings of the Aristotelian Society (Hardback), 2010
Respectus Philologicus, 2020
(representing universities and research institutions from Norway and The Netherlands) (2019: 1-21) outlines the theoretical and methodological foundations, purposes and aims of the Metaphor Identification Procedure (MIP) and Metaphor Identification Procedure of the Vrije Universiteit Amsterdam (MIPVU) frameworks. Starting with a clichéd statement that metaphor research is still of high interest in the scholarly community, it becomes clear that the founders of MIP and MIPVU intend to go new ways in linguistic metaphor research by looking for a new, more up-to-date approach to metaphor identification considering chances of globalization and digitization. "The academic community is clearly taking metaphor identification seriously, in the goal of producing reliable, replicable, and theoretically valid metaphor research" (p. 1). All in all, "[t]he aim of this volume is to bring together adjustments and adaptations of MIP and MIPVU across a range of different languages and language families into one coherent overview" (p. 2). Later on, in this review, we will see that exactly the need to adjust and to adapt brings more questions to the fore than was, possibly, initially intended by the researchers presenting their insights and findings. Although Chapter 1 sketches out history, methodology and intentions of MIP and MIPVU, some serious shortcomings and drawbacks can be noted, especially concerning two basic areas of any research to be conducted, first, the terminology used to create a theory and a methodology as well, and second, the history of research into metaphor. The former basic area finds its expression in the fact that in Chapter 1 the designations of the object of interest are manifold, as there are "metaphor" (p. 1), "linguistic metaphor" (p. 2), "a lexical unit … used metaphorically" (p. 6), "metaphorical words" (p. 6), "a word to be considered a metaphor" (p. 7), "words that have been … used in a metaphorical sense" (p. 7), "a particular word judged as a metaphor" (p. 7), "words … that are metaphor" (p. 8), "linguistic manifestations of metaphor" (p. 9), and finally "metaphor-related words (MRWs)" (p. 11), which shall be used as an instance of the intended identification procedure. Such a (for beginners, and maybe for experienced scholars, too) chaotic appearance of terms or term-like designations does not contribute to create a clear understanding of what the object of research interest might really be. That are different categories of linguistics phenomena can be covered by such a range of terms, starting with the word level and preliminarily ending with the broadest interpretation suggested by "linguistic manifestation of metaphor", which will include all that a language may offer that can become a metaphor. At this point, distinctions of kinds of metaphors are not mentioned yet. A distinction such as "direct", "indirect" and "implicit" metaphor may follow certain classical and recent theories of linguistic metaphor. Still, such labels as "deliberate" (p. 1) and "non-deliberate" (p. 12) metaphors should be treated as worthwhile
Yasir Al-Jumaili, 2018
Much previous research on the representation of depression and melancholy in the poetry of John Keats has taken a biographical approach, judging his poetry with reference to known facts about his life. This study is different. It takes a cognitive perspective in which metaphors of negative mental states are analysed from a conceptual point of view. To do this I adopt current approaches to analysing metaphor, primarily Conceptual Metaphor Theory (CMT) and Conceptual Integration Theory (CIT). I make use of identification procedures and the analysis of the following elements: source domains, conceptual metaphors, and cross-domain mappings. The study is based on a selection of poems; only the parts that relate to negative mental states are analysed. I begin by focusing on two poems (‘To Hope’ and ‘Ode to a Nightingale’) while testing my methodology, and then I broaden my focus to a Keats’s whole collection of poems in the final stage of my research. Analysing such metaphorical expressio...
Journal of Pragmatics, 2000
Goatly's book The language of metaphors is an extensive description of the linguistic appearances of metaphors and their functions and purposes. New insights into the analysis of metaphorical interpretation are provided. Many corpus examples (from literature and common use) are analyzed, with respect to the different grammatical forms in which Vehicle, Topic, Ground, or marker of metaphorical interpretation each may occur in discourse. This review will not provide the most pleasant reading experience you ever had. Apart from the capabilities of the reviewer, there are three reasons why encapsulating The language of metaphors does not lead to a neat review. The first is that Goatly discusses many different approaches to the subject of metaphor, introducing a lot of terminology. Secondly, his way of analyzing metaphor consists of categorizing many different appearances of metaphors, which leads to mentioning a lot of category names. The last reason is that Goatly uses capital letters to indicate terminology and categorizing terms. Frankly, it does not make the book itself a pleasure to read. With respect to the use of capital letters, I have chosen to keep a term capitalized (e.g. Topic), whenever I cite one. When I use similar terminology myself, explaining aspects of Goatly's work, I do not capitalize (e.g. topicalize). So, a capitalized word in this review is always taken from Goatly's book. Terms that are not capitalized in the review, but obviously stem from the book, did not have capitals in the book either. The term 'metaphor', for instance, is not capitalized in The language of metaphors. The chapters of the book can be divided into three groups: the first four chapters are involved with various linguistic approaches to the analysis of metaphorical meaning. Chapters 6, 7, and 8 are dedicated to an analysis of how the linguistic appearance of a metaphor or one of its constituting parts influences its interpretation. Chapters 5 and lO treat the communicative functions of metaphors.
Forum Qualitative Sozialforschung/Forum: …, 2000
G. LAKOFF and M. JOHNSON's theory of cognitive linguistics and their definition of metaphor and metaphorical concepts have led to a variety of qualitative approaches whose common aim is to reconstruct metaphorical concepts and metaphorical reasoning in everyday language. Targets of these approaches were cross-cultural, cultural, subcultural, individual matters and metaphoric interaction. To illustrate this, two different strategies for a systematic procedure are briefly outlined.
The General Science Journal, 2022
The interest in the study of figurative language dates back to the Greek era, but it is in the last decades of the 20th century when it reaches its greatest intensity, especially the study of metaphor and its relationship with cognitive processes [3]. The analysis of this relationship is the objective of this work, which begins with a brief historical introduction to the philosophy of language. After it, a first reflection on knowledge and figurative language in which the most outstanding positions are analyzed: the standard pragmatic model, the theory of prototypes, and idealized cognitive models. This initial approach ends by considering the possible differences between literal and figurative language processing. This first reflection is followed by another on metaphor as a form of figurative language, which gives way to a summary of the most representative positions on the study of metaphor: M. Black; D. Davidson; J. Searle; G. Lakoff and M. Johnson; and WL Benzon and D, G, Hays. In the last part of the work, some considerations on the frequency and ubiquity of metaphors are exposed and some elements from organic evolution are suggested that could enrich the debate on metaphor and knowledge.
It is now accepted as axiomatic that metaphor pervades all kinds of human discourse, and popular scientific texts are no exception. Indeed, such texts often contain a remarkable number of metaphorical expressions, metaphor in popular science fulfilling a number of different functions. This thesis involves a text-based analysis of nearly 1400 translation examples drawn from a corpus consisting of the official published translations into French, Italian, German, Russian and Polish of 62 Scientific American articles that appeared between January 2003 and July 2004. It aims to provide a broadly qualitative analysis of the kinds of solution that translators commonly resort to in rendering both single metaphorical expressions and entire underlying structures. One of the main advantages of such a data-rich multilingual study is that it can potentially produce results that allow one to draw conclusions about a particular aspect of translation at a high level of generalisation, and this is a benefit that the work seeks to exploit. The approach adopted is inductive, and the thesis offers a categorisation of source-text metaphorical expressions along the lines of the following seven parameters: mapping, typological class, provenance, richness, level of categorisation, purpose and conventionality. Of these, three are used to produce a detailed analysis of the translation patterns contained in the corpus, the use of multiple parameters in this way making it possible to view the data from a range of different angles. Throughout, the work is informed by the insights of translation studies and metaphor studies, and indeed explores the relationship between these two disciplines. However, its ultimate centre of gravity lies within translation studies.
In recent research, metaphor is increasingly confronted in terms of a cline rather than a dichotomy. Yet the decision of whether a word or phrase is metaphoric is not as straightforward as a one-level cline suggests. The notion of 'metaphoric meaning' has further reaching implications on our language understanding and use than is commonly discussed. Metaphor is often subjective and dependent on changes in language specific to time period, genre, environment of the speakers or writers, and context. Furthermore personal experience and judgment are crucial factors in addressing and understanding meaning, whether metaphoric or literal. Approaching metaphor from a lexical stance, this research project adopts the psychological theory of lexical priming (Hoey 2005) as a way of explaining the collective linguistic patternings and associations within metaphor. The data is taken from a corpus of Nineteenth Century writings and focuses upon the single item flame. The focus is on a qualitative analysis of problematic cases of metaphor, which are not easily identifiable or characterized through collective primings. The research concludes that the functionality of 'metaphor' as an umbrella term is often too restrictive. Moreover the research serves to illustrate that the perspective on lexical metaphor should be re-focused on to the individual language user and the social processes that dominate our ever-changing use of language and meaning.
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