From the represenationalist stance to conceptual blending in AI-generated images

The emergence of early Christianity during the first century C.E. is a truly remarkable phenomenon. An excellent Afterword in the 2003 publication of George Lakoff and Mark Johnson, Metaphors We Live By (2003) explains the relation of Conceptual Blending (Integration) Theory to conceptual metaphor theory. The first programmatic conceptual blending interpretation of a New Testament passage in a socio-rhetorical framework has now been completed and will be forthcoming soon as a published book. This chapter focuses on six rhetorolects: wisdom, prophetic, apocalyptic, pre-creation, miracle, and priestly rhetorolect. One of the challenges is to discover how these rhetorolects blend with one another. Perhaps certain blends of two, or perhaps three, rhetorolects create emergent blend structures that are especially generative in early Christian discourse. The chapter gives a preview of blending in early Christian miracle discourse. It analyses and discusses the nature of some of the blending in early Christian miracle rhetorolect. Keywords: conceptual blending theory; early Christianity; New Testament passage; rhetorolects; wisdom

“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.

본 연구는 김구용(金丘庸)의 「뇌염(腦炎)」(1952)을 중심 텍스트로 삼아 시의 개념적 혼성(conceptual blending) 양상을 살펴보고, 더 나아가 이를 토대로 상상력 구조의 일단을 규명하고자 하였다. 인지언어학(cognitive linguistics)의 개념적 혼성 이론은 다수의 ‘정신공간’을 상정하고 그러한 정신공간들의 관계를 살펴봄으로써 상상력의 기제를 규명하려는 이론이다. 인지언어학은, 의미란 언어 속에만 존재하는 것이 아니라 오히려 우리의 인지(신체)에 의해 일어난다는 점을 강조함으로써 언어와 의미의 논의 지평을 문장과 문법으로부터 신체로까지 확장시켰다. 이러한 흐름은 시학에서도 마찬가지로 전개되어왔다. 기존의 시학은 ‘시적인 것’과 불가분의 관계에 있는 은유와 환유, 그리고 시읽기를 통해 형성되는 의미 등을 수사학의 문제로 다루었다. 하지만 시적인 효과는 인지와 관련된 문제이며, 결코 문채(文彩, figure)와 같은 수사학 차원에 국한된 것이라 할 수 없다. 이러한 이유로 인지시학(cognitive poetics)은 인지언어학의 논의와 개념들을 원용하여 시에 접근해왔다. 그러나 개념적 혼성 이론은 어디까지나 인지언어학의 학문적 흐름에서 등장한 개념이므로, 문체(style)에 관해 다룸으로써 텍스트의 의미를 규명해야 하는 시학의 경우에는 그러한 특수성을 아울러 고려할 필요가 있다. 인지시학은 ‘문학’이라는 제시 형식에 초점을 맞추면서 이를 중심으로 인지언어학의 개념들을 논의선상에 들여온다. 본 연구는 이러한 인지시학의 해석 방법론을 보다 구체적으로 구상하기 위해 개념적 혼성 이론으로 김구용의 시 「뇌염」을 분석하였다. 이러한 작업은 인지시학의 해석 방법론을 보다 정교화할 수 있을 뿐만 아니라, 새로운 시적 의미가 어떻게 만들어지고 또 전달되는지를 더 명료하게 파악하는 데 도움을 줄 수 있을 것으로 생각한다. 그리고 더 나아가 이를 통해 우리의 상상력의 구조를 그 일부나마 살펴볼 수 있을 것으로도 기대한다.The purpose of this study is to examine conceptual blending aspects of poetry using Kim Gu Yong’s “encephalitis”(1952) as a central text, and to further identify the part of the structure of imagination. Conceptual blending theory is a field of cognitive linguistics that focuses on ‘cognition’ to reveal how ‘meaning’ is formed and transmitted. On the one hand, cognitive linguistics emphasized that meaning does not exist only in language, but rather arises from our cognition(body). By doing so, the horizon of discussion of language and meaning has been extended from sentences and grammar to the body. This flow has also been developed in poetics. The existing poetics has dealt with metaphors and metonymy, which are inseparably related to the ‘poetic,’ and the meaning formed through poetry reading was dealt with at the field of rhetoric. However, the poetic effect is a problem related to cognition, and it cannot be said to be limited to the level of rhetoric such as ‘figure.’ For this reason, cognitive poetics has approached poetry using discussions and concepts of cognitive linguistics. However, the conceptual blending theory has always emerged from the academic flow of cognitive linguistics, so in the case of poetry that needs to examine the meaning of the text by dealing with style, it is necessary to consider such specificity as well. Cognitive poetics brings the concepts of cognitive linguistics to the line of discussion, focusing on the presentation form of ‘literature.’ This study analyzed Kim Gu Yong’s poem “encephalitis” as a conceptual blending theory to conceive more concretely the interpretation methodology of cognitive poetry. I think this work will not only be able to elaborate the interpretation methodology of cognitive poetics, but it will also help to understand more clearly how new poetic meanings are created and transmitted. Furthermore, it is expected that through this, we will be able to examine some of the structures of our imagination.

This thesis adopts Conceptual Metaphor Theory and Conceptual Blending Theory as its theoretical background and investigates the multiple dimensions of Netspeak on BBS using a qualitative analysis. The thesis also adopts Conceptual Blending Theory to analyze dynamic online meaning construction and cognitive mechanism of Netspeak on BBS, attempting to reveal the similarities and differences between the two language variants and promote the public's understanding of Netspeak formation. This thesis examines Netspeak on BBS from different dimensions, which is conductive to calling more attention to Netspeak on BBS, a most active language variant. Meanwhile, it enriches ontological study on language and enhances people's understanding of Netspeak on BBS, thus helping people to carry out network communication more efficiently. It also helps with English and Chinese language teaching by dealing with diverse linguistic facts in Netspeak. As an emerging language variant, Netspeak on BBS is in its initial stage and its relevant issues are worthy of further study.

Exploring Cognitive, Situational and Cultural Dimensions of Delvari Figurative Proverbs through Anderson’s Extended Cognitive Proverb Model

Conceptual blending of high-level features and data-driven salience computation in melodic generation

Translation of children’s literature has always been an important part of the study of translated works. From the perspective of conceptual blending, translation is a dynamic cognitive process involving multiple interactions among the translator, source language author and target language reader, and simultaneously binding and creative unity. Different from adult literature, children’s literature has its own particularity, so we should pay attention to translation methods and means. Based on conceptual blending theory, this thesis uses the theoretical research method and case analysis method to interpret the two processes of the cultural blending of the source text and the source text and the target language in Ma Ainong’s translation of Anne of Green Gables. In the process of blending, the translator projects some elements of the original text space and the target language space into the target language space, connecting the interaction between the source language author and the target language reader and activating the cultural cognitive framework of the target language reader. Conceptual blending theory provides a new cognitive perspective for the interpretation of children’s literature translation.

This research is an attempt to analyze compound adjectives according to the theory of Conceptual Blending, as well as to find out how meaning is formed from compound adjectives. The theory of Conceptual Blending is considered one of the most important theories in cognitive linguistics, and it investigates how meaning is formed. In it, four spaces are shared to form the new meaning. These four spaces are combined from two spaces from the input and a general space with a mixed space. The research was conducted according to the concept mixing model of (Gilles Fauconier and Mark Turner). The research hypotheses consist of: Does the Conceptual Blending theory analyze complex characteristics? Is it possible to benefit from it to find out the meaning of these compound adjectives? The results of the research show that it is possible to analyze compound adjectives according to the theory of Conceptual Blending, as well as to show their meanings, in addition to the percentage of compound adjectives that are composed of a sensory concept and an abstract concept, which is 62%, and the compound adjectives that are composed of two sensory concepts is 6%, and the percentage of adjectives that are composed of two abstract concepts is 6%. About 32%. The research was divided into two categories. The first categories talks about cognitive linguistics and the fields of cognitive linguistics. Cognitive linguistics theories in particular talk about the theory of Conceptual Blending. The second categories searches for compound attributes and their application according to the theory of Conceptual Blending.

Conceptual blending theory has been used by scholars to study various genres of texts. Scholars studying cartoons in particular have used it to study how metaphors and metaphorical blending are used in cartoons to construct meaningful texts. This paper studies selected Indian political cartoons using the Conceptual Blending Theory of Fauconnier and Turner. The themes of the cartoons chosen for the study focused on various social issuesthat were part of the media discourse in contemporary times. The study was conducted to understand how cartoons depicting social issues used metaphoric blending to visualise an issue. The paper found that the graphic form of the political cartoon mediates the understanding of a communicative event through the use of cognitive devices like metaphoric blends. It was found that novel metaphoric blends were created in a cartoon text depending on the nature of the issue and that these metaphorical blends are regulated by context and background knowledge regarding the event being represented. It was also observed that the novelty of metaphoric blends in Indian editorial cartoons depended on the social, political and cultural context. Meanwhile, the metaphoric blends also draw into it everyday objects and scenarios that structure the meaning potential of the political cartoon. Another relevant finding is regarding how certain cartoon texts had more than one conceptual blend, forming a network of blends that worked in conjunction with each other. Furthermore, it was observed how conceptual blends in cartoons aided in anchoring the meaning of the cartoon and prevented polysemic confusion. The findings of the research prove that cognitive devices are prevalent in cartoon texts and could significantly direct their interpretation and use.

This article is a study on Unconventional Indirect Speech Act from a Cognitive point of view. As a result, I confirmed that it was made into Conceptual Metaphor and Conceptual Blending working in the Indirect Speech Act.<BR> In the first, Metaphor refers to a Cognitive process that understands mapping Target domain through Source domain based on the empirical foundation. It is a Conceptual Metaphor that define the Metaphor as ‘A is B’. and I confirmed that the Conceptual Blending theory is a developed theory to solve a phenomenon the Conceptual Metaphor can’t explain.<BR> Second, I tried to analyze the ‘conversational Implicature’, which often appears in Unconventional Indirect Speech Act of modern Chinese, into the Conceptual Metaphor.<BR> And third, I confirmed the Conceptual Metaphor is incomplete to explain Unconventional Indirect Speech Act in Modern Chinese. Therefore, I tried to analyze on Conceptual Blending theory.

Based on current discussions on Conceptual Blending/Integration Theory (CIT) and Conceptual metaphor Theory (CMT), this study investigates the application of Conceptual Blending Theory to a Turkish scenario where a Turkish speaker conceptualises a dangerously speeding bus as flying and associates it with Turkish Airlines. The study emphasizes the role of conceptual blending in creating novel meanings online by integrating disparate conceptual elements, as well as highlighting the complementary nature of CIT and CMT in meaning construction. In our scenario, the speaker’s metaphoric utterance as a reaction to the overspeed of a bus was explained by the metaphor TOO FAST DRIVING IS FLYING, which inherits the superordinate metaphor FAST MOTION IS FLIGHT, which is entrenched in our cultural cognition. Through a conceptual blending network mentally activated by the conceptualisation of the speeding bus as if flying, we illustrated how selected elements from the source (bus and driver) and target (plane and pilot) spaces were projected onto the blended space. It was also shown that Vital Relations within the blending network like Space, Role, and Disanalogy compressed the relevant counterparts from the source and target spaces into new integrated concepts to create novel meanings in the emergent structure, emphasizing the danger involved in the situation in the scenario.

Conceptual blending is a cognitive theory positing the combination of diverse conceptual spaces for the creation of novel blended spaces. Musical conceptual blending can be intra-musical, pertaining to the combination of diverse structural elements for the creation of new melodies, harmonies or textures, as well as cross-domain, involving the integration of musical and non-musical spaces for the creation of novel analogies or metaphors. This article presents a structural and hermeneutical analysis of “Il vecchio castello” and “Samuel Goldenberg und Schmuÿle” from Modest Musorgsky’s Pictures at an Exhibition in an attempt to disclose both the intra-musical (combination of modal, tonal or coloristic harmonic spaces and rhythmic/textural structure) and extra-musical (contextual, symbolic and programmatic aspects) conceptual blending that the works incorporate. The reductional/prolongational analyses provide input for two distinct Conceptual Integration Networks, the first describing the intra-musical blending of melodic harmonization and the second proposing the cross-domain blending of the musical and pictorial input spaces into a blended hermeneutical space that projects the works’ narrative/programmatic/emotional potential. The proposed analyses show how musical structure promotes creative listening and meaning construction through complex cross-domain integration. This research suggests that conceptual blending theory as an analytical tool can promote a richer structural interpretation and experience of music, even in cases of instrumental, non-vocal compositions.

Assuming that Chinese–English pseudo words (CEPWs) are humorous and have multiple meanings, this study, based on the conceptual blending theory (CBT), investigates the comprehension of meaning and humor in CEPWs for Chinese speakers learning English as a foreign language (EFL). Specifically, it aimed to answer the following questions: 1) What is the humorous effect of CEPWs as perceived by Chinese EFL speakers? 2) What is the comprehensive understanding of CEPWs among Chinese EFL speakers according to CBT? and 3) How are Chinese EFL speakers’ understanding of CEPWs and their perception of the humorous effect related? This study adopted a mixed method of quantitative (questionnaire) and qualitative (semi-structured interview) approaches. It surveyed 114 native Chinese EFL speakers and interviewed 12 of them. Quantitative data were collected via a questionnaire disseminated on the online questionnaire platform wenjuan.com, gathering 114 valid responses. After collection, the quantitative data were analyzed using SPSS Statistics 20 software. The findings revealed that CEPWs are more humorous than their Chinese originals. A conceptual blending model of Chinese EFL speakers’ comprehension of CEPWs was proposed, which allows these speakers to generate numerous interpretations of CEPWs. The humor in CEPWs comes from homophony, bilingual speech, and conceptual blending, facilitated by the meaning correspondence of English words in the CEPW and context. This suggests that the incongruity between input spaces and the emergent structure of conceptual blending is involved in creating humor. CEPWs meet the criteria for puns, providing a new perspective on this phenomenon. The findings provided empirical data, based on which a model of Chinese EFL speakers’ comprehension process of CEPWs was devised, providing insights into the cognitive process behind the use of Internet language.

Although much work exists to describe design-driven meaning innovation, few provide objective tools to identify and measure meaning innovation. Within the context of everyday design and adopting conceptual blending theory, we identify and assesses design-driven innovation in meaning within cases of IKEA product hacking as examples of higher-level everyday design. Conceptual blending is used as a scaffold for a content analysis of 100 IKEA hacks to identify 60 cases of meaning change. These cases are further assessed through objective meaning innovation scores derived from conceptual blending theory. A user evaluation is then conducted through a pair-wise comparison of the 60 cases to derive meaning innovation scores. The results indicate, although personal biases, idiosyncrasies, and life experiences inevitably influence evaluation of innovation through conceptual blending, that the approach has potential as an objective means to identify and evaluate design-driven meaning innovation in cases of everyday design. Finally, broader implications for assessing meaning innovation are discussed.

In this essay, which combines historicism and cognitive criticism, I identify a previously unnoticed topical allusion in Titus Andronicus; the allusion then serves as my illustrative case-study in a cognitive account of topicality. As a historicist, I present evidence suggesting the probable topical intentions and reception of two passages from Titus. As a cognitivist, I analyze my account in terms of conceptual blending theory. Shakespeareans stand to gain by understanding topical identifications, in the minds of authors and of their audiences, as conceptual blends. Such a cognitive historicism would explain how audiences can partly infer an author's probable intentions, as well as how critics, by studying historical records with attention to cultural and individual circumstances of cognition, can partially reconstruct a work's probable reception(s) in the minds of a given audience. Finally, conceptual blending theory reveals the metaphoricity of topical identities, and hence their aesthetic novelty, which critics have neglected.