Conceptual Integration Networks Research Articles

Cognitive Analysis of Euphemisms in The Big Bang Theory under CBT

This research delves into the pragmatic function of euphemisms in the context of the American sitcom The Big Bang Theory, utilizing Conceptual Blending Theory (CBT) as the analytical framework. The purpose is to understand how euphemisms, as a form of polite language, are constructed to avoid direct and potentially offensive expressions, thus promoting social harmony. The methodology involves a detailed analysis of euphemistic language within the sitcom, focusing on the integration of mental spaces as proposed by CBT. The study identifies key euphemisms and constructs a conceptual integration network for each, revealing the input spaces, generic space, and the blended space that emerges, offering new meanings. The main results demonstrate that euphemisms are cognitively processed through the blending of spaces, where elements from different domains combine to form a less confrontational meaning. The conclusion underscores the efficacy of CBT in explaining the complexity of euphemistic language, showcasing its role in navigating social norms and cultural sensitivities. This research provides insights into American cultural nuances and the strategic use of language in social interactions, enhancing the understanding of euphemisms as a cross-cultural communication tool.

Conceptual Blending and Compound Figures of Speech

Compound figures of speech, such as hyperbolic metaphors, ironic metaphors and ironic hyperboles, have been investigated from several points of view, but the complexity of the phenomena is such that a thorough explanation is still lacking. This contribution will be focused on ironic metaphors. It will be suggested that a plausible explanation of their process of interpretation can be found within the framework of Conceptual Integration Networks. Specifically, two alternative proposals are discussed. The first one is in line with two-stage theories of figurative language comprehension, as it describes the interpretation of the compound as a blending of a blending. The second one analyses emergent meanings on a probabilistic base, as in constraint-satisfaction models of irony, which are consistent with one-stage theories. Finally, an interpretation of the empirical results obtained in previous studies is provided.

Intertextual satire in media discourse

Abstract The paper investigates intertextual satire in media discourse from the cognitive linguistic perspective. Within the frameworks of conceptual blending theory and the theory of precedent-related phenomena, we examine the cognitive processes of producing and understanding intertextual satire. By modelling conceptual integration networks, we aim to specify the cognitive mechanisms and operations involved in decoding intertextual satirical articles, drawing on examples from Private Eye magazine. The study demonstrates that the basic cognitive mechanism involved in creating intertextual satire is blending, and, in contrast to ironic utterances, which involve two contexts, in intertextual satire one and the same scenario unfolds in three contexts: real, fictional, and satirical. Thus, the blend that occurs as a result of combining real and fictional scenarios is verbalised and obvious to the recipient. The emergent structure, based on the blend, represents the intended (non-verbalised) meaning of intertextual satire, namely indirect criticism of the real situation under focus.

Conceptualizing parenthood: American newspaper discourse analysis

This study aims to elucidate the metaphorical representations of the concept PARENT within American media discourse. By analyzing the conceptual metaphors employed in newspaper discourse, we seek to reconstruct the metaphorically derived understanding of parenthood within English-speaking community. These conceptual metaphors, crafted by media presenters, exert a profound influence on the societal comprehension of this concept, both directly and indirectly. The study draws upon the Conceptual Metaphor theory, Conceptual Integration theory, and Discourse analysis. Within the scope of our investigation, the target domain PARENT encompasses four primary source domains: DUTIES, DIFFICULTIES, OWNER, and BURDEN. Our emphasis lies in scrutinizing the cross-domain mappings, which delineate systematic correspondences between the target and source domains. We investigate novel conceptualizations that emerge from conventional metaphoric patterns, employing cognitive mechanisms such as extension, elaboration, questioning, and combination. We also explore the conceptual blends and emergent structures that introduce additional layers of interpretation of being a parent. They are elucidated using Conceptual Integration Networks, specifically double- and multiple-scope models. Our analysis has unveiled the existence of four metaphorical clusters, each providing unique perspectives on how parenthood is conceptualized within the newspaper discourse.

Visual art, discourse, and Cognitive Linguistics

Abstract A live-show painting is a unique art experience and more unique is the live-show painting that takes place amid an interaction between the artist and his audience. The discourse taking place consists in an artist who is receiving propositions from his audience while painting. The present study is a cognitive discourse analysis of the interaction artist/audience in line with a semiotic analysis of the content of the resulting painting. Since the resulting painting blends the mental representations of the artist with those of the audience, this live-show painting is framed within a complex conceptual integration network that is a triple-scope rather than a double-scope network. The framework is Gill Fauconnier & Mark Turner’s (2002) Conceptual Blending Theory that fits into the understanding of the interaction artist/audience during the live-show painting. Thus the present study investigates a perceived interface between visual art, discourse, and Cognitive Linguistics.

Does Conceptual Integration Theory Work? A Case Study of the English Translation of Culture-Loaded Terms in Chinese Government Work Report

Currently, the emphasis of research on culture-loaded terminology in the Chinese Government Work Report lies in developing translation strategies, with limited analysis of the cognitive process that translators undergo during the translation process. However, Conceptual Integration Theory has gained significant attention in recent years for its effectiveness in analyzing cognitive activities. This paper employs the Conceptual Integration Theory as a theoretical framework to analyze culture-loaded terms in the Chinese Government Work Report. This analysis involves the use of the conceptual integration network, including generic space, cross-space mapping, selective projection, blending, and emergent structure, as well as the construction of mental spaces. It has been found: (1) Translators utilized four mental spaces, namely the original terms space, translator space, generic space, and translation space. Through cross-space mapping, the original terms space and translator space projected a shared, abstract structure and organization into the generic space. The elements of the original terms space and translator space were then projected into the translation space within the constraints of the generic space. (2) The simplex network is unsuitable for translating these terms, while the other three conceptual integration networks do. Translating these terms with a mirror network is deemed to be the simplest method, while the two-scope network is the most complex. This paper aims to illustrate the thinking process of translators and offer suggestions for translating these terms.

PEMBENTUKAN STRUKTUR PLOT FILEM MUZIKAL MAGIKA 2010 MELALUI CIRI DAN FUNGSI LAGU DALAM ELEMEN NARATIF TODOROV

The musical film genre is a form of entertainment film guided in the form of singing and accompanied by diagetic and non-diagetic music that forms the plot structure of a story. Each song that is sung works in moving the plot of the story so that it is easily understood and accepted by the watching audience. However, the difficulty in deepening and understanding the musical arrangement of the narrative plot will cause the plot narrative to be uninteresting and boring. Therefore, to understand the formation of the plot structure through the characteristics and functions of the song, the researcher has applied Todorov's narrative elements to 2 songs from the musical film Magika (2010) as a case study analysis. The selection of Magika films is based on the achievements of films that have won awards for best film and best original music score at the 23rd Malaysian Film Festival. The research method is conducted through interviews in stages by interviewing several film directors and composers, notes and observations of the film Magika (2010). Then the analysis study is also done by using the theory of Conceptual Integration Networks in studying the meaning of the lyrics. As a result of the research update, the researcher found that the narrative formation of the plot of the musical film Magika is due to the songs sung by all the characters that are built from song elements and plot structure through Todorov's narrative theory. The results of this study also provide implications for film makers, educators, and students in understanding the importance of song functions in the musical film genre.

COVID-19 Metaphoric Blends in Media Discourse

The study aims at describing COVID-19 metaphorical representations in media discourse. The analysis of conceptual metaphors in political and medical discourse enables a reconstruction of metaphorically based knowledge of coronavirus in English speech communities. Being produced by world political leaders and media presenters these conceptual metaphors influence the socialunderstanding of the novel disease both directly and indirectly. The study is based on the Conceptual Metaphor theory, Conceptual Integration theory and Discourse analysis. The range of the target domain COVID-19 includes the following source domains: WAR and PERSON. The latter is further elaborated as GUEST, INTRUDER, ENEMY, CRIMINAL, SPY, TEACHER. The focus is on the cross-space mappings which present the sets of systematic correspondences between the target and source domains. The novel conceptualisations based on the conventional use of metaphoric patterns are analysed within the framework of the following cognitive devices: extending, elaboration, questioning, and combining. The conceptual blends and emergent structures that provide additional layers of COVID-19 interpretation are represented by means of Conceptual Integration Networks, namely, double- and multiple-scope models. The analysis reveals that the conceptual metaphor COVID-19 PANDEMIC IS WAR is mostlyrepresented in political discourse that refers to the disease as a general threat to the world. In medical discourse the metaphor COVID-19 IS PERSON is objectified, with further elaboration of the source domain. The correlation COVID-19 IS TEACHER reveals positive connotations of the phenomenon.

CIRI DAN FUNGSI LAGU DALAM MEMBENTUK STRUKTUR PLOT FILEM MUZIKAL MAGIKA (2010)

The musical film genre is the sole film genre predominantly guided by the songs sung by the characters to understand the narrative plot. Each of the songs has its own function to develop the narrative plot so that the audience can easily understand the underlying message. The songs produced require a high level of creativity by the director and composer, who would need to research and detail each song composition on the appropriate plot queue. Therefore, the researcher has selected 2 songs from the musical film Magika (2010) as case study analysis to examine and understand how the characteristics and functions of songs in shaping the plot structure are produced. The film ‘Magika’ was selected based on its achievements of being the only musical film to have won the “Best Film” and “Best Original Music” award at the 23rd Malaysian Film Festival. The research method was conducted through staged interviews by interviewing several film directors and composers, notes, and observations of Magika’s (2010) film work. Subsequently, the study was analysed using the ‘Conceptual Integration Networks’ theory in studying lyrical meaning then focusing on beat elements in plot structure introduced by Syd Field (2005) and Blake Snyder (2005) to both selected songs. As a result of this study, the researcher found that the specially created song in the musical film Magika (2010) is a communication bridge between the characters who sing the songs which is built through the song elements and plot structure.

A Revolution Or A Journey Towards Liberty? A Cognitive Metaphorical Analysis Of The Jasmine Revolution In English And Arabic News Discourse

This study offers a cognitive metaphorical analysis of the events framing the Tunisian Revolution in English and Arabic news discourse between 2010 and 2014. The study addressed two central questions: (1) How has the Tunisian Revolution been metaphorically represented in English and Arabic political news discourse based on the cognitive domain of journey? What are the similarities and differences between the metaphorical representations in the same news discourse? The conceptual integration network emerging in the analysis is single-scope as the two input spaces of journey and revolution were demonstrated to have different organizing frames. Specifically, only the frame of journey is projected to organize the blend. Findings showed that anchoring the concept of revolution to that of journey has created a kind of semantic tension that helped journalists to evoke emotional responses and manipulate the discursive function of metaphors as persuasive tools. Because of the cross-space mappings between journey and revolution, nearly all concepts related to the revolutionary experience proved to have a counterpart in the journey frame. Equally important, the results of comparing and contrasting cognitive metaphors in English and Arabic news discourse could offer insights into the way language develops based on a cognitive basis. Therefore, learners of both English and Arabic could access the system governing language learning concerning the formation of semantic networks based on different conceptual frames, thereby enhancing their metaphorical competence. Developing learners’ metaphorical competence would help them in analyzing, reconstructing, and translating diverse textual data

Conceptual Blending and Slang Expressions in Hong Kong Cantonese

Abstract This paper seeks to examine nine slang words created newly in Cantonese, which started their life journey from the inventions of individuals and now constituting the established lexical means of expressing cultural conceptualizations. These slang expressions are analyzed with reference to the theory of conceptual integration (also known as “blending”) developed in Fauconnier and Turner 2002. In the analysis, four different types of conceptual integration network (i.e., simplex networks, single-scope networks, double-scope, and multiple-scope networks) are used to unravel the increasingly complex systems of cognitive operations with which the “slang” blends are created. During the discussion of the conceptual integration networks here, we were able to see how elements and relations from familiar conceptualizations can be transformed into new and meaningful ones that align along with the changes in cultural conceptualizations. It is hoped that this study shows that, despite having wide applications in the English language, the blending theory can provide an integrated and coherent account of the cognitive mechanisms by which colloquial words are constructed and construed in terms of cultural experiences specific to a given non-Anglo locality.

Thinking Through Monuments: Levantine Monuments as Technologies of Community-Scale Motivated Social Cognition

This study proposes that monuments are technologies through which communities think. I draw on conceptual blending theory as articulated by Mark Turner and Gilles Fauconnier to argue that monuments are material anchors for conceptual integration networks. The network model highlights that monuments are embedded in specific spatial and socio-historical contexts while also emphasizing that they function relationally by engaging the imaginations of communities. An enactivist understanding of these networks helps to explain the generative power of monuments as well as how they can become dynamic and polysemic. By proposing a cognitive scientific model for such relational qualities, this approach also has the advantage of making them more easily quantifiable. I present a test case of monumental installations from the Iron Age Levant (the ceremonial plaza of Karkamiš) to develop this approach and demonstrate its explanatory power. I contend that the theory and methods introduced here can make future accounts of monuments more precise while also opening up new avenues of research into monuments as a technology of motivated social cognition that is enacted on a community-scale.

‘RVC사동문’에서 ‘사동주’의 개념화 양상

This study examined the conceptual hybridization theory—a theoretical background— to consider the conceptualization pattern of the semantics of “sadongju” in the modern Chinese “RVC Chinese causative sentence” and explained the subjecting recognition process of Mingzheng Shadongju and Individualistic Shadongju. In other words, the semantics of causality in “RVC Chinese causative sentence” combined by causality could be explained through the psychospace theory and fixtures and presented through extension of the principle of the subjective cognitive system. As a result of this consideration, “RVC Chinese causative sentence” was presented based on the principle of the conceptual integration network, and the fixings—a specific element built in the mental space—act on semantic composition to develop causative events. The generative Pluto shares were conceptualized as causative events through the cognitive process of the principle of semantic readiness, the principle of economic feasibility, and the principle of subjectivity; the conceptualization pattern of the characterization of the “summary injection” and “foreground–background” presented as causative events. Therefore, we believe that the findings of this study regarding the conceptualization of the “Causer” semantics of “RVC Chinese causative sentence” based on conceptual hybridism has been clearly explained.

A Cognitive Semantic Study of the Impact of Socio-Cultural Factors on Meaning Construction in Selected English and Arabic Proverbs: A Contrastive Study

This study presents a cognitive semantic analysis of the impact of socio-cultural factors on meaning construction in selected English and Arabic proverbs. The main questions that the study tries to answer are related to the extent to which metaphorical usage is relevant to understanding culture and the extent to which the differences in using metaphors in both languages can be related to socio-cultural factors. The study aims at examining the applicability of the Conceptual Integration Theory to the analysis of English and Arabic proverbs to investigate the impact of socio-cultural factors on constructing the meaning of the proverbs under study. In addition, the study examines the universality of Conceptual Metaphor Theory and the shared and culture specific conceptual metaphors in the proverbs under study. Another aim is to examine the role of grammatical structures of proverbs in determining the kind of conceptual integration network. The study hypothesizes the applicability of Conceptual Integration Theory and universality of Conceptual Metaphor Theory and that both are efficient to study the impact of socio-cultural factors on meaning construction in English and Arabic proverbs. The study also hypothesizes the significant role played by grammatical structures in understanding proverbs by determining the kind of the conceptual integration network. To achieve the aims of the study and verify its hypotheses, a model based on the Conceptual Integration Theory and Conceptual Metaphor Theory has been adopted to analyse a sample of selected English and Arabic proverbs. The selected sample consists of 60 English proverbs and 60 Arabic proverbs. The proverbs belong to six topics, namely, social interaction, communication, coping and learning, human life, social life, and social viii position. These topics have been selected according to the international system for classifying proverbs introduced by Kuusi (2001). At the theoretical part, the study has arrived at the conclusion that the Conceptual Metaphor Theory introduced by Lakoff and Johnson in their book Metaphor We Live by (1980) was introduced by(الجرجاني d. 471) in his books أسرار البلاغة (1959)and دلائل الإعجاز 1989 )). At the practical part, the study has arrived at the following conclusions, among others: the applicability of Conceptual Integration Theory to the study of English and Arabic proverbs, the universality of Conceptual Metaphor Theory, and the efficiency of the mentioned theories in showing the impact of socio-cultural factors on meaning construction in the English and Arabic proverbs. The study ends up with a number of recommendations and suggestions for further studies based on the findings of the study.

Babbitt's Canonical Form Revisited: Codes and Metaphors for Epistemology

Babbitt's Canonical Form Revisited:Codes and Metaphors for Epistemology Joshua Banks Mailman (bio) Even among Milton Babbitt's composition titles (such as It takes Twelve to Tango, Whirled Series, and the Joy of More Sextets) his title Canonical Form is unusually mysterious, not for being abstruse or impenetrable, but rather for being so multiply penetrable; that is, for being so easily unwrapped to reveal several possible meanings. Until recently, the titles of Babbitt's compositions have not been subject to much scrutiny, usually being treated merely as casual diversions, prompting mere casual speculation. Alison Maggart's (2017; 2021) recent work, however, delves into aspects of Babbitt's biography, identity, and personality to develop an unprecedented hermeneutical account of his music, foregrounding Babbitt's predilection for wordplay in the form of puns, considering the possible power dynamics of humor, Babbitt's Jewish identity, and his nostalgia for baseball. The present essay pursues such a hermeneutical account, focusing on Babbitt's solo piano work Canonical Form (1983). The third of Joseph Dubiel's "Three Essays on Milton Babbitt" (1990; 1991; 1992) addresses the overall grandeur of Babbitt's Canonical Form, suggesting some possible meanings of the title, which [End Page 215] provide part of the foundation that my remarks build on. Yet since the time of Dubiel's writing, not only have Babbitt's titles begun to be scrutinized more closely (Maggart 2017; 2021), but also a number of analytical technologies and attitudes have arisen which enable, or underwrite, an even broader spectrum of interpretations than was perhaps possible, or tenable. For instance, Gilles Fauconnier and Mark Turner's (1998; 2002) conceptual blending theory, including the analytical technology of conceptual integration networks (CINs), is enlisted to model the multifaceted, multivalent nature of Babbitt's music and titles.1 It provides a framework for interpreting various analytical results, as I've demonstrated before. For instance, as I showed previously (Mailman 2020) and show below, Schenkerian analysis can be deployed to reveal tonality in Babbitt's music, such that it can be read as a conceptual blend of serial and tonal syntaxes. Later in the analyses below I also apply, to pitch registers, both oscillator modeling and David Lewin's (1995) technique of binary state operators, which he had applied specifically to rhythms and instrumentation in two other Babbitt works. Finally I present a technique of cumulative pattern matching (across domains of pitch class and pitch register) based on Boolean functions (Boolean algebra) which reveals a hidden meaning in Babbitt's title. Yet another arises from an important matrix pattern in linear algebra. Ultimately, I suggest, as one aspect of Babbitt's compositional poetics, a certain pragmatism regarding ontologies in music theoretical discourse. That is, this piano work and its title, taken together, endorse a certain pragmatism as instrumental to the progress of musical inquiry. Canonicity One of the possible meanings of the title "canonical form" that is at least worth considering is the work's engagement with canonical repertoire, not in terms of anything as overt as quoting, but rather through subtler means. In this work, and others from the 1980s, Babbitt's pitch configurations dance with the tonal languages of canonic repertoire, by eluding to brief triadic chord progressions and even longer voice-leading motions. Canonical Form is based on the same array as Whirled Series, Quartet No. 5, and Around the Horn (Mead 1994; Dubiel 1997), an array whose row features three consonant triads as consecutive segments. Furthermore these works are based on superarrays, which enable a surprisingly vast flexibility in aligning pitches to create various configurations (Mailman 2019). This is because these superarrays feature three or more [End Page 216] simultaneous arrays whose ordering relative to each other is undetermined. Thus Babbitt can choose to align pitches from different array lynes, not only to forge consonant triads but also to suggest cadential tonal gestures and, in some cases, longer chromatic tonal progressions. A passage near the beginning of Canonical Form exemplifies this strikingly. Shown in Example 1, a perfect authentic (I-V-I) cadence in F# minor launches m. 21, prepared by a melodic lead-in (A and G# from m. 20). In m. 22, six pitches, drawn...

Patterns of Ironic Metaphors in Lithuanian Politicized Discourse

[full article and abstract in English]
 The present article is an attempt to examine the metaphoric models of ironic assessment employed in politicized public discourse in Lithuania. The examination follows the implications of the Blending theory (Fauconnier & Turner 2002), and discusses the topicality of the dominant metaphoric patterns in online newspaper headlines and commentaries, as well as in a number of posters the political parties of Lithuania prepared for the electoral campaign. The database of 200 newspaper headlines, comments, and posters allowed to identify dominant references to political issues in terms of sport, miracles, family, business and crime. Furthermore, the analysis has shown that attention should be drawn to aspects of social cognition and culture as they appear to be an integral part of the blending structure and are crucial in successful transmission of both the intended message and the evaluative attitude. Metaphors in the mode of irony follow a double-scope conceptual integration network, as the final blend comprises not only the elements of the two input spaces of the employed metaphor but also the elements of our background knowledge.

Meaning Construction of Personification in Discourse Based on Conceptual Integration Theory

This article deals with meaning construction of personification in discourse from the standpoint of conceptual integration theory by drawing on examples from literary works, textbooks, other scholars’ articles and even websites. The definition, classification, linguistic structures and realization forms of personification are also discussed. Relatively detailed analyses of meaning construction of different personifications in discourse are provided by making use of different conceptual integration network models. Meaning construction of personification is a very complex process. Conceptual integration theory has very powerful explanatory forces for the meaning construction of personifications in discourse.

Embedded blends and meaning construction in Modest Musorgsky’sPictures at an Exhibition

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.

정신공간의 역할과 한국 고전시의 인지적 접근 : 松江 鄭澈의 <關東別曲>을 중심으로 하여

The conceptual integration network is very attractive due to its visualization of the cognitive process within our consciousness and the showing of the kinds of factors and processes that converge to create a new meaning. This article highlights the importance of mental space, which has been undervalued, and examines both how to structure this space and the principle for the selection of factors in mental space. I apply a hierarchy between input spaces, which have been ignored in previous research on conceptual integration networks. To explain these theories, I use the conceptual integration network to analyze Gwandongbyeolgok(關東別曲). The narrator’s consciousness of the Taoist hermit is generally spread throughout this poem. By analyzing the end part of the poem through the lens of the conceptual integration network, I examine structural features and the selection principle of factors of mental space, which form the consciousness of the Taoist hermit.

'Metió las manos al fuego por alguien'. Construcciones con el sustantivo 'mano'

El propósito de este artículo es ofrecer una propuesta de análisis de las estructuras formadas con el verbo meter más el sustantivo mano/manos desde la lingüística cognitiva (Langaker: 1987, 1990, 1991, 2008). Las estructuras en cuestión fueron tomadas de un corpus sincrónico del español de México y corresponden a expresiones como: meter las manosen un lugar, (los bolsillos por ejemplo) meter las manos por alguien, meter las manos al fuego por alguien, meterle mano a alguien y meter mano. El análisis se sustenta en la gramática de construcciones (Golberg 1995, 2003, 2006) y en la teoría de blend (Fauconnier y Turner 2002) para explicar tanto la conformación de las estructuras como sus distintos significados. Partimos de la hipótesis de que estas expresiones tienen como origen una construcción madre, a saber, la construcción de movimiento causado, la cual ve modificado su significado al añadirse el sustantivo corporal. Observamos que algunas de estas expresiones surgen de un traslape entre dos construcciones, la de movimiento causado y la de transferencia, que también permite explicar el constructo verbo-nominal meter mano.Finalmente mostramos una red de integración conceptual de estas estructuras.