Dead Metaphors Research Articles

THE TRANSLATION STRATEGIES OF METAPHOR IN THE MAGIC OF THINKING BIG TRANSLATED INTO BAHASA INDONESIA BY DIAN PARAMESTI BAHAR

The research dealt with Metaphor Sentences. The aims of this study were: (1) to find out the translation strategies of metaphors are used in The Magic of Thinking Big and (2) to describe the translation strategies maintain metaphors in The Magic of Thinking Big. The research was conducted by using qualitative design. The data of this study were sentences. The data were collected through documentary technique and the instrument was the documentary sheet. The technique of data analysis was descriptive. The finding of this study revealed that: (1) The metaphor in The magic of Thinking Big were translated by applying six translation strategies, namely: word for word Translation (5.3%) lieral translation (4.3%), faithful translation (57.5%), Free translation (3.2%), communicative translation (30.5%) and discursive creation was found (2.2%). (2) The metaphors are maintained that found in the Magic of Thinking Big are original metaphors turned into another original metaphors, stock metaphors turned into another stock metaphors, adapted metaphors turned into adapted metaphors, dead metaphors turned into dead metaphors, original metaphor turned into stock metaphor, stock metaphor turned into original metaphor, meanwhile, 10 original metaphors and 1 dead metaphor are no longer classified as metaphors. Language has special characteristic that is metaphor sentences, therefore in the case of translating of metaphor sentences in which their concept in unknown for readers, the translator often faces the problems to find out the translation strategies to translate metaphor in a source language (SL) and how the metaphor sentences are maintained in the target language (TL).Keywords : Metaphor, Translation Strategies, Maintain Metaphor

Lexical Metaphor as Judgment: Attitudinal positioning of editorial writers in business newspapers

Drawing on appraisal theory, this paper aims to analyze how the attitudinal positioning of writers of the editorials of business newspapers can be construed by means of lexical metaphors. The focus is on judgment, the evaluation of human actors, because it indicates the subjective presence of a writer. Based on a dataset o3f 32 editorials of two Finnish business newspapers, the results show that the lexical metaphors used during assessments are mostly dead metaphors, representing the source domains of competition and sports, humans and animals, and war, battle, and violence. The most common targets of judgment are institutional actors that are described by the meanings of capacity, tenacity, and propriety. Economic actors are mostly evaluated positively while political actors are mostly evaluated negatively. Cases where economic actors are evaluated negatively and where individual persons are mentioned are unusual but do arise. In general, judgments in editorials reflect the shared values and ideological beliefs of the papers and their readers. Lexical metaphors offer a subtle way of praising and criticizing institutions and individual people, which makes them an important way of communicating as expected in a discourse community.

Lexical Metaphor as Judgment: Attitudinal positioning of editorial writers in business newspapers

Drawing on appraisal theory, this paper aims to analyze how the attitudinal positioning of writers of the editorials of business newspapers can be construed by means of lexical metaphors. The focus is on judgment, the evaluation of human actors, because it indicates the subjective presence of a writer. Based on a dataset o3f 32 editorials of two Finnish business newspapers, the results show that the lexical metaphors used during assessments are mostly dead metaphors, representing the source domains of competition and sports, humans and animals, and war, battle, and violence. The most common targets of judgment are institutional actors that are described by the meanings of capacity, tenacity, and propriety. Economic actors are mostly evaluated positively while political actors are mostly evaluated negatively. Cases where economic actors are evaluated negatively and where individual persons are mentioned are unusual but do arise. In general, judgments in editorials reflect the shared values and ideological beliefs of the papers and their readers. Lexical metaphors offer a subtle way of praising and criticizing institutions and individual people, which makes them an important way of communicating as expected in a discourse community.

Figurative Language in The Song Lyrics of Passenger’s Album “All the Little Lights”

Figurative language can appear in various types and the meaning may not be determined by its components. This study aims to identify and analyze the meaning of figurative language found in the song lyrics “Passenger's album all the little lights”. There are two theories used in this study. The first is the theory of figurative language proposed by Knickerbocker and Reninger, and the second is the theory of meaning by Leech as the supporting theory. The data in this study were directly taken from Passenger’s fourth album. The album consists of twelve songs. They were collected by documentation method and note taking technique. The collected data were analyzed using qualitative and descriptive method. This study applied informal method to present the analysis. The result of this study shows that there are nine types of figurative language found in song lyrics. They were allusion, simile, metaphor, irony, personification, hyperbole, dead metaphor, metonymy, and paradox. Most of the figurative expressions found in those songs were similes. Four out of seven types of meaning used in those lyrics in order to understand the figurative meaning in the song lyrics; they were connotative meaning, conceptual meaning, affective meaning, and collocative meaning. All the songs which are analyzed have the main theme about life and love.

English

Animal-based metaphors are ubiquitous in natural languages with distinct cross-cultural implications. In this study, these conventional or dead metaphors, so to speak, are used as a tool to measure language erosion and cultural integration. We assumed that Neo-Aramaic-English bicultural bilinguals (NA-E) and Canadian-English speakers (CE) have the linguistic and cultural capacity necessary to establish concerted conceptualizations and culturally agreed upon connection between the target and source domain of these metaphors. This assumption was based on the fact that animals are one of the main categories of language vocabulary that native speakers learn during the early stages of their linguistic development. We selected widely known animal metaphors- 13 had identical meanings and 11 had culturally distinct meanings. The results showed no significant difference between the two groups as to the meaning of identical metaphors and animal gender associations. However, we found a significant statistical difference in the good and poor match of the culturally distinct metaphors. Animal gender associations did not show any significant difference. The frequency scale did not show any significant difference except for 'always' with distinct metaphors. Key words: Neo-Aramaic, cultural integration, animal metaphors, language attrition

Good enough leadership: realism without cynicism

PurposeFor more than 70 years, leaders of all types have consistently struggled to earn the respect and followership of others to earn the employee trust which is the key to innovation and competitive advantage and to create organizational systems and cultures that fit their strategic objectives. The purpose of this paper is to address what would be “good enough” leadership qualities.Design/methodology/approachResearch methodology included research into several individuals that exceeded in leadership, and an examination of how they used the “good enough” leadership styles to be successful as leaders.FindingsThis paper suggests several ways to be an effective “good enough” leader. These ways translate your values into concrete directives, jettison dead metaphors, explore enlivening ones, subject your values to the test of dialogue, and hold onto your values less tightly.Originality/valueLeadership and leadership qualities have been widely discussed in the literature. This paper approaches the situation differently. Rather than striving for perfection and being frustrated for not reaching it, this paper explores “good enough” leadership qualities that actually work well in the professional arena.

Reading the Racinian Kaleidoscope through the Colour Red in Phèdre

Notwithstanding the generous amount of scholarly inquiry on Racine and, more precisely, on his use of metaphors, few scholars have directly and substantially approached the ways in which precise colours are deployed by Racine. Consequently, this article explores the progression of words related to the colour red in Racine’s Phedre, demonstrating that the colour red goes from being deployed as dead metaphor to becoming the literal instrument of tragedy. The article concludes by suggesting further inquiry into a literal kaleidoscope of colours in Racine’s work.

“Sent Here For Her Health”: Accounting for Sanditon’s Economies

REBECCA RICHARDSON “Sent Here For Her Health”: Accounting for Sanditon $ Economies Z ADY DENHAM, ONE OF THE PRINCIPAL INVESTORS IN THE SEASIDE TOWN ./ofJane Austen’s Sanditon, fantasizes about marrying off her nephew, Sir Edward, to an heiress: “Now, if we could get a young heiress to be sent here for her health—(and if she was ordered to drink asses’ milk I could supply her)—and as soon as she got well, have her fall in love with Sir Edward!”1 Lady Denham comically reveals her acquisitiveness, measuring Sanditon’s visitors by their incomes and conflating her desire for a rich niece-in-law with her interest in selling her asses’ milk. But it is also unset­ tling that Lady Denham’s fantasy of a marriage plot requires a young woman that is both rich and sick: while it may seem like good will to wish someone riches or a seaside vacation, wishing illnesses upon her is a differ­ ent matter. Whereas Austen’s marriage plots are always attentive to the socio-economic context of—and its confluence with—romantic desire, Sanditon is newly aggressive in applying the logic ofthe marketplace. In this essay, I argue that Sanditon draws on the rhetoric of political economy to explore how such economic logic breaks down when it is applied to the social interactions ofthe characters—and particularly when these characters are sick or injured. Most critical work on how economic thinking pervades the novel’s so­ cial world has concentrated on the marriage plot and the discourse ofsexu­ ality. As Ruth Perry has argued, “economic and sexual motives” were inti­ mately linked across eighteenth-century discourses, as writers attempted “to grapple with this confusion and to parse the relation between property and sexual exchange, to establish what could and could not be commodi­ fied.”2 In Austen’s work, this concern with the economics of marriage is i. Jane Austen, Lady Susan, The Watsons, and Sanditon (New York: Penguin, 2003), 189. Hereafter cited parenthetically by page number. 2. Perry, Novel Relations: The Transformation of Kinship in English Literature and Culture 1748-1818 (Cambridge: Cambridge University Press, 2004), 242. SiR, 56 (Summer 2017) 203 204 REBECCA RICHARDSON dealt with in the plot as well as through the style. Mark Schorer has ob­ served how Austen’s prose is “remarkable in the persistency with which the buried, or dead metaphors . . . imply one consistent set of values,” those “of commerce and property, of the counting house and the inherited es­ tate.” In Schorer’s argument, this style is especially important to the marriage plot, as “the basic situation in all the novels arises from the eco­ nomics of marriage.”3 What is exaggerated in Sanditon is the pervasiveness of economic concerns, which not only inform the plot’s romantic maneuverings—such as Sir Edward’s realization that he can only afford to seduce Clara into “the quietest sort of ruin and disgrace” (192)—but also the most mundane ofconversations—such as where to buy vegetables. As a result, words like “business” and “speculation” recur with a jarring fre­ quency in Sanditon.4 Austen’s use of this discourse taps into the Romantic era’s fascination with political economy in order to satirize it. As much recent criticism elucidates—including Perry’s above-mentioned Novel Relations, Mary Poovey’s Genres of the Credit Economy, Philip Connell’s Romanticism, Eco­ nomics and the Question of “Culture, ” Deidre Lynch’s The Economy of Charac­ ter, and Catherine Gallagher’s The Body Economic—the discourses of politi­ cal economy and literature emerged and developed in tandem across the eighteenth and nineteenth centuries. As Poovey argues, what “economic writing and Literary writing share, both historically and theoretically, is an engagement with the problematic of representation.”5 Austen’s last work, the uncompleted novel Sanditon, is, by all critical accounts, particularly in­ terested in representation—in the fantastical tales concocted by hypochon­ driacs about their health, the testimonial narration ofadvertising, the stories rented out from the circulating library that seep into daily life, and the gossip that travels within and beyond the small town of Sanditon.6 In this 3. Schorer, “The Humiliation of Emma Woodhouse, an Essay,” The Literary...

Delving into the Narratological "Toolbox": Concepts and Categories in Narrative Theory

One of the most common ways to characterize theory is that it offers a for the analysis of narratives. I find this to be an egregiously banal dead metaphor, but what is interesting is how the prevalence of this metaphor tells us much about the disciplinary aspirations of narratology itself. is because every time the narratological toolbox is invoked it operates as a methodological or metadisciplinary statement. Hence, in this article I plan to trace different uses of the metaphor to establish how narratology has constructed its disciplinary history and situated itself in relation to broader directions in literary and cultural studies, before addressing some of the paradoxes and limitations the reliance on this metaphor give rise to, particularly revolving around the role of interpretation. Ultimately, I hope to clarify our understanding of the methodological procedures in narratological analysis by suggesting the importance of distinguishing between theoretical concepts and formalist categories. will lead to a discussion of ontological levels in Salman Rushdie's Satanic Verses in relation to the question of fictionality. as we know, has traditionally distinguished itself by its theoretical focus on the deep structure of narratives, on the construction of a grammar of narrative, on the search for what constitute any and only narratives. However, we know it has often been and continues to be perceived as an abstract theoretical enterprise characterized by a neologizing obsession with formalist categories. To counteract these perceptions, narratologists often promote the export value of theory in terms of the transferable utility of its method. And here is where the metaphor of the becomes important. metaphor invites us to imagine the theoretical edifice of narratology as in fact a kind of practical hands-on enterprise, busily developing a number of concepts and categories that we can use when working on a narrative. So, for instance, in the online resource Narratology: A Guide to the Theory of Narrative, Manfred Jahn writes: This chapter builds a toolbox of basic narratological concepts and shows how to put it to work in the analysis of fiction. What gives the metaphor its ostensible dynamism, and hence its importance to the discipline, is that, like the iPhone, the toolbox can always get bigger and better. There are three broad reasons typically offered for tinkering with the toolbox: (1) We need to refine existing tools, especially when we encounter new narratives upon which the tools do not work. For instance, Gerald Prince, in the collection Analyzing World Fiction, argues that if a multicultural text involved that the toolkit supplied by classical narratology (or a richer and more powerful postclassical narratology) did not envisage and was unable to handle ... kit should be modified so as to accommodate these features (38). Or we might see the value of other disciplinary paradigms such as cognitive science for conceptualizing our tools, which is what Jahn does in his essay The Mechanics of Focalization: Extending the Narratological Toolbox. (2) We need to produce new tools, especially if we want to expand our object of study to include a whole range of different media. In On the Theoretical Foundations of Transmedial Narratology, Marie-Laure Ryan offers a critique of radical media relativism, pointing out that this approach insists upon the unique qualities of each medium, thereby forcing the theorist to rebuild the analytical toolbox of narratology from scratch for every medium (3), which of course no one wants to do. ideal, then, is a toolbox designed for all narratives, and one important tool here is the concept of storyworlds. In the introduction to Storyworlds Across Media, Ryan and Jan Noel-Thon write: Whether logical or imaginative, however, the concept of storyworld will only earn a legitimate place in the toolbox of narratology if it opens new perspectives on the relations between media and narrative (5). …

Psychoanalytic Stimulus Packages

David Bennett, The Currency of Desire: Libidinal Economy, Psychoanalysis and Sexual Revolution, London, Lawrence and Wishart, 2016, 314pp+vii; £20 paperback'What happens when we start to decode sex-talk as metaphoric moneytalk?' (p2) This is the organising question running through David Bennett's finely-argued, wide-ranging and lively study The Currency of Desire, a history of 'libidinal economy', its thinkers and discontents, from the Enlightenment to the present day. Bennett's reading is capacious, taking in everything from Lawrence to Lyotard, Viennese Actionism to Christina Aguilera, and his pursuit of his subject energetic and expansive, travelling from the 'complex marriages' of the Oneida Community in nineteenth-century North America to the new money - crime - psychoanalysis circuit of Yeltsin's Russia from our own recent past. If the vastness and stretch of Bennett's interests give his text a sometimes baggy formlessness, each chapter comes studded with insights and asides enough to reward any reader's patience. Erudite, engaging, and sometimes drily funny, The Currency of Desire combines political seriousness with an admirably scrupulous regard for what sometimes seems, to us now, the absurdities and delusions of the past. Bennett's aim 'is to denaturalise [...] the language of libidinal economy and reopen it to critique by historicising, rather than parodying, it' (p38).Contemporary consumer society, from the relationships column in the Guardian to dating apps Tinder and Grindr, is awash with money metaphors floating in the discourses of sexuality and sex talk swimming through the language of money. We 'invest' in relationships, see our erotic or cultural 'capital' rise and fall as we work over our personal 'brand' and online identity, our private lives all the while being commodified, measured and monetised by Facebook as our financial lives are subject to strictures for stimulus or austerity. Economic concepts, in Bennett's account, 'have permeated the vocabularies of both popular and scientific discourses on sexual anatomy, psychology, morality and politics for several centuries' (p7) and The Currency of Desire sets itself the task of carrying out 'the resurrection of dead metaphors, or the resuscitation of unconscious ones' (p36) in order that we might estrange and see afresh the libidinal economic terms informing our consumerist lives.Sex and money have, after all, been talked about together for a very long time. They even share cliches, from money making the world go round to the various insinuations about the 'oldest profession'. All sorts of pimps and pamphleteers have seen the financial appeal of desire, while a century's worth of Freudian analysis has searched the money-world for evidence of libidinal drives and dynamics. As the cynical author of The Wandering Whore Continued (1660) put it, 'Mony and cunny are good commodities'.1 Eschewing the twin temptations of 'biologising' money (the orthodox Freudian approach) or 'eroticising' capital (the project of both psychoanalytic dissidents such as Wilhelm Reich as well as neoliberal advertising and marketing gurus), Bennett insists instead that 'neither discourse can ultimately claim to demystify the other, or explain the other historically' (p80). At a certain historical moment 'the discourses of money and sex became inseparable', and it is this interconnectedness, and its consequences, which The Currency of Desire traces. Bennett 'traces the history of the exchange or intercourse between the languages of money and sex, economic and libidinal economy' (pp3-4), not in order for one to 'establish itself as the literal, rather than the metaphoric, voice of history' (p80), but rather so readers can trace how these two mutually-reinforcing discourses have shaped our accounts of selfhood and society together. Bennett's work is thus both psychoanalytic history and a history of psychoanalysis, a work of a discourse analysis and an analysis of discourse mutating and shifting through history. …

Metaphors in “The Elements of Language” by E.Sapir

The research is aimed at identifying metaphors and building metaphorical models underlying the scientific article on linguistics "The Elements of Language" by E.Sapir on the grounds of cognitive linguistics. It also provides classification and analysis of the metaphors used in the scientific text under question and correlation of the researcher's metaphorical models with the core ones in Linguistics. The methodology is based on the cognitive principle that each scientific text has a sense productive structure, derivative from a scientific cognitive and communicative situation, with particular stages of sense development represented in all subtexts of the scientific text. Cognitive and linguistic analyses are procedures used to identify the subtexts, metaphors (Steen 2002), to analyse and classify the latter and to build metaphorical models. The analysis revealed that E.Sapir uses mostly three kinds of metaphors: dead, conventional scientific and original (his own). Dead metaphors dominate in all the subtexts of the article. The most frequent and sense developing metaphorical models are the ones referring to Human and Nature and to Human and Results of Labour. Keywords: metaphor, metaphorical model, scientific text, subtext, linguistics, sapir

Retributive Desert as Fair Play

The moral intuition that culpable wrongdoers deserve to suffer is so strong and pervasive that some advocates of retributivism, including Michael Moore, base their positions entirely upon it. Yet, given the enormity of state-imposed punishment, it is incumbent upon students of punishment to seek broader principles of justice by which such intuitions can be explained. The moral principle that I believe most plausibly explains and justifies criminal desert is Herbert Morris’s theory of unfair advantage. I argue that commentators have failed to address Morris theory in its strongest possible form and failed to examine critically the arguments against it. Morris’s theory not only supplies normative content to intuitions of desert, it also reveals that ‘paying back a debt’ -- the original meaning of the Latin retribution -- is not a “faded and dead metaphor,” as Michael Moore asserts, but an apt description of what it is to deserve suffering for culpable wrongdoing.

The Use of Figurative Expression in Novel the Doomsday Conspiracy by Sidney Sheldon

This writing is entitled “The Use of Figurative Expression in Novel ‘The Doomsday Conspiracy’ by Sidney Sheldon”. The discussion is focussed on the analysis of figurative expression in the novel. This study is aimed to identify the types of figurative expression found in the novel and to determine the meaning represented by the use of figurative expression in the novel. The novel entitled “The Doomsday Conspiracy” by Sidney Sheldon is chosen as the data source for this writing. The main theory is adopted from the book “Interpreting Literature” by Knickerbocker and Reninger (1963) about the theory of figurative language, namely about simile, metaphor, personification, synecdoche, hyperbole, metonymy, paradox, irony, dead metaphor, and allusion as a frame or reference. There are also some supporting theories, such as Halliday’s theory (1985) about the metaphorical modes of expressions and Leech’s theory (1974) about seven types of meanings. The finding of the analysis shows that the figurative expression used in the novel can be divided into three groups: (a) comparison included simile, metaphor and personification; (b) contradiction included hyperbole; and (c) connection included metonymy and allusion. But among these types of figurative expression, the groups of comparison, simile, metaphor and personification are those commonly applied in the novel, because they are used to describe the persona’s having a deep feeling which is brought by the main character in the novel.

Afterwords: Forms of Death

Responding to this volume on genre, and especially to the Introduction, “Forms-of-life”, this Afterword contemplates genre as it is uttered through forms of semantic death: truisms, clichés, and dead metaphors. Taking its cue from Jacques Derrida’s essay “Living On,” from Bakhtin on speech genres, and Samuel Beckett’s bilingual “La Fin/The End,” it turns to love lyric writing by the English poet John Gower and his older contemporary Guillaume de Machaut. It argues that Gower uses the genre of the ballade sequence, in the wake of Machaut’s own novel explorations, to explore the dead but potent lacunas between one utterance and another, between one ballade and another, and between one language and another. In the process he works with the capacity of love discourse to offer truths even into old age (a major preoccupation of his love poetry): truths about how language might be shown to respond to language as it lives on from one cliché to the next.

Robyn Malo Relics and Writing in Late Medieval EnglandRelics and Writing in Late Medieval England. Robyn Malo. Toronto: University of Toronto Press, 2013. Pp. vii+298.

<i>Robyn Malo</i> Relics and Writing in Late Medieval England<i>Relics and Writing in Late Medieval England</i>. Robyn Malo. Toronto: University of Toronto Press, 2013. Pp. vii+298.

‘Hanging on a Tree’: Deuteronomy 21.22-23 and the Rhetoric of Jesus’ Crucifixion in Acts 5.12-42

On three occasions, Acts refers to Jesus’ crucifixion as ‘hanging on a tree’ (5.30; 10.39; 13.29), a phrase alluding to the proscriptions for displaying an Israelite convicted of a capital crime (Deut. 21.22-23). Most scholars attach little significance to this appropriation, assessing it as a dead metaphor. This article focuses primarily on the phrase’s first occurrence in Acts (5.30), arguing that the reference functions within the apostles’ rhetoric to characterize the manner of Jesus’ execution and the opponents’ maladministered judgment. After assessing the interpretive scope and availability of the allusion, the study situates the phrase in the rhetoric of the apostles’ speech, its polarization of the protagonists’ and antagonists’ respective evaluative viewpoints and the narrative development of the elements commensurate with ‘hanging on a tree’. The apostles’ speech polarizes a religio-political conflict and situates the cross as the rhetorical crux between two contradictory assessments of Jesus’ role for the people, contributing to the stark disjuncture between God’s elevation of Jesus as ruler and savior and the Jerusalem leadership’s ‘hanging’ of Jesus ‘on a tree’, a phrase that conveys more than simply the objective act of execution.

QUR’ANIC METAPHORS AND THEIR ENGLISH AND PERSIAN TRANSLATIONS: DEAD OR ALIVE?

The present study aims at discussing whether metaphors in the Qur’an, revealed more than 1400 years ago, are dead, moribund or live and how these three types of metaphors have been translated in three English and three Persian translations of the Qur’an. The results reveal that among 70 metaphors examined, while only about 32.85% are live metaphors, about 67.14% are moribund, but none of the cases are completely dead. Furthermore, based on Newmark’s (1988a) classification of procedures for translation of metaphors, there is no image in 15.21% of the procedures used in the English and Persian translations of live metaphors while there are images in 84.78% of them. On the other hand, 43.26% of the procedures used in translations of moribund metaphors transfer the images whereas 56.73% of them omit the images, although these metaphors are not dead. Yet the point is that when the majority of Qur’anic metaphors, that are moribund, had been considered by translators as dead metaphors and their images had been omitted, the translations fail to represent one of the important aspects of the original text’s literary style that is its metaphorical and literary language.

The Art of Chiaroscuro Writing: Condillac and the Question of Word Order

AbstractCondillac's use of clair‐obscur to discuss the role of inversion and sentence construction is akin to the wish to make pictorial chiaroscuro an element of intelligibility of painting, as in de Piles. This article draws on the French heritage of the two elements clair and obscur, each long‐standing metaphors. By associating clair‐obscur with inversion, Condillac places it within a history of ‘la clarté française’, freeing from the dead metaphor ‘clair‐obscur’ a series of potential meanings that the visual arts' definition of chiaroscuro had not attended to, and which are key to the uses that writers such as Diderot and Rétif de la Bretonne will make of ‘clair‐obscur’ in their literary works.

First steps into the metaphoric wilderness of macroeconomics

Purpose – The purpose of this article is to analyze the decline of two central metaphors of macroeconomics, economics and markets, and suggests ways in which metaphoric vigor can be initiated to promote economic reflection, inter-disciplinary collaboration, and more productive engagement with the broader society. Economics and markets can be described as dead metaphors which have ceased to provide any metaphoric advantage or potential but which nevertheless remain central to economic discourse. At a time when economics is coming under societal scrutiny and being asked to explain its assumptions, predictive ability and social impact, the perceived distance and sterility of economic language presents a significant problem. Design/methodology/approach – The central approach is an analysis of the ways in which metaphor come into being, provide regenerative insights and communicate open and creative discourse. Metaphor theory is introduced, as are theoretical considerations on the decline of conceptual metaphor through over familiarization. Findings – Metaphor in economics is underexplored and this article suggests that a more engaged and creative approach will provide benefit within the discipline and will be necessary to sustain the ongoing discourse with those outside the field. Originality/value – This article provides new insight into the problems associated with the failure to recognize and to resuscitate metaphor in macroeconomics. It provides original perspectives on the problem, and presents novel suggestions for reducing the communication difficulties that metaphor failure has produced, particularly in communicating economic perspectives with the broader society.

After Kandahar: Canadian Theatre’s Engagement with the War in Afghanistan

The returned soldier has been a central figure in the first wave of Canadian plays to deal with the War in Afghanistan. Returned soldiers emerge as protagonists in Pierre-Michel Tremblay’s Au Champ de Mars, Hannah Moscovitch’s This Is War, and George F. Walker’s Dead Metaphor while Evan Webber and Frank Cox-O’Connell Little Iliad deals with a soldier about to be dispatched to Afghanistan. The returned soldier, a damaged warrior and a witness to acts of unspeakable evil, is a liminal figure, connecting the passive humdrum of Canadian life to the brutality of the war zone far away. This paper looks at how such stories of the trauma of soldiers alternately participate in and critique a view of Canadian foreign policy as a series of innocent interventions in conflicts with violent, irrational enemies.