Experience Of Metaphor Research Articles

METAPHORS METAMORPHOSES AT THE DISCOURSES BORDER (MODERN DRAMA THROUGH THE EYES OF A PSYCHOLOGIST)

The article offers a look at the metaphor as the mechanism of art reception process and at the same timeas the mechanism of consciousness organization together with the unconscious area. The idea is expressedthat in this case the traditional conceptual apparatus of philological science acts as an instrument ofrationalization of the sense of unity with the text, known to any reader. It is assumed that a reader/viewerholistic emotional impression can be considered in a broad psychological context associated with themetaphorization and synesthesia phenomenas.The perception of an art work is defined as a specific communicative act in which the intention of thesubject reception its ability and readiness for an aesthetic experience, a kind of openness to the text and the corresponding art work potential readiness to be experienced play a decisive role. This ability ofthe text to resonate with reader and viewer conscious and unconscious is associated with the specifics of thetext metaphorical structure and the features of identification and experience of metaphor subject.The author reveals the idea that metaphor is the language of the internal psyche structure and at the sametime the mechanism of translation into the sphere of consciousness. From this point of view the authorshow some trends of modern drama: the attraction to the incarnation of metaphors, the object-game.The examples of modern dramaturgic works show how the metaphor is able to accumulate the viewerreceptive activity.The idea that the nature of catharsis lies in the point of the opening access to the unconscious andbecomes possible due to the universal metaphorization portal is emphasized

Redescriptive Technique: An adaptation of the Bonny Method of Guided Imagery and Music (BMGIM) to bring tacit knowledge into awareness

The Bonny Method of Guided Imagery and Music (BMGIM), is an efficient psychotherapeutic method for bringing tacit knowledge into awareness and constructing new meanings. Data from cognitive neuroscience and clinical practice supports the BMGIM process and the adaptation presented in this article, called the “Redescriptive Technique”. This homework assignment is an addition to standard BMGIM procedures based upon cognitive orientations. To strengthen the understanding of imagery metaphorical experience, verbal language is used between the client and the guide during BMGIM session, with numerous therapeutic purposes. Moreover, to enable the client to take an even greater role in reflecting and integrating different aspects of his experience in more meaningful and more helpful ways, this article proposes an addition to the classical BMGIM method; the writing of a personal narrative of the experience. The innovative adaptation may be used regardless of the therapist’s theoretical orientation.

A corpus-based study of the correlation between text technicality and ideational metaphor in English

This article intends to conduct a corpus-based study on the correlation between technicality and two typical ideational metaphors in English texts, i.e., nominalization which is typical experiential metaphor and verbalization which is typical logical metaphor. A general distribution pattern of the typical ideational metaphors within the contexts of genre and discipline was investigated in the BNC. Based on this general pattern, the use of typical ideational metaphors was investigated, both in the academic papers of natural sciences and social sciences written by Chinese users of English as a foreign language (EFL) and those by native English users. The first investigation based on the BNC shows that typical ideational metaphors are not only genre sensitive but also discipline sensitive, and the technicality of text is determined by the use of verbalizations rather than by that of nominalizations. The second investigation based on the research papers shows that native English users write more technical English than EFL Chinese users, and among the four groups of research papers, the EFL Chinese science papers are farther from the native English science papers than the EFL Chinese linguistic papers from the native English linguistic papers in technicality. This research is of implication to the discipline-based English training of the non-native English learners.

Aptness and beauty in metaphor

abstractMetaphors are comparisons that link dissimilar conceptual domains. We hypothesized that the aptness of a metaphor is linked to the reader’s experience of beauty, and that age and expertise influence these aesthetic judgments. We had young adults, literary experts, and elderly adults rate metaphors for beauty or aptness. Experimental materials consisted of single-sentence novel metaphors whose familiarity, figurativeness, imageability, interpretability, and overall valence ratings were known. Results suggest that beauty and aptness of metaphors are linked for elderly adults but are orthogonal for young adults and literary experts. Elderly participants seem to conflate emotional content with aptness. Young adults are most swayed by a perceived feeling of familiarity when rating for aptness, but not for beauty. Literary experts are relatively unaffected by the psycholinguistic variables, suggesting an emotionally distanced approach to these sentences. Individual differences in literary training and life experience have varying effects on the aesthetic experience of metaphor in regard to beauty and aptness.

Blackletter logotypes and metal music

Text and band logos based on blackletter scripts are a common sight in visual metal music culture such as on album covers. This article develops a framework for analysing the affinity between blackletter script and metal music. The analytical framework includes five themes: genre tradition, religion, history, geography and shape. The first four themes have to do with connotation whereas the fifth theme has to do with experiential metaphor. Though these themes the article demonstrates how meaning is produced when blackletter scripts are used on visual artefacts such as album covers. These insights provide an answer to the question why blackletter scripts have become part of the visual repertoire of metal music and why so many famous metal band logotypes are based on blackletter.

Sex and Candy: Unwrapping How We Define Sexuality

ABSTRACTWhen seeking a more nuanced understanding of sexuality, participants can benefit from hands-on activities that provide experience with the limitation of descriptors and social shaping of definitions. In many sexuality education contexts, participants enter the learning environment with a narrow definition of sexuality. The following game provides a collective, experiential metaphor for defining sexuality that highlights default language practices of categorization, uniqueness of interpretation, and the limitation of language to fully capture any experience/definition.

The Role Playing Game (RPG) as a pedagogical strategy in the training of the nurse: an experience report on the creation of a game

This is an experience report on the creation of a Role Playing Game used as a pedagogical strategy for promoting the development of autonomy and critical-reflexive thinking among undergraduate students of Nursing during their training. The game's creation took place in the School of Nursing of the Federal University of Minas Gerais, between November 2011 - March 2012, involving four stages: definition of the game design; creation of the game's prototype; and evaluation of the game's dynamic by players of Role Playing Games; and preparation of the 'masters'. The game was created with the aim of providing the students of the Nursing Course with metaphorical experience of problem-situations corresponding to the main scenarios of professional activity. It is believed that the game prepared constitutes a pedagogical strategy in which the students engage and become involved in their process of thinking, of elaborating new meanings, of knowing and of acting.

Working with images in psychotherapy: An embodied experience of play and metaphor.

Working with images in psychotherapy: An embodied experience of play and metaphor.

Early Christian spiritualties of sin and forgiveness according to 1 John

The article attempts to investigate the possible lived experiences created by this text. The text revolves around the experience of fellowship with God (1:6, 7) who is characterised as ‘light’. For the author of 1 John, sin disrupts this fellowship. He creates an awareness and a ‘spirituality of sin and guilt’ in the lives of his readers through the use of the experiential metaphor of darkness in a dialectic combination with light and the two false negations ‘do not have sin’ (sin as a noun) and ‘do not sin’ (sin as a verb). This fellowship is re-established through living in the light: the confession, forgiveness and expiation of sin. The author creates a spirituality of confession, forgiveness and expiation of sin through descriptive cultic (blood of Jesus and expiation), forensic (paraclete), atypical (cleans, expiation, paraclete) and all-inclusive (all [twice], whole, anyone) language. Thus, in his rhetoric, the author uses metaphor, dialectic, sacrificial, forensic, atypical and all-inclusive language to facilitate a variety of ‘lived experiences’ within his readers. Firstly, he wants them to feel guilty about their sins and consequently, after they have confessed their sins, to strengthen their faith. Secondly, he wants to encourage them to believe that they can experience the forgiveness of their sins and, by doing so, know that they have eternal life (5:13) and can experience fellowship with God and, mutually, with one another.

From Losing to Loss: Exploring the Expressive Capacities of Videogames Beyond Death as Failure

In games, loss is as ubiquitous as it is trivial. One reason for this has been found in the established convention of on-screen character death as a signifier for failure (Klastrup 2006; Grant 2011; Johnson 2011). If that’s all that games have to offer in terms of addressing an existential trope of human experience, the worried protectionist concludes, shouldn’t we dismiss this intrinsically flat medium as inferior to more established media forms such as film or literature? (Ebert 2010). Contrary to this view, this paper discusses gameplay examples that shed light on how this medium might leverage its expressive resources to arrive at rich representations of loss.
 First, the notion of loss implied in Sigmund Freud’s work “Mourning and Melancholia” (1917) will be discussed in relation to losing in games. Looking at procedurality, fictional alignment and experiential metaphor as three expressive gameplay devices identified by Doris Rusch (2009) will help explain the expressive shortcoming of losing and lay out what is at stake with profound gameplay expression. Moreover, it will serve as the keywords structuring the following analysis of three videogames, Final Fantasy VII (1997), Ico (2001) and Passage (2007), and their design decisions fostering deep representations of loss. Keeping the Freudian notion of loss in mind, we can trace its repercussions on the three expressive dimensions respectively. Following a separate analysis of each gameplay example, the last section will discuss some commonalities and differences and arrive at the identification of desired object, permanent disruption and linearity as design aspects modeling loss in more compelling ways than losing.

Text organization of formal or oral and written discourse: an analysis based on the work of Borges

This study examines the text organization of formal oral and written discourse using Systemic Functional Linguistics (SFL), where Theme is considered the point of departure of the message (Halliday 1994, Halliday y Matthiessen 2004). In SFL the succession of Themes as a text unfolds constitutes its ‘method of development’ (Fries 1983/1995), which is the ‘scaffolding’ (Stainton 1993) needed for introducing rhematic contributions. Recent work in SFL has suggested that oral English tends towards more ‘contentlight’ and written English towards more ‘contentful’ methods of development (Berry forthcoming a & b). A detailed comparative analysis of the different choices in Theme and grammatical metaphor in thematic position is developed for Spanish, based on conferences by Borges and research articles on his work. Results support the hypothesis that oral discourse, even if it is formal, uses contentlight Themes with interpersonal metaphors whose function is to manifest authorial presence. In contrast written discourse uses contentful Themes with experiential metaphors whose function is to construct highly nominalized methods of development that reduce authorial presence by focusing on abstract entities.

Experiential Metaphors in Abstract Games

Despite their age and prevalence, abstract games are often overlooked in contemporary discussions of games and meaning. In this paper I offer experiential metaphors as a critical method applicable to all games, particularly abstract games. To do this I introduce structural metaphors, image schemata and experiential gestalts to explain how experiential metaphors function. I then compare this method with the simulation gap (Bogost 2006, 2007) and show how the two relate. I close with two examples of abstract games that function as experiential metaphors.

Music and Metaphor

Peter Kivy’s contour theory provides a promising explanation of the way we describe instrumental music as expressive of emotions. I argue that if, unlike Kivy, we emphasise the metaphorical character of such descriptions, the contour theory, as a strategy for unpacking such metaphors, can be defended convincingly against common objections. This approach is more satisfactory than those of Scruton and Peacocke, who make much of metaphorical experiences, but leave the underlying metaphors unexplained. Moreover, it gives the contour theory a wider scope than Kivy intended, for even very specific narrative descriptions of music in non-musical terms are perfectly legitimate as long as they are presented, and justified, as metaphors, that is, as mere comparisons, rather than as interpretative claims about the music’s actual contents.

An introduction to Neopoetics

Neopoetics is a matrix for dynamic perceptual convergences between material and immaterial systems. The deep foundational ground for Neopoetics is the Poetics of Aristotle and its relation to the ancient Greek theatre as a practical systemic ideology for the mythic Greek drama. As Aristotle’s Poetics posits six basic components for the construction of drama (plot, character, thought, diction, song and spectacle) the neopoetic system has six constituent aspects: expanded embodiment, experiential metaphor, matrix architecture, perceptual resonance, the rheomode and neopoetic mythos. Expanded embodiment describes an expansion of the corporeal body into fluid, dematerialized dimensions of experience, expression and exchange. Experiential metaphor is a sensate interface between the expanded body and the dematerialized field that contextualizes it in a neopoetic framework. It is what Roy Ascott terms an interspace: ‘found between the virtual and actual, where reality is renegotiated and the new consciousness is embodied’. The next three neopoetic aspects describe the language structures through which a new mythos is articulated. Matrix architecture is a framework for activation and alignment of the senses. It is a multisensory perceptual membrane that ignites the prism of the expanded body’s sensorium within the fluid interface of experiential metaphor. Matrix architecture articulates both a new sensorium and its interface with an integrated material/immaterial perceptual field. Perceptual resonance is the cathartic awakening of ‘the space between the senses’, evoked by the alignment of perceptual dimensions through matrix architecture. From this prismatic aperture emerges the mythic, transformative rheomode – the experiential language of the quantum wave. The rheomode is an expression of language. The term was coined by the quantum physicist David Bohm as an experiment in pursuit of a linguistic dimension of the wave. Yet in a neopoetic context, the rheomode becomes an evolutionary system. As Roy Ascott states,Language is not merely a device for communicating ideas about the world but rather a tool for bringing the world into existence. Art is a form of world building, of mind construction, of self-creation, whether through digital programming, genetic code, articulation of the body, imaging, simulation, or visual construction. Art is the search for new language, new metaphors, new ways of constructing reality, and for the means of redefining ourselves.Neopoetics mythos unfurls through the rheomode. It is an expression of an emerging ecology, an experiential awakening of the wave within the particle. Neopoetic myths are fluid evolutionary pulsations. They are transformation in the liquid convergences between material and immaterial dimensions. They are streams of lava birthing bedrock for an emerging paradigm.

Experiential metaphors in Latin: feelings were containers, movements and things possessed1

AbstractThis paper is concerned with three metaphorical schemas frequently used in Latin to encode experiential situations:experiences are things possessed,states are containers, andevents are movements. Besides describing these metaphorical mappings, this paper also provides corpus‐based evidence for conceiving of metaphorical constructions not as sporadic forms motivated by communicative demands but rather as consistent parts of semantically‐related networks of concepts. Therefore, one of the results of the present work is a description of the regularities and extensions, as well as the relative frequency and the diachronic productivity, of different metaphorical options in Latin, together with some comparison with parallel structures in other Indo‐European languages.

Have You Heard This? Designing Mobile Social Software

It is now possible to include complex visual movement in screen interfaces, including those that enable web browsing on different media devices. This article investigates the potential for employing movement in web browsing – or more specifically, how motional form may be connected to interface actions. The investigation is carried out through design experiment­ation. Techniques of ‘motion sketching’ have been developed and utilized in a practice-based research project. The resulting motion sketches are analysed as realizations of complex mediation – by drawing on social semiotics and the concept of action from Leont’ev. The article argues that motional form is made meaningful through connotations and experiential metaphors, and suggests ten provisional principles for how motional form may be used in web browsing. This challenges notions of form and function in current interface design and how social semiotic theory may be produced.

Connecting motional form to interface actions in web browsing: Investigating through motion sketching

It is now possible to include complex visual movement in screen interfaces, including those that enable web browsing on different media devices. This article investigates the potential for employing movement in web browsing – or more specifically, how motional form may be connected to interface actions. The investigation is carried out through design experiment­ation. Techniques of ‘motion sketching’ have been developed and utilized in a practice-based research project. The resulting motion sketches are analysed as realizations of complex mediation – by drawing on social semiotics and the concept of action from Leont’ev. The article argues that motional form is made meaningful through connotations and experiential metaphors, and suggests ten provisional principles for how motional form may be used in web browsing. This challenges notions of form and function in current interface design and how social semiotic theory may be produced.

The dynamic complexities of metaphor interpretation

Metaphor interpretation takes cognitive effort and produces some complex set of cognitive effects. Although most metaphor scholars assume that there are definitive ways for studying metaphor effort and effects, there are various methodological problems associated with specifying metaphorical meanings and the ways that people generally come to understand these meanings. My claim is that both metaphoric meaning and metaphor interpretation is fundamentally indeterminate. Nonetheless, there are a wide range of factors that shape the effort put into understanding a metaphor and the particular reffects that arise from this experience. These personal, linguistic, and socio-cultural factors are sometimes acknowledged by metaphor scholars, but we need to examine the complex ways these factors interact to systematically characterize people's metaphorical experiences.

The Metaphor of Experience and the Experience of Metaphor: Critical Reflection on a Contemplative Process toward Aliveness and Compassion

An epistemological web invites critical reflection and the possibility of new ideas emerging in the space between experience and different ways of thinking. A web offers a postmodern method of a hermeneutic of experience and a way of knowing that creates space for a robust, flexible, dynamic process of critical reflection and discovery. The following article utilizes an inter-textual epistemological web (see Figure 1, p. 4) to answer the question, "Do metaphors of experience and experiences of metaphor during contemplative healing prayer with a spiritual director nurture a transformational process toward aliveness and compassion?" How can one discover and communicate this reality in dialog with Hebrew scripture, psychoanalytic theory, affective neuroscience and ways of thinking about contemplative transformation?

The Visual Experience of Image Metaphor: Cognitive Insights into Imagist Figures

In this essay I investigate how image metaphors—metaphors that link one concrete object to another, such as “her spread hand was a starfish”—promote visualization in the reader. Focusing on image metaphors in Imagist poetry, I assert that the two terms (e.g., the hand and the starfish) of many of these metaphors are similar in shape and that this “structural correspondence” encourages the reader to visualize those metaphors. Readers may spontaneously form a “visual template,” a schematic middle ground that mediates between those similar shapes, in order to smoothly move between the two images within each metaphor. The structural correspondence and the mediating visual template allow readers to mentally shift back and forth between the two images, yet readers cannot fuse the two terms through visual imagery. Research supports these claims: reader reports have demonstrated that subjects understand image metaphors primarily through their physical features, and work on the visual interpretation of ambiguous figures suggests that though one cannot fuse images together, one may switch back and forth between multiple images of a figure, especially if the images share the same frame of reference. These findings indicate that readers may be particularly likely to understand image metaphor through visual imagery, especially when the terms of the metaphor correspond physically. This essay is drawn from a larger project on the “poetics of literary visualization”—a part-by-part investigation of the formal features of texts that elicit visual imagery. Such an account helps reveal the workings of the visual imagination and restore critical attention to this neglected aspect of the reading experience.