Metaphor Research Articles

Metaphors and trauma: An image schematic analysis of symptom-specific metaphors

Metaphor analysis is known to be insightful for understanding how psychological trauma is conceptualized. While previous research on trauma metaphors mainly examined the subjective experience of general traumatic feelings, little has been said about post-traumatic symptoms of clinical significance. This paper investigates symptom-specific metaphors produced by five trauma victims, who were exposed to the 2019–2020 social unrest in Hong Kong and met the diagnostic criteria of Acute Stress Disorder (ASD) as assessed by the Stanford Acute Stress Reaction Questionnaire (SASRQ). Sixty-four symptom-specific metaphors were categorized according to the post-traumatic symptoms they described and examined for their image schematic groundings. Although the participants had no professional knowledge about post-traumatic symptoms, they still described the feelings using experientially distinct constructs. The findings reveal the possibility for symptomatological manifestations to be captured in metaphorical language and distinguished at the image schematic level, highlighting the complementary value of symptom-level analysis in cognitive semantic analysis of trauma metaphors.

Conceptual Metaphor and Graphical Convention Influence the Interpretation of Line Graphs.

Many metaphors in language reflect conceptual metaphors that structure thought. In line with metaphorical expressions such as 'high number', experiments show that people associate larger numbers with upward space. Consistent with this metaphor, high numbers are conventionally depicted in high positions on the y-axis of line graphs. People also associate good and bad (emotional valence) with upward and downward locations, in line with metaphorical expressions such as 'uplifting' and 'down in the dumps'. Graphs depicting good quantities (e.g., vacation days) are consistent with graphical convention and the valence metaphor, because 'more' of the good quantity is represented by higher y-axis positions. In contrast, graphs depicting bad quantities (e.g., murders) are consistent with graphical convention, but not the valence metaphor, because more of the bad quantity is represented by higher (rather than lower) y-axis positions. We conducted two experiments (N = 300 per experiment) where participants answered questions about line graphs depicting good and bad quantities. For some graphs, we inverted the conventional axis ordering of numbers. Line graphs that aligned (versus misaligned) with valence metaphors (up = good) were easier to interpret, but this beneficial effect did not outweigh the adverse effect of inverting the axis numbering. Line graphs depicting good (versus bad) quantities were easier to interpret, as were graphs that depicted quantity using the x-axis (versus y-axis). Our results suggest that conceptual metaphors matter for the interpretation of line graphs. However, designers of line graphs are warned against subverting graphical convention to align with conceptual metaphors.

Trapping yet trapped: the ‘I-society’ discourse

Despite the abundant literature concerning domestic violence against women, very little is known about battered Arab women in Israel. Using intersectionality as the overarching conceptual lens, this study drew from in depth-interviews with 36 battered Arab women and adopted a narrative approach to reveal how battered Arab women in Israel are trapped in abusive relationships within a conflicted society. Drawing from discourse analysis, the findings revealed that participants used the same words to describe themselves and to describe Arab society. This use of metaphorical language revealed the additional meaning of societal patriarchy. It illustrated Arab society’s way of dealing with its entrapment through projecting its difficulties onto Arab women who served as the society’s scapegoats, causing many to suffer not only from multiplied oppressions, but also to face life threatening situations.

Translating perception metaphors: Linguistic, cultural and social implications

Explaining the process of translation has become a challenging aim for different research fields. Rather than just relying on the analysis of translated texts, it is vital to analyse the process of translation: what are the reasons behind the translator’s choices and what are the factors that influence the process? This article uses data from three experiments involving a total of 102 participants, who were asked to translate English perception metaphors into Estonian. The empirical results indicate that there are different factors that either hinder or enable translation. Most importantly, context supports the translating of both cross-cultural and culture-specific metaphors. Also, previous translation experience helps participants deal with metaphoric language. Another salient factor was living in an English-speaking country: participants with such experience found it less challenging to translate metaphoric language even if the metaphors were novel. Finally, educational background in translating facilitates the translation of metaphors

On the Conceptual Metaphor of Chinese Characters Yin and Yang in Yellow Emperor’s Inner Canon

In TCM culture, it is very common to see metaphors. We can apply what we have already known about the world to the biological phenomena and the regulation of diseases which we may not know a lot. Based on this kind of analogy, it forms many metaphorical concepts or conceptual metaphors. Yin and Yang, as a pair of Chinese characters with high frequency in TCM classics such as Yellow Emperor’s Inner Canon, are a great example of the use of conceptual metaphor. In the past years, many researchers have devoted themselves to studying the meaning of these two Chinese characters, in particular, in the context of Yin-Yang theory. However, previous studies fail to do a systematic research on the conceptual metaphor of Yin and Yang. Therefore, this paper is concerned with the study of Yin and Yang from two different aspects—the meaning of Yin and Yang in Yellow Emperor’s Inner Canon and the conceptual metaphor of Yin and Yang in the Yin-Yang theory. In the process of research, the author reads a number of documents and TCM classics concerning Yin and Yang. Finally, the author comes to the conclusion that the conceptual metaphor of Yin and Yang in TCM can be summarized to stand for the attributes of two opposite aspects of interrelated things or phenomena, and Yin and Yang possess four different kinds of relations among them. Besides, the formation, development and changes of all things result from the contradictory movement of Yin and Yang with unity of opposites. Or we can say that the four relations of Yin and Yang run through TCM when it comes to body structure, physiology, pathology and pulse manifestations. The research on the conceptual metaphor of Yin and Yang in Yellow Emperor’s Inner Canon, in a sense, can help people better understand the conceptual metaphor in TCM language and figure out the meaning of Yin and Yang.

Serhiy Eisensteinʹs Filmmaking in the Context of Japanese Visual and Performative Practices.

The article examines creative techniques of the outstanding film director Serhiy Eisenstein in the context of Japanese visual and performative practices. In particular, a range of sources that formed Eisenstein’s idea of the Japanese artistic experience is identified. They include works of Japanese art, hieroglyphics, scientific literature, kabuki theatrical performances and communication with the bearers of Japanese theatrical tradition. A variety of borrowings of creative techniques of Japanese artists and their creative interpretation is revealed on the basis of a comparative analysis of Japanese visual and performative practices with the materials of theoretical and creative heritage of the artist and memoirs. Pre-drawn compositions of frames (so called “sketches”) reveal the techniques of Japanese engraving, samples of which were stored in the directorʹs own collection: close up compositions, sharp camera angles and perspective cuts, expressive silhouettes, shadow play, forming a second meaningful plan. Close ups in the film Ivan the Terrible contain many parallels with such techniques of Kabuki Theater as grotesque facial expressions, mimic facial wrinkles, apples of the eyes extremely slanted to the side, or brought to the bridge of the nose. The models of expression of various emotional states honed in the theatrical practice of Japan corresponded to Eisenstein’s idea of cinema “types”. The principles of using sound as one of the means of expression in the performance of kabuki prompted the director to develop the concept of editing as the main means of developing an audiovisual work. It is established that Eisensteinʹs research of various branches of Japanese art, his experience in the study of hieroglyphic writing directed the masterʹs creative experiments in search of metaphorical language, the principles of developing a clear, easy to read visual component.

Revitalizing Local Wisdom in Balinese Simile: An Effort to Enhance Balinese Youth Character

The moral message in local languages is often referred to as local wisdom. Local wisdom plays a very important role in people's lives since it is used as a means and basis for solving their encountered various problems. As one of the big local languages in Indonesia, the Balinese language contains many figurative languages that are rich in local wisdom values. The values have proven to be a shield to protect the Balinese people and their culture from the globalization attack. For this reason, local wisdom found in Balinese figurative language needs to be revitalized to be understood and implemented by the younger generation of Bali. One of the figurative languages studied in this study is the simile. Similes of the Balinese language are studied by combining three approaches, namely ecolinguistic, pragmatic, and cultural approaches, to reach detailed analysis results. Simile as part of a metaphor is an expression or discourse conveyed by the speaker indirectly to the interlocutor with certain aims and objectives. The ecolinguistic approach examines the form, function, and meaning or ideology contained in metaphorical language. Meanwhile, a pragmatic approach and a cultural approach are used to assist the ecolinguistic approach in uncovering the functions of figurative language in society and explaining the meaning or ideology existing in Balinese society. The values were reviewed for relevance to the current people's lives contaminated by information technology and tourism development.

Authors’ Figurative Expressions From Two Novels: A Comparative Analysis Between RTJNA Rosso and RTJNA Blu

Stylistic analysis of the novels Reisei To Jounetsu No Aida Rosso by Ekuni Kaori and Reisei To Jounetsu No Aida Bluu by Hitonari Tsuji is an analysis of metaphorical language style as a figurative language used to express the author's thoughts, personality, and perspectives. The use of distinctive language in a work shows the characteristics of individualism and the style of each author in conveying ideas through the medium of language. This study uses the metaphorical perspective of Michael C. Halley and Stephen Ullman. The results of the analysis show that the use of an author's language style provides information about the author's cultural background and the context in which they communicate. The metaphorical language style is used by the authors to express feelings and express different thoughts and each author has a uniqueness or specialty style which can be felt in a significant way by the readers of their works.

Computational Topic Models for Theological Investigations

ABSTRACT Sallie McFague’s theological models construct a tensive relationship between conceptual structures and symbolic, metaphorical language to interpret the defining and elusive aspects of theological phenomena and loci. Computational models of language can extend and formalize the conceptual structures of theological models to develop computer-augmented interpretations of theological texts. Previously unclear is whether computational models can retain the tensive symbolism essential for theological investigation. I demonstrate affirmatively by constructing a computational topic model of the moral theology of Thomas Aquinas from Summa Theologica (Second Part, in English translation) useful for interpreting not only the Thomistic text but also recent papal encyclicals.

Book Review 1: Metaphor in language and culture across world Englishes

Book Review 1: Metaphor in language and culture across world Englishes

Семантика часу у драматургії Лесі Українки

The article examines the understanding of the category of time by modernist philosophy and art and its representation in artistic texts. For the first time the ancient Greeks turned to the development of the category of time in different planes - philosophical, artistic, aesthetic. The philosophy of modernity rethinks the category of time and creates two models of time in culture and art. Both models have their own system of images and metaphorical language. This enriches the semantics of time. We distinguish two models of time proposed by modernist art. The first model describes metaphysical and real time by using the concepts of eternity and the moment and offering two mythological images: Kronos, as the embodiment of universal, abstract time, and Kairos, which symbolises a specific time, each moment of human life. Metaphysical time is embodied in the images of the seasons (summer, winter, spring), of the day (day, night), of all that has a tendency to constant recurrence and existence. Real time includes that which cannot recur (moments, periods of human life, years). The first model of time works with numerous images of eternal youth and the ephemerality of life. The second model of time is linear / historical and cyclical / mythological time. Mythological time is viewed through the idea of eternal rebirth or reincarnation, which is inspired by Eastern philosophy. The dramatic work of Lesya Ukrainka, a leading representative of early Ukrainian modernism, is no exception in terms of the new approach to the category of time. The concept of time in Lesya Ukrainka's dramaturgy is considered according to the philosophical and aesthetic paradigm of early European modernism. The author turns to both models of time and offers her own semantic solutions. The time models are distributed as follows: linear / historical time is present in texts on the cultural history of mankind (“Three Minutes”, “Boyarynia”, “Rufin and Priscilla”), while cyclical / mythological time is inherent in dramatic works based on mythological plots (“Forest Song”, “Captivity of Babylon”, “Cassandra”). The writer also considers the concepts of memory and eternity in time-related models. The memory that lives in future generations becomes a sign of eternity. At the same time, the concept of eternity, despite belonging to universal time, also contains the semantics of rebirth, of the eternal circle of birth – death – return.

SOCIAL AND ARTISTIC DISCOURSE OF ROMAN MININ'S DIPTYCH «ESCAPE PLAN FROM THE DONETSK REGION»

The article examines one of the key works of the modern Ukrainian artist Roman Minin – the diptych «The Plan of Escape from Donetsk Region». Roman Minin's work is a significant and unique phenomenon in Ukrainian contemporary art. Since the beginning of the 2000s, he has been representing Ukraine on the international art scene. However, the stages of formation of the artist’s method have not yet been deeply analysed. This determined the relevance of the research topic. In Roman Minin's work, social aspects are very closely intertwined with the artistic method, forming a specific socio-artistic discourse. The artist is a native of Donbas and his work is closely connected with it. In the 1990s and 2000s, the Donetsk region was the centre of the coal industry in Ukraine, but faced a serious economic and social crisis. The author was born and grew up in a mining environment, and the works of R. Minin are one of the forms of knowledge and understanding of the Donbas. In «The Plan of Escape from Donetsk Region» the artist raises the problem of the internal migration process, which led to low living standards and the impossibility of resisting the circumstances that have historically developed in the mining region. The article uses materials from interviews w ith the artist, published in 2013–2019. After examining the diptych «The Plan of Escape from Donetsk Region» in comparison with earlier works, it is proved that the diptych underwent a transformation of artistic techniques towards graphic simplification, symbolic images became more schematic. Using a metaphorical language and an exquisite arsenal of his own symbols, the author enters into a dialogue with the viewer, creating connection between the artist and society.

Die Erfindung der Aufklärung

Compared to movements elsewhere in Western Europe, the German Enlightenment is considered a latecomer and a fairly non-combative one at that. Using methods from the historiography of concepts, images, and metaphors, this article shows that a conception of Aufklärung as a form of intellectual improvement and a combative reform process emerged in the Germanspeaking lands shortly after 1700. It was decisive for the attractiveness of aufklären and Aufklärung that they found their origin in meteorological vocabulary; since the original meaning derives from the sun breaking through the clouds, the new cognitive meaning evoked visual associations that suggested an irresistible natural power of the desired reforms and a bright future. The study of the semantics and pragmatics of aufklären and Aufklärung spans from the early 17th to the mid-18th century. It is flanked by archive-supported investigations into the genesis of Geschichtliche Grundbegriffe, the major lexicon of historical concepts conceived and co-edited by Reinhart Koselleck. Against Koselleck’s thesis that history can only be understood in terms of concepts, this article works with a broader basis of sources, including pre-terminological and metaphorical language use as well as programmatic images. It also inquires into influences from other languages (French, English, Latin). Finally, the reported findings are compared with Dan Edelstein’s and Antoine Lilti’s interpretations of the Enlightenment.

NON-COMMUNICATION IN THE NAMING OF A WORK OF ART AND ITS FEATURES

This article addresses the issue of non-communication in the naming of a work of art and its features in the interpretation of the process in modern linguistics. In addition, an attempt is made to analyze and study anthroponyms and phrases, analogies and metaphors in the Uzbek language as lingvocultures, which are the object of science. The interpretation of the nomination process in modern linguistics is mutually adequate (similar) in terms of semantic features, some of which are not only in terms of content, but also in terms of external structure and form.

Fearful Symmetry: Shakespeare’s <i>Dramatis Personae</i> in <i>Hamlet</i>

This research aims to make a parallel and determine the symmetry between the main male characters of the Shakespearian play “The tragedy of Hamlet, Prince of Denmark”. For this purpose, each important character is analysed in-depth with the use of the primary text and other critical views. The approach used in this paper was based on the primary source, by the employment of quotes and lines, verses and how they manage to be interpreted regarding the portrayal of the cast. There are a variety of ways in which quotes like “A little more than kin and less than kind” might be emphasized, and through the stylistic art of interpretation, the reader as well as the critic can bring new senses and meanings to a certain something. There are also the religious and philosophical aspects of the characters that are exploited in the paper and analysed through metaphorical and figurative language. Applying a developed conceptual framework combined with the opinion of other critics of Shakespeare leads to the multiple interpretations and variables of this play. Not only is it full of symbols and presents an aspect of universality unlike any Shakespearean tragedy, but it also introduces the reader to a combination of Baroque Disenchantment and typical Elizabethan drama. The emphasis of the paper is on the specific characteristics of each character in relation to the general frame and in relation to the other characters. The aim of the paper is to dissipate the blurred lines between appearance and essence and to focus on the in-depth analysis of the characters, who create the symmetry and parallelism which widens the Shakespearean universe of knowledge and literary creation. “Hamlet”, as a literary piece, is Shakespeare’s most complex tragedy. The rationale for choosing it is to highlight the universality of the play, to make the reader sympathise and look at their own reflection and think about the instances where their actions overlapped or coincided with the characters’. Tragedy, like any other literary genre, was born out of real-life situations, and readers should be aware that fiction can surpass the page and turn into reality.

Psychology of the artist and creativity in the notes by Lesia Voronyuk and Clarise Lispector

The article analyzes “Notes on the Wrists” by Ukrainian author Lesia Voronyuk and “Notes for Young People: About What is Written and Experienced” by Brazilian Clarise Lispector through the prism of psychoanalysis. The writers represent the artist’s personality in their works and investigate a deeply intimate theme of creativity. The problem is the role of the genre of notes in depicting the spiritual life of the artist, the individual process of formation and expression of thoughts, feelings and reflections. The formal and semantic similarity of the analyzed works is emphasized, which prompted to draw parallels between them, so the main research methods are comparative and generalization. The purpose of the article is to represent the analyzed works as a modification of the genre of notes, the choice of which is due to the need to depict the individual spiritual experience of artistic activity and the inner world of the writer. The scientific novelty of the article is the study of the influence of creative intentions and the artist's consciousness on the genre, the related transformations in the notes. As a Result of the Study it has been found that “Notes for Youth” and “Notes on the Wrists” are structurally similar: they consist of notes, each of which begins on a new page, has its own name and is characterized by its independence and semantic completeness. The main theme for both texts is creativity. Writers define motivation for artistic activity in different ways. According to C. Lispector, it is the desire for self-expression and self-knowledge in words. Creativity, according to L. Voronyuk, is a way to harmony and balance inherent in nature; the word is a code that programs reality. The authors characterize writing a work as an unpredictable and unrestrained process. The works of both writers show exaltation, inspiration, when the artist broadcasts unconscious movements; moments of origin of an idea, for which it is necessary to find words that can “grab” it and record it on paper. The authors convey the atmosphere of creation, show different ways of “peeling” the thought in the word. For L. Voronyuk, it is a habit to write not only on paper, but also on any surface. For C. Lispektor, it is a portable typewriter, which awakens thoughts and feelings, helps as a partner, is a constant helper in creativity; the muffled rustle of the keys accompanies the author’s loneliness, keeps her secrets. The writers use the language of metaphors to show the diversity of associations and the complexity of the creative process, which is a reflection of an intuitive knowledge of the world, self-communication and communication with the reader through the word.

ШЛЯХИ РОЗВИТКУ УКРАЇНСЬКОЇ МУЗИЧНОЇ ЕСТРАДИ: ВІД НАСЛІДУВАННЯ ДО СТАНОВЛЕННЯ НАЦІОНАЛЬНОГО КОНТЕНТУ

The Ukrainian variety art is a phenomenon that reflects changes in cultural and value orientations of society. In the Soviet Union popular music developed under the strict control of censorship, which conditioned the development of only a certain vector of musical art. This hampered the process of assimilation of a new cultural and artistic product emerging in the West. Censorship in itself is not an exclusively negative phenomenon, because it can prevent the formation of extremism, chauvinism, racism in society. However, the example of the Soviet censorship proved that it inhibited social development and acted as a factor contributing to the preservation of outdated elements of cultural life. All the achievements of foreign pop music were banned. After Ukraine gained its independence, it began to adopt the themes, styles, and genres that were characteristic of the American pop scene. The analysis of the songs reveals a preference for love themes, which dominate most of the lyrical songs. The theme of love is central to songs that have topped various charts over the past 50 years. Taking into account that pop music is created to achieve commercial success, the portrayal of love and unrequited love is extremely appealing to any audience. The writers of America's top-charting pop songs were masters of using poetry as a tool to get across their point, employing a rich system of similes: love like oxygen, like a butterfly, like heat, like a bridge over troubled water, sweet like honey. Love was also mentioned in a metaphorical sense: battlefield, devil, drug, temple, higher law. Listeners are much more receptive to metaphorical language because metaphor helps us effectively express complex concepts and emotions. With the spread of globalization, cultural identity has gained relevance. In Ukrainian music, the desire for national and cultural identity manifested itself in the development of folklore, more precisely in the inclusion of its elements in pop music. As a result, two opposing processes are taking place in the Ukrainian pop music - the desire to create a standardized (Americanized) musical product and a unique ethnic one. This latter type of musical production is associated with the formation of a national product, which may contain folklore motifs, instruments, etc. A stable factor is the development of love themes and the use of styles that originated in foreign space. On the other hand, among the latest trends, that can be attributed to new tendencies is the spread of patriotic themes in Ukrainian pop music and the formation of nationally colored content. Key words: Ukrainian pop music, song, theme, national, identity, product, globalization.

Valenced Metaphors in Strategic Communication: The Case of the Greek Economic Crisis

ABSTRACT This study examined the valence of political metaphors in the context of the Greek economic crisis in ten speeches delivered by the Greek Prime Minister (PM). Five of the speeches were proclamations addressing the Greek people in the first year of the crisis, while the other five speeches were addresses to the Members of the Parliament (MPs). These two types of speeches were compared in terms of metaphor frequencies, metaphor valence, and types of metaphors. The results revealed that in the proclamations addressed to the Greek people the PM used significantly more metaphors than in the speeches addressing the MPs. In terms of valence, the analysis showed that the PM used significantly more positive metaphors than negative when addressing the Greek people; this, however, was not confirmed in the speeches addressing the MPs. In terms of metaphor type, overall the travel frame was the most frequently used one in the speeches addressing the Greek people, while this was not the case in the addresses to the MPs. In terms of strategic communication and crisis management, positive metaphoric language was the primary means to fulfil the organization’s (i.e. the government’s) mission, which was no other than to manage the crisis in relation to the Greek people.

From Ovid to COVID

We get the metaphors we deserve. On the one hand this essay explores, in the shadow of Susan Sontag, the meanings and implications of the metaphorical language that was deployed by state and society to understand COVID-19 and to regulate our response to it. On the other hand it argues that the pandemic is not so much a metaphor as a metamorphosis: not a sign of something new but a symptom of something that has already taken place, a profound transformation that appears dramatic only if you have failed to notice the underlying compounds that, like a witch’s brew, have been slowly bubbling away all along. The 2020s revealed with new clarity the forces of neoliberalism that have been eating away at the roots of our societies for thirty years. Social distance, working from home, the gig economy, new limits on civil society. All these underlying socio-political aspects of the neoliberal social contract were brought into sharp relief. Yet a crisis is not an epilogue but a moment of decision. It may be then, that the very visibility that COVID-19 has rendered these underlying forces provides us with an opportunity to reconsider them. If nothing else, the experience of COVID-19 has clarified the ways in which our self-interest, economic and psychological, depends on the welfare of others; the ways in which the economic prosperity and standard of living of each of us relies on a whole range of public goods from higher education and universal health care to decent welfare systems to affordable child care. If the metaphor of the lockdown turns out to signify a dies non for reflection or to catch our breath, it will have been worth it after all.

On certain philosophical-scholastic aspects of the doctrine of the Eucharist in the anonymous treatise on the Mass (manuscript München, BSB, Cgm 89)

The existing representation of juxtaposition of the religious literature of the late Middle Ages and contemporary to it university philosophy requires clarification. It is particularly difficult to draw this boundary in texts of the tradition of the so-called "German mysticism". This question is discussed on the basis of the German-language work “The Mystical Treatise on the Mass and Its Effects in the Loving Soul” (Mystischer Traktat über die Messe und ihre Wirkungen in der minnenden Seele). The treatise has survived in several manuscripts of the late Middle Ages, the earliest of which is the manuscript Cgm 89 (BSB, München, near 1375). The conducted historical-philosophical analysis of the selected passages of the anonymous treatise on the Mass indicates the presence of complex combination of stylistically diverse fragments consisting of rearrangement of topoi that belong to both scholastic and religious literature of the late Middle Ages. In enunciation of the doctrine of the Eucharist, the author of the treatise resorts to metaphorical language, description of personal experience of the church sacrament. At the same time, the text identifies the references to Aristotle's treatise "On the Soul" used by the author as the philosophical foundation to describe the process of connecting the soul to God. The conclusion is made that the anonymous treatise on the Mass testifies inappropriateness of rigid juxtaposition of the traditions of religious literature and scholastic philosophy, which still can be encountered in the overall description of the Medieval intellectual culture.