Metaphor For Forms Research Articles

A narrative orientation for the longitudinal integrated clerkship.

This paper follows through with findings from a longitudinal integrated curriculum (LIC) programme evaluation, which revealed that (1) experiential perspectives and (2) the integration of learning featured weakly in the programme's structure. On examination, these two areas were seen to be linked because, by granting authority to experience, we are called to follow its lead wherever it may take us. Data was collected from students, clinicians and programme administrators using participatory mapping and discussions and analysed through four lenses, one of which was to identify what seemed to be missing or quiet. Two features of the LIC model were not explicitly structurally supported in the programme: integration of learning and experiential perspectives. The authors draw on narrative medicine and visual thinking to propose a novel response to the problem, which locates the clinical educator as embodying a narrative orientation to teaching. A narrative orientation affirms the power of human experience, told through stories, to enable integrative, whole-person, big picture thinking in the medical education curriculum. Teaching ideas are scaffolded through metaphors of form, space and integration. In pursuit of an authentic integrator of learning in the LIC, we already have within our reach the power to grant human experience the authority to teach us wherever we find it and follow wherever it leads. However, its potential is yet to be realised, and this discussion throws up new questions for practical enquiry: how best to support educators to adopt a narrative orientation.

METAPHOR OF FORM IN “LILY” (architectonics of Icelandic Fourteenth century Christian Drapa)

Aim of the study is explication of the narrative technique of the person who composed “Lily”; research demands attention to the following aspects of the drapa: 1) its architectonics, i.e. correlation between the form and the content including topoi, symbolism and narrative strands; 2) the language of “Lily” and forms of narration in the text; 3) correlation between language and meter in “Lily”. The first of the three mentioned aspects of the text constitutes the subject matter of the paper, attention is also given to the value of the text in skaldic poetics and verbal culture of Iceland. Materials and methods. The first section presents information on the surviving manuscripts and shows the value of “Lily” in the culture of Iceland; references to Icelandic folklore and modern recordings help realize importance of the text. In the second section technique of the author(s) is studied with regard to both, medieval Christian literature and verbal culture of medieval Iceland. The study is carried out on the basis of edition [8] and all available Russian translations of medieval Latin literature. Analysis of the latter enables to identify the literary topoi and corresponding archetypes of medieval consciousness reflected in “Lily”. The third section is devoted to semantics of the title and to other textual symbols. The fourth section considers the mode of text existence and addresses authorship. Results. Analysis shows that the content of “Lily” does not go beyond few archetypes of medieval Icelandic and European Christian consciousness. Specificity of “Lily” is described as metaphor of form; the collocation denotes all semantic processes entailed by the transfer of the form of drapa into the sphere of traditional Christian culture. Metaphor of form is treated as a natural consequence of the main achievement of Icelandic skalds - involution of poetic form and turning it into artistic device [5], - a prerequisite to versatility of poetic content. Conclusion. “Lily” is finally classified as a text which highlights semantic and functional potential of the skaldic form and on the whole complies with the canon of skaldic poetics. Assumption is made that the author of “Lily” did not realise himself as the author of the text, though the surviving text is, no doubt, result of his individual effort. Working with traditional material, the author of “Lily” most probably created his text in accordance with principles of Icelandic Oral Tradition.

Inner and outer worlds: speech and thought presentation in Mansfield’sBliss

AbstractDespite renewed attention to Katherine Mansfield’s writing in recent years, her work continues to be read largely for “its political and emotional sensibilities and so seldom... for the controlled effects of stylistic detail” (New 1999.Reading Mansfield and metaphors of form. McGill-Queen’s Press-MQUP: viii). In this article we consider her story “Bliss” in relation to how Mansfield choreographs the interplay between the inner and outer worlds of the central character and the consequences of her textual crafting of this interplay for a reading of the theme of Mansfield’s story. We draw largely on what is now considered “classical” stylistics, that is, stylistics informed by a social-semiotic linguistics (e. g. Butt 1983. Semantic Drift in Verbal Art.Australian Review of Applied Linguistics,61, 34–48; Halliday 2002.Linguistic Studies of Text and Discourse. Volume 2 in the Collected Works of M.A.K. Halliday. London and New York: Continuum; Hasan 1985.Linguistics, Language and Verbal Art. Geelong, VIC: Deakin University Press; Hasan 1996a. On Teaching Literature Across Cultural Differences. In J. James Ed.,The Language-Culture Connectionpp. 34–63. Singapore: SEAMEO; Leech and Short 2007.Style in Fiction.2nd Edition. London. Longman; Semino and Short 2004.Corpus Stylistics: Speech, Writing and Thought Presentation in a Corpus of English Writing. London: Routledge; Sotirova 2013.Consciousness in Modernist Fiction: A Stylistic Study. Palgrave Macmillan; Toolan 2001.Narrative: A critical linguistic introduction. Second Edition. Routledge; Toolan 2007. Language. In D. Herman Ed.,The Cambridge companion to narrativepp. 231–244. Cambridge University Press;). Given the extensive variety of contributions to “post-classical” or “cognitive narratology” e. g. (Herman 2007. Introduction. In D. Herman (ed.),The Cambridge companion to narrative. Cambridge, UK: Cambridge University Press; McHale 2014. Speech Representation. In P. Hühn, J. C. Meister, J. Pier, & W. Schmid Eds.,living handbook of narratology. Hamburg: Hamburg University. Retrieved fromhttp://www.lhn.uni-hamburg.de/; Palmer 2004.Fictional minds. University of Nebraska Press) we briefly comment on why we have not taken this direction in our analysis.

Reading Mansfield and metaphors of form

Drawing on a range of writings in contemporary postcolonial, narratological, and gender theory, this text leads to a new appreciation of the implications of Mansfield's formal craft. The book, written in a readily accessible style, is at once an exemplary demonstration of the intricate process of critical reading and an innovative reassessment of Mansfield's literary significance.

Reading Mansfield and Metaphors of Form

Reading Mansfield and Metaphors of Form

Wordless Rhetoric: Musical Form and the Metaphor of the Oration

Introduction: form and metaphor. Part 1 The paradox of form: generative and conformational approaches to form sonata form and the limits of definition. Part 2 Rhetoric and the concept of form in the 18th century: rhetoric and the pragmatic orientation of 18th-century aesthetics music as a language grammar and rhetoric rhetoric and the theory of the compositional process melody and the thematic basis of form genre, formal convention, and individual genius. Part 3 Continuity and change in later metaphors of form: the continuity of rhetorical imagery in the 19th century the metaphor of the organism and the emerging paradox of form three case studies - Reicha, Marx, Schoenberg. Part 4 Rhetoric and the autonomy of instrumental music: rhetoric and the musical idea rhetoric and analysis in the late 18th century and early 19th centuries. Part 5 Rhetoric and the role of the listener in the analysis of large-scale form: listener-oriented theories of form listening for the plot - the rhetoric of formal archetypes analyzing the oration - the first movement of Haydn's Symphony No. 46 in B Major. Part 6 Originals of quotations given in translation.