Mixed Metaphors Research Articles

Attention All Shoppers, Queer Customers in Aisle Two: Investigating Lesbian and Gay Discrimination in the Marketplace

In this paper, drawing on epistemologies in social and behavioral sciences, we discuss the tenuous social-cultural climate of sexual minorities within markets. Discourses across disciplines address the socio-political and cultural evolution of sexual minorities, most notably self-identified and out lesbians and gay men. Yet, consumptive and marketing spheres offer mixed metaphors about the value and desirability of lesbians and gays, and often work to enact the homophobic at an institutional level. We review research on homonegative bias and heteronormativity within psychological and sociological domains, and then illustrate how homonegativity toward perceived lesbians and gays is structurally enacted within the marketplace. We posit four methodological strategies that may be used to further research queries in these domains, and comment on the ethical parameters of using deception to investigate discriminatory behavior against (perceived) lesbians and gay men.

BOOK REVIEW: L. Dale Byam.COMMUNITY IN MOTION: THEATRE FOR DEVELOPMENT IN AFRICA. Westport: Bergin and Garvey, 1999.

Dale Byam's first sentence: "The implications for a new African theatre mushrooming on the heels of colonialism [. . .] give rise to a number of conjectures." Her unfortunate fungal mixed metaphor is regrettably symptomatic of the standard of writing and analysis in this book. Ignoring much of the rapidly growing body of work on theater and development, Byam has set out analyze what is desirable in creating development theater according to a Freirean model. The first chapter lays out Freirean ideology against the [End Page 206] context of postcolonial Africa--an Africa that is here seen in simplistically homogenous terms, both historically and culturally. Chapter two focuses on case studies from Botswana, Zambia, Nigeria, and Kenya. The line followed is progressive. The work of Laedza Batanani in Botswana is castigated for lack of popular grass-roots involvement. Projects in Zambia and Nigeria are seen as improvements, but still as partial failures because they were led by either foreigners or university students, and not by "organic intellectuals," and because they failed to work closely enough with communities using indigenous cultural forms. Only when we come to the Kamiriithu project in Kenya does Byam perceive what has been widely recognized as a truly community-based, Freirean kind of theater.

Metaphor identification and analysis, classification and quantification

Identifying metaphorically used words in the way we have proposed in the other articles in this special issue inevitably leads to the detection of recurring structural patterns of metaphor usage. It is the aim of the present article to explore these patterns in a systematic fashion and develop a taxomony of the propositional structure of metaphors. As a preliminary step, a decision has to be made about the units of discourse within which one may examine patterns of the propositional structure of metaphorical language. This article has adopted the position that all non-downgraded clauses, in the manner of Mann and Thompson’s Rhetorical Structure Theory (1988), would be the most eligible candidate. Inside the boundaries of these text units, we have found single as opposed to multiple metaphor, simple as opposed to complex metaphor, pure as opposed to mixed metaphor, and restricted as opposed to extended metaphor. Moreover, these four oppositions may also be combined with each other. Of the 16 logically possible combinations, 2 are ruled out, but the other 14 combinations present just as many structural types of metaphor. We then move on to discuss how such a taxonomy may be used in the quantitative characterization of the metaphorical style of an author. We show how the taxonomy may be applied at various levels of measurement, ranging from the word through the proposition to the text unit itself. Another possibility is to perform these measurements at the level of metaphorical mappings, which is the option we have chosen to apply to two stretches of fiction, by Sara Maitland and Salman Rushdie. The provisional results of this analysis are then finally presented and discussed.

Cultures of Catastrophe: Understanding the History and Memory of Mass Death in Twentieth-Century Europe

Omer Bartov, Mirrors of Destruction: War, Genocide, and Modern Identity (Oxford: Oxford University Press, 2000)

Reasoning About Mixed Metaphors Within an Implemented Artificial Intelligence System

The phenomenon of mixed metaphor has traditionally been viewed as secondary to the understanding of straight metaphors. This article suggests that such an assumption is detrimental to long-term research. It is claimed that the same kinds of reasoning and knowledge structures involved in understanding straight metaphors are also required in understanding mixed metaphors and that mixing is a central phenomenon. Therefore, any theory of metaphor must be able to account for mixing. To this end, the article provides an analysis of both parallel and serial mixed metaphors that has been implemented in an artificial intelligence system that is already capable of reasoning about straight metaphors.

The U.S. Response as Armed Struggle

The U.S. Response as Armed Struggle Neal Milner (bio), Sankaran Krishna (bio), and Kathy E. Ferguson (bio) The Honolulu Advertiser’s September 16 headline read: “Prayers and War Plans”, while two other front-page stories announced “Conspirators in Attack Kept Low Profile” and “Fight Against Terror Won’t Be Easy”. Alongside these stories was a mug shot of Osama bin Laden with a caption “World’s Most Wanted.” These visions of conventional war, new war, and crime are mixed visions, mixed metaphors for viewing the September 11 attack and its aftermath. Months later, these visions continue to coexist. Sometimes they compete, other times they reinforce one another. No single metaphor dominates entirely, as even the most hawkish cabinet members realize the risks of comparing this to conventional warfare. Yet newspapers have utilized familiar war graphics to represent the Afghan war, using maps, charts and arrows to portray front lines, troop movements, and territorial gains and losses; such visual props evoke the known quantity of a conventional war, even while President Bush insists that the nation has embarked on a different kind of fight. When CNN and the Honolulu Advertiser proclaim that this is “America’s new war,” some equivocation remains as to whether “new” means “our most recent war” or “war of an hitherto unknown kind.” A different strategy for describing, understanding and perhaps unraveling the violence is one portraying the U.S. response as “armed struggle.” Like revolutionary groups’ armed struggle strategies, the early U.S. response emphasizes the need to be in it for the long haul. But this is not the long haul of conventional warfare so much as it is the uncertain, peaks-and-valleys time frame of a guerilla movement. Like armed struggle, the emerging articulation of the U.S. response emphasizes sudden, quick battles rather than drawn-out conventional fighting. These are wars without borders. Those involved are never secure. They can never be certain that they are sufficiently hidden, or that “their” territory is really their territory. The enemy is all over the place. It can appear any time anywhere, just as the guerillas can. For a society committed to armed struggle, there is little distinction between military and civilian life. “The cause” becomes everything, justifying extraordinary measures, demanding larger-than-life sacrifices. Ordinary life is recruited into the ruthless binary that frames the struggle: comrades who fall are heroes; those who hesitate are traitors. There is no room for a loyal opposition; to question is to betray. That kind of insecurity and surveillance is very much a part of the U.S. response, as U.S. struggles to act with the same protective vigilance as guerilla movements do. The attackers were, in the words of the Washington Post, a “soft, subtle presence in this country for many months.” It’s not hard to picture leaders of a national liberation movement saying to their supporters just what U.S. leaders are saying: our enemy is not safe anywhere, and neither are we. Armed struggle merges violent with charitable responses. The carrot and stick work hand in hand as the advocates of armed struggle attempt to gain new supporters. If, as President Bush declared, “Those who are not with us are against us,” then supporters become comrades, eligible to have other sins forgiven so long as they are “with us,” while opponents become enemies, no matter what their other virtues, if they are “against us.” Of course many elements within U.S. politics and society pull against the mobilization of tropes of armed struggle. For example, the Pearl Harbor analogies that were so popular after the initial September 11 attack pull our mental maps toward the reassuring promise of a clear enemy, a workable military solution, and, best of all, a total victory. The Bush administration’s unwillingness to negotiate, to accept anything less than total victory, suggests that the World War II model of universal triumph vs. complete surrender still operates in U.S. policy. Yet events may propel policy makers away from the relatively well-defined arena of “war” and into the murky and boundary-less arena of armed struggle. Thinking about the national response in these terms helps to highlight...

Do Neurons Have a Choice in Death?

Do Neurons Have a Choice in Death?

Mixed metaphors for reading and writing the qualitative thesis in adult education

This paper applies narrative inquiry to the organising metaphors for reading and writing a qualitative thesis in adult education. Three perspectives are featured: methodologists and theorists; graduate students writing adult education theses; and faculty advisors who read and respond to graduate students' theses. My autobiographical account of writing two adult education theses and reading many graduate students' theses shapes my narrative inquiry into the interplay of metaphors between reader and writer. Practice-based exemplars explicate the dominant narrative genre and journey metaphors for organising theses. The inquiry traces readers and writers in a responsive, dialogical relationship characterised by restorying each other's metaphors using in-kind and different metaphors. I propose different organising metaphors for reading and writing qualitative research in the postmodern era. I re-place the journey-narrative genre of ‘beginning to ending’ with cartographies and storying/re-storying ‘in the middle’. Cartographies re-metaphorise the writing and reading of adult education theses and in the process adult educator authors are re-metaphorised as situated, bodily works-in-process.

Books

Journal Article Mixing metaphors Get access Interdisciplinarity and the Organisation of Knowledge in Europe edited by Cunningham Richard Office for the Official Publications of the European Communities, Luxembourg, 1999, 8 Euros, 92-828-6175-9 Sean F Johnston Sean F Johnston Lecturer Science Studies, Crichton College of the University of Glasgow, Dumfries DG1 4ZL, UK Search for other works by this author on: Oxford Academic Google Scholar Science and Public Policy, Volume 27, Issue 4, August 2000, Pages 303–304, https://doi.org/10.3152/147154300781781896 Published: 01 August 2000

Behavioral momentum and behavioral economic metaphors for excessive consumption

Metaphors “highlight and hide” different aspects of phenomena. A behavioral economic metaphor for excessive consumption highlights the contextual features of behavioral-environment relations. Can the behavioral momentum metaphor generate a representation of context that is at least as useful as that generated by behavioral economics? Maybe, maybe not; or maybe a mixed metaphor will do a better job than either alone.

A bad case of mixed metaphors psychiatry, law, politics, society, and Ezra Pound.

A bad case of mixed metaphors psychiatry, law, politics, society, and Ezra Pound.

Review Essay: Mixing Metaphors: The Theme's the Thing

Mixing Metaphors: The Theme’s the Thing Get access Neither Black Nor White Yet Both: Thematic Explorations of Interracial Literature by Werner Sollors: Oxford UP, 1997. $39.95 cloth. Nancy Frazier Nancy Frazier University of Massachusetts Amherst Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 24, Issue 3, September 1999, Pages 155–162, https://doi.org/10.2307/468045 Published: 01 September 1999

‘I don’t sing for people who do not see me’: Women, Gender and the Historiography of Christianity in South Africa

One of the cultural features of South Africa’s new democracy is the prolific publication of autobiographical narratives by previously marginalized people. The Truth and Reconciliation Commission, chaired by Archbishop Desmond Tutu, has also focused attention on the plight of oppressed groups under apartheid, and many of the voices being heard are those of women. These personal accounts are breathing life into the sinews of organized political protest and – to mix metaphors – unearthing the ‘hidden past’ interred in apartheid history. As Alison Goebel also reminds us, life histories or personal narratives have long been identified as ‘an ideal feminist method’, and have frequently been used in work about African women.

Book Reviews

Books reviewd in this article Understanding Specific Learning Difficulties. By Margot Prior. Infant Vision. Edited by F. Vital‐Durand, J. Atkinson, &. J. Braddick. Psychoses and Pervasive Developmental Disorders in Childhood and Adolescence. Edited by F. R. Volkmar. D. W. Winnicott. A Biographical Portrait. By B. Kahr. The Construction of Racial Identity in Children of Mixed Parentage: Mixed Metaphors. By I. Katz.

Benchmarking as a Mixed Metaphor: Disentangling Assumptions of Competition and Collaboration

Examination of the management literature on benchmarking reveals that the concept conveys a mixed metaphor. While collaboration among benchmarking partners is advocated, description of benchmarking practice is dominated by principles and language that convey notions of competition. The `competitive' approach to benchmarking is due to four narrow, constricting assumptions: (1) that the motivation behind benchmarking is to improve and reduce a performance gap relative to some superior comparison other, (2) that benchmarking is a formal, organizationally sanctioned means of competing with others, including partners, (3) that benchmarking involves comparison through measurement or marking, and (4) that benchmarking is an activity initiated (and assessable) by one party. Two opposing concepts of benchmarking (as competition) and benchmarking (as collaboration) are introduced to develop a model for predicting the degree of competition and/or collaboration involved in relationships between benchmarking parties. Key factors within this model include context, activities, partnership and outcomes.

Ventriloquized Bodies: Narratives of Hysteria in Nineteenth-Century France (review)

Reviewed by: Ventriloquized Bodies: Narratives of Hysteria in Nineteenth-Century France Ilza Veith Janet Beizer. Ventriloquized Bodies: Narratives of Hysteria in Nineteenth-Century France. Ithaca: Cornell University Press, 1994. xiii + 295 pp. Ill. $44.95. This is a book of stories, which the author has categorized as “medical,” “epistolary,” and “literary.” All illustrate the changing views of hysteria in a particular place and time. In the author’s words, “The move from a consideration of hysteria as diagnosis of a female malady to a reconsideration of the female malady as a broader-based cultural symptom describes the path of this book” (p. 3). It is a path that some may find rough going. We encounter sentences like the following: “The dermographic tableau framed by Charetie’s text contains within it, however, a blind spot that opens a possibility for the semiotic process to elude authorial control, subverting classic paradigms and metaphoric structures” (p. 26). Beyond this mixed metaphor and dangling participle, even the title of the book requires considerable effort to decipher. Dermography receives particular attention, and the author has included five superb photographs of men and women with this immune reaction whose bodies have been inscribed in various ways by their physicians. Hysterics were considered more “expressive” than nonhysterics, and this practice of writing on the body becomes “an allegory of the narrative appropriation of hysteria” (p. 22). Unfortunately, the term “hysteria” has now disappeared entirely as a psychiatric diagnosis: the most recent edition of the American Psychiatric Association’s Diagnostic and Statistical Manual has replaced “hysteria” with “histrionic personality disorder.” To my mind, this new terminology lacks clarity and specificity. It surely lacks the richness of meaning that “hysteria” acquired from its use by Charcot and Freud. For those historians of medicine who have an especial interest in hysteria as viewed through the lenses of literary criticism and feminist studies, this book may offer valuable interpretations of an altered disorder. Ilza Veith Tiburon, California Copyright © 1996 The Johns Hopkins University Press

Metaphoric Relationships with Pets

AbstractUsing depth interviews and participant observation, the predominant metaphors that emerge in pet owners' relationships with theiranimals are pets as pleasures, problems, parts of self, members of the family, and toys. These metaphors as well as patterns of interacting with and accounting for pets, suggest vacillation between viewing companion animals as human and civilized and viewing them as animalistic and chaotic. It is argued that these views comprise a mixed metaphor needed to more fully understand our fascination with pets.

German Social Democracy and the Rise of Nazism, and: Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts

Reviewed by: German Social Democracy and the Rise of Nazism, and: Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts Richard Bodek German Social Democracy and the Rise of Nazism. Donna Harsch. Chapel Hill: University of North Carolina Press, 1993. Pp. 398. $45.00 Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts. Alan Steinweis. Chapel Hill: University of North Carolina Press, 1993. Pp. 233. $34.95. The history of the Weimar-era German Social Democratic Party (SPD) is usually told as follows. 1 The party, and the larger movement attached to it, was monolithic. Its mindset was that of a middle-aged petit bourgeois: stolid, unimaginative, and unadventurous. The active, heroic era of the Empire was gone forever; leaders like August Bebel were replaced by a crowd of faceless bureaucrats. 2 According to this story, the political energy during the Weimar era belonged either to the Communists or to the National Socialists. Donna Harsch’s German Social Democracy and the Rise of Nazism should give the lie to these easy assumptions. According to Harsch, rather than being trapped in rigid uniformity, the Social Democratic movement was a mansion with many rooms—or, to mix metaphors—riven by contrasting visions of what it was and should be. Furthermore, the movement’s ultimate breakdown was due not to a lack of imagination, but rather to a surfeit. Opposing assumptions about correct Socialist politics canceled one another out, ending in the movement’s ultimate paralysis. A second corrective to the literature is Harsch’s contention that the Social Democratic movement experienced a period of reinvigoration at the end of Weimar, a reinvigoration that sadly did not last long enough to stem the Nazi tide. Harsch carefully examines the literature and conferences sponsored by the SPD during the Republican era. Rather than papering over the differences within the movement, or discounting the seriousness of party leftists (a mistake often made by contemporary Communists and later historians), Harsch examines the variety of political positions and solutions to Weimar’s crises propounded across the party’s political spectrum. Although she is quick to point out similarities among the positions (their general belief that politics should be a rational endeavor, their assumptions that class interests are real interests), she carefully dissects the differences among the party’s left and right, even as she questions the utility of this easy distinction. The central question for Harsch is why the SPD, at the height of its power in 1928, was outmaneuvered from the end of that year until the end of the republic. Her first chapter shows that the movement’s apparent strength in 1928 hid a number of fundamental weaknesses. Its constituent organizations had very different agendas. The trade unions were more interested in social welfare programs than in democracy. The Reichsbanner—ostensibly an independent republican paramilitary force, but ultimately a Social Democratic organization—functioned as a propaganda machine for the republican ideal, but resisted a full-scale integration with bourgeois organizations. Although the party itself was a mixture of left-wing and [End Page 251] right-wing tendencies, its executive was well in place. The average member of the party executive was fifty-four years old and from a skilled working-class background. The party itself acted and spoke like a working-class institution, but the percentage of its membership that could be considered to be proletarian had dropped from the prewar period. Members were skilled and aging. Perhaps Harsch’s discussion of ideology is the key to explaining the SPD’s collapse. She convincingly argues three points. The party’s center defended democracy, but never developed plans to extend it. The left wanted to extend democracy, but had no strategy with which to do so. Harsch focuses on the party’s lack of goals and strategy as well as its inability to project itself as a force to lead a nation, rather than a class within it. The rest of Harsch’s book is a series of chronologically organized case studies that test her thesis. The period from June 1928 to March 1930 took the SPD from a successful...

CD‐ROM News

The CD‐ROM bandwagon is now a juggernaut which sweeps everything into its net — marathon running hardly keeps up with it. These gloriously mixed metaphors will do nicely to introduce a few more new CD‐ROM ventures!:

Writing about Music: An Introductory Guide

Preface to The Fourth Edition Purpose of the Fourth Edition Changes in the Fourth Edition Other Resources How to Use This Book Conclusion Chapter 1. Writing about Music Why We Write about Music The Special Challenges of Writing about Music Inappropriate Ways to Write about Music Musicological Research and Writing Chapter 2. Analysis and Research Analysis Questions to Consider Examples of Works and Research Directions Carlo Gesualdo: Moro, lasso J. S. Bach: Opening Chorus of Cantata No. 80, Ein' feste Burg ist unser Gott W. A. Mozart: Concerto for Piano and Orchestra in C Minor, K. 491, First Movement Giuseppe Verdi: Otello, Act I, Scene 3 Franz Liszt: Faust Symphony, First Movement Igor Stravinsky: The Rite of Spring, Opening Sections Karlheinz Stockhausen: Gesang der Junglinge Chapter 3. Getting Started: Research Choosing a Topic Kinds of Topics What Research Means Gathering Materials Places to Start: Print Resources Library Catalogues Dictionaries and Encyclopedias Histories of Music Biographies Thematic Catalogues Articles Dissertations Scores and Recordings Places to Start: Electronic Resources Search Engines Databases Lexicons Online Journals JSTOR Evaluating Resources Foreign-Language Resources When to Stop: How Much Research Is Enough? Chapter 4. Writing a Research Paper The Outline Topic and Thesis Topic Outline versus Sentence Outline Introduction Body Conclusion Revising the Outline Writing the Draft Musical Examples Diagrams, Graphics, and Tables Footnotes Bibliography Revising and Editing the Draft Computers and Editing Checking Spelling and Grammar The Editing Process Printing Proofreading Keep Your File Quotation, Paraphrase, and Plagiarism Conclusion Chapter 5. Questions of Format Format for College Papers Paper Page Format Fonts Spacing Justification Page Numbers Format for Quotations Short Quotations Block Quotations Ellipsis and Editorial Additions Bibliography and Footnote Form: Humanities Style Books Additional Notes for Both Bibliography Entries and Footnotes Dissertations Articles in Dictionaries and Encyclopedias Articles in Periodicals Notes Notes on Articles in Lexicons Articles in Collections of Essays Scores Sound Recordings Citing Interviews, Correspondence, etc. Citing Electronic resources The Author-Date System of Citation Reference Lists (Lists of Works Cited) Parenthetical Citations in the Text Format Issues Related to Writing about Music Stylistic Periods Referring to Centuries Referring to Musical Works Naming Notes and Keys Foreign terms Musical Examples Conclusion Chapter 6. Other Kinds of Writing Projects Seminar Presentations Research Organizing the Presentation Tone and Approach Concert Reports Purpose Research Writing the Report Program Notes Purpose Who is the Audience? Research Working within Limits Special Problems Texts and Translations Conclusion Essay Examinations Purpose Preparing for Essay Examinations How to Proceed Common Errors Conclusion Chapter 7. Writing Style Some Basic Ideas about Writing Different Kinds of Prose Tone The Stance of the Writer Referring to Yourself Writing Effective Sentences Word Choice Word Combinations Sentence Structure Effective Paragraphs The Effective Essay Introduction Transitions Conclusion Summary Chapter 8. Common Writing Problems Errors in Basic Grammar and Writing Incomplete Sentences Run-on Sentences Agreement: Subject and Verb Agreement: Pronoun and Antecedent Proper Cases of Pronouns Relative Pronouns Misplaced Modifiers The Split Infinitive Mixed Metaphors Spelling Issues Using a Dictionary Forming Possessives Plurals of Borrowed Latin and Greek Words Foreign Words Medieval and Renaissance Names Some Troublesome Word Pairs Its and It's Your and You're Whose andWho's Affect and Effect Due to andBecause of Fewer and Less Like andSuch as Predominant andPredominate Principal andPrinciple Punctuation The Period The Comma The Semicolon The Colon Quotation Marks The Hyphen The Dash Parentheses Special Problems Involved in Writing about Music Technical Terms Describing Musical Events Summary CONCLUSION APPENDIX: SAMPLE PAPER INDEX