Rhetorical Metaphors Research Articles

Rhetorical Metaphor in Barrack Obama Speech Family

Speech is communication to share information method the main point of successful speech cannot measuring by loud applause of the audience but also the audience can understand with what the speaker idea. Some people communicate with each other more than they said or have hidden meaning in their speech. Being one of the most powerful Presidents in the history of the United States, Obama has been asserting himself among the American people. This research is considered as stylistic of language that focuses on metaphor analysis since it explores the style by President of United State Barrack Osama in speech address of Berlin 2008. The objective of this study is to know the word metaphor that used by Barrack Obama and what indicate of metaphor speech by Barrack Obama. This research employed a descriptive method was used since this research focus on describing the used of rhetorical metaphor in barrack Obama Speech address of Berlin. The main data of this research is taken by speech Barrack Obama in American Rhetoric. The technique of data collection in this research was note taking where the researcher give sign to the speech after that describing the data. The researcher applied textual analysis since he referred to the theories of the research since analyzing data. Result of this study reveals the following finding, there are 9 phrases containing metaphor in Barrack Obama speech in Address to the People in Berlin when he spoke to the audience, the meaning of speeches is various. Every phrases or word described in this research. From the data of that speech the researcher could be concluded the rhetorical metaphor is important and have influence to become more powerful of the speech.

Rhetorica's Sword

ABSTRACT Beginning with the iconic imagery of Rhetorica, armed with a sword, this essay examines traditional, formative, and contemporary associations of rhetoric with violence, and how Philippe-Joseph Salazar's use of violent metaphors for rhetoric fits the domain of his book, Words Are Weapons: Inside ISIS's Rhetoric of Terror. I suggest that Salazar's book should provoke reconsideration of how and why people use violent metaphors for rhetoric. In order to explicate this suggestion, I examine the relative applicability of casually using violent rhetoric metaphors in scholarship and everyday discourse, the strategic interplay of violent and nonviolent rhetorical tactics, the risk that rhetors take when using violent rhetoric, and the aptness of Salazar's disarmament terminology to convey the caliphate's rhetorical power over the West.

“Undoing” a Rhetorical Metaphor: Testing the Metaphor Extension Strategy

ABSTRACTPolitical metaphors do more than punch up messages; they can systematically bias observers’ attitudes toward the issue at hand. What, then, is an effective strategy for counteracting a metaphor’s influence? One could ignore or criticize the metaphor, emphasizing strong counterarguments directly pertaining to the target issue. Yet if observers rely on it to understand a complicated issue, they may be reluctant to abandon it. In this case, a “metaphor extension” strategy may be effective: Encourage observers to retain the metaphor but reinterpret its meaning by considering other, less obvious implications. The current studies support this claim. Under conditions where participants gained a strong (versus weak) epistemic benefit from a rhetorical metaphor, they were more persuaded by a rebuttal that extended (versus ignored or criticized) that metaphor. The studies use converging operational definitions of epistemic benefit and offer insight into how political attitudes are made and unmade.

Patent Wars and Ecosystems: Metaphor and “Black Boxes”

Traditionally, the role of metaphor in rhetoric has been seen as recasting the unknown into the realm of the known. Metaphor as explication has been well documented in scholarship of the rhetoric of science. This article argues that scholars interested in the rhetoric of technology should view metaphor as akin to “black boxes.” Relying on Lakoff and Johnson’s theory of “conceptual metaphor,” it analyzes one episode in the so-called “Smart Phone Patent Wars,” focusing on two metaphors: “ecosystem” and “patent war.” Ultimately, the article finds that as black boxes, these metaphors constrain the possible options that people see for their relationships with technology.

Enlarging the scope of metaphor studies

AbstractMany recent discussions about Deliberate Metaphor Theory (DMT) not only advance the research of metaphor theory, but also significantly contribute to a comprehensive understanding of metaphor, a ubiquitous yet complex phenomenon. In this paper we contend that DMT should not be regarded merely as a revitalization of traditional view of metaphor in rhetoric; rather, its contribution is undeniably significant and deserves its due attention. DMT is developed based on the integration of conceptual metaphor theory and discourse practice, and complements current studies of metaphor through its emphasis on consciousness and the communicative dimension, albeit there are also some inadequacies of DMT.

Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki (review)

Reviewed by: Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki Gennifer Weisenfeld (bio) Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955. By Bert Winther-Tamaki. University of Hawai‘i Press, Honolulu, 2012. xviii, 217 pages. $32.00. Bert Winther-Tamaki’s new monograph on the history of Western-style painting, or yōga, in Japan is a thought-provoking and sophisticated addition to a rapidly growing scholarly literature on modern Japanese art. He addresses head-on the lingering and insidious discrimination against early- and mid-twentieth-century Western-style art with alacrity and reveals its roots in the anxieties of national identity politics and the challenges of demonstrating local authenticity in the increasingly global and hybridized cultural sphere of modernity. This book skillfully communicates the overriding passion that Japanese artists have felt for oil painting over the last century and the significant ideological trials and tribulations they have [End Page 178] faced in coping with its inherent “foreignness” while simultaneously avowing its role as a medium of individual liberation and personal subjectivity. Winther-Tamaki makes a compelling case not only for yōga’s important and lasting impact on Japanese artistic production but for its distinctive creative contribution, deeply rooted in the central epistemological debates of the time. This book represents a very welcome third wave of scholarship that moves beyond the first generation of general histories, the second of more focused histories of groups and individuals, to a third, more cross-cutting dimension that addresses broader issues, such as the important thematics of “embodiment” at the core here. There is no doubt that bodies are pervasive in yōga painting, whether it be the ubiquitous nude or the equally prevalent self-portrait; bodies are abundantly in evidence. However, it is not just depicted bodies to which Winther-Tamaki refers but also the somatic and haptic or sensorial nature of the act of painting and the artist’s engagement with the matière, or material substance, of painting itself. In his rearticulation of yōga, Winther-Tamaki focuses on the theme of embodiment through four main modes of analysis: the materiality or matière of oil paint, the depiction of palpable human bodies, the identification of the act of painting with somatic expression, and the deployment of rhetorical metaphors of social incorporation into the body politic. By concentrating on a group of major artists (Kishida Ryūsei, Murayama Kaita, Matsumoto Shunsuke, Aimitsu, Umehara Ryūzaburō, Yasui Sōtarō, Fujita Tsuguharu, Koide Narashige, Satomi Katsuzō, Fujishima Takeji, Yorozu Tetsugorō, Fukuzawa Ichirō, Asō Saburō, and Kawara On), the book constructs a focused and coherent narrative without making claims to comprehensiveness. Winther-Tamaki displays an impressive mastery of Japanese scholarship in this well-researched field and ably weaves his own trenchant and original analysis with that of major Japanese scholars in this field (Mizusawa Tsutomu, Omuka Toshiharu, Kawata Akihisa, Tan’o Yasunori, Ōtani Shōgo, Kuraya Mika, and Inaga Shigemi, among others), who have taken yōga seriously for a long time. Where Winther-Tamaki’s previous book looked at art in the encounter of nations, particularly the concept of artistic nationalism, here artistic nationalism is supplemented by erotic nationalism, “a belief in the linkage between national identity and personal predilections of a sexual and aesthetic nature” to produce painting that should, according to Koide Narashige, “accelerate the heartbeat” (p. 66). As with all of the topics addressed in the book, Winther-Tamaki handles with dexterity the sexualization of the act of painting, explicating the underlying eroticism and voyeuristic gaze—often tinged with ethnographic curiosity and racism—that motivated painters as they negotiated an unstable Japanese native identity vis-à-vis the hegemonic culture of Euramerica and Japan’s “primitive” colonial Others. It is true that yōga was a kind of fetish for Japanese artists who came of age in the late [End Page 179] Meiji period and thereafter, and this book brings to life how this passion drove their simultaneous sense of superiority and inadequacy. The somatic associations between painting and the artist’s body are vividly described, with Kishida Ryūsei, for example, envisaging paint physically flowing through his living body...

수사학적 비유에 기반한 영상 콘텐츠의 스토리텔링 전략

This paper is introducing on a strategy of storytelling which is utilized as a core skill in developing cultural contents. The proposed storytelling method consists of three steps(planning, production, editing). The method of storytelling strategy is based on rhetoric metaphors and classifies rhetoric metaphors into three kinds of image metaphor, image personification and image simile. This thesis produced and studied 3 visual-image contents including 1 metaphor, 1 personification and 1 simile. As a result, visual-image contents can be a resonable method of the communicational act of visual-image contents with a rhetoric expression. This result will contribute to recognize the possibility of expressing visual-image contents by various figure. Recently, there are a lot of concernments on the expression by creative visual-image contents, but a theoretical study on creative idea for visual-image contents is insufficient. So, in the future, this thesis will be used for basic materials to express a creative visual-image contents, and also contribute to offering basic theories for visual-image contents study and teaching.

체현 인지에 기반한 개념 메타포에 관한 연구

The existing interface study has been focused on rhetorical metaphor based on a cognitive viewpoint in traditional objectivism. But the existing study viewpoint about the interface shows logical limitation by the changes in media environment. This study suggests conceptual metaphor based on embodied cognition for an alternative to solve the limitation, and research logical suitability of the existing interface environment. The result of this study is as follow; The first, the embodied cognitive viewpoint provides the interface as a space for holistic recognition communication, and the conceptual metaphor based on embodied cognition provides a well-structured metaphor logic and is a suitable metaphor to explain complicated metaphor structure. The second, the container image schema provides concrete and detailed metaphor structure than previous metaphor when it comes to explaining desktop metaphor by offering subsidiary image schema from `IN-OUT-BOUNDARY` image schema. The third, path image schema is possible to make a concrete logic and works off the laxity and confusion of logical structure in existing metaphor by offering subsidiary image schema from `SOURCE-PATH-GOAL` image schema. The conceptual metaphor based on embodied cognition is expected to be a basic theory to explain interfaces for various media environment by thinking of human physical experience as container and path image schema.

<i>Myriad</i> reloaded and ready for the next round? <i>The Association for Molecular Pathology v U.S.P.T.O.</i> , 689 F.3d 1303 (Fed. Cir. 2012)

In March 2011 the Supreme Court issued its Prometheus opinion and granted certiorari, and reversed and remanded Myriad I for consideration in light of Prometheus. In August 2012 the Myriad II decision was issued. The panel in Myriad II repeated most of their separate Myriad I opinions. Myriad deja vu looked much like Myriad I with panel members agreeing that Prometheus did not control the composition of matter claims. The opinions differed on whether composition claims were to be analysed from a chemical, structural or carrier of information standpoint with respect to laws of nature. The rationales used such rhetorical metaphors as cleaving, baseball bats, magic microscopes, extracted kidneys, slabs of marble or marble statues, the Sistine Chapel, and whether cells were `transformed' molecules or 'carriers of information'. The differing evaluations of patent-eligibility and the cursory manner in which they addressed the Supreme Court's GVR mandate may well guarantee a return appearance before the Supreme Court or, at a minimum, en banc review by the Circuit. (Less)

Cut and spark: Chris Marker, André Bazin and the metaphors of horizontal montage

ABSTRACTThis article traces the positions taken by prominent critic and film theorist André Bazin on the film-making of Chris Marker. In a series of reviews written between 1954 and 1958, Bazin identified a sweeping transformation at work in Marker's documentaries: film's paradigmatic transformation from a sovereign visual experience into a medium amongst other mass media, subservient to the strictures of text and cultural context. Over this four-year span, Bazin developed some key rhetorical metaphors in an effort to capture the promise and the menace of Marker's innovative montage technique. A close examination of the metaphors Bazin used reveals his appreciation of this dialectical process on celluloid, but also his dismay at the diminution of cinema's imagistic power that he felt such a process necessarily entailed. In alerting his readership to the damages film incurred when its image and its text (on the soundtrack or in subtitles) were set in radical equilibrium, he exposed Marker to a compelling kind of ‘friendly fire’, and exposed the extent of his own engagement with filmic realism at the same time.

The Trajectory of My Work with Metaphor

This essay summarizes and synthesizes the author's previously published work on rhetorical metaphor and depiction and relates personal stories behind this research. The essay also explores points of connection that tie this research together into an oeuvre. These points of connection trace a trajectory from the initial microscopic view of metaphor to the later panoramic view of functions sketched in the rhetorical depiction essay. The present essay pinpoints a vital over-statement in the original formulation of archetypal metaphor, the claim that such metaphor is “immune” rather than “resistant” to change. The gradual evolution of certain archetypal metaphors, despite their enduring nature, is perhaps the most fascinating thing about them. This essay also identifies a basic question left unanswered, concerning how the experience of metaphor can be so meaningful, and further complicates the explanation of rhetorical depiction. At the heart of both metaphor and depiction there remain mysteries.

The effectiveness of nonverbal symbolic signs and metaphors in advertisements: An experimental inquiry

AbstractThis research investigates the effectiveness of nonverbal symbolic signs and rhetorical metaphors in advertisements. Hypotheses are made based on appeals to both interpretive and psychological theoretical perspectives. In contrast to previous research that has assumed nonverbal ad elements are effortlessly and automatically processed, it is proposed here that consumers must devote a nontrivial level of cognitive effort if they are to comprehend nonverbal symbolic signs and metaphors. The hypotheses suggest boundary conditions for the effectiveness of nonverbal elements in advertising. An experiment is conducted as a test of the hypotheses, and the observations support the hypotheses. © 2008 Wiley Periodicals, Inc.

Toward an army of honor: The moral evolution of the french army, 1789-1815

As he spoke these words before the Corps Legislatif on the evening of 19 May 1802, Mathieu Dumas urged that body to create a new institution, the Legion of Honor. Dumas believed Virtue and Honor were compatible and that Honor should be achieved through Virtue. His logic, however, disguised the essentially incompatible natures of Virtue and Honor under the rule of Napoleon. In terms of Dumas's rhetorical metaphor, the First Consul constructed his temple to Honor on the ruins of the temple to Virtue. But this edifice was not made of stone; it was composed of men. It was his army. In this article I argue that after 1794, Revolutionary Virtue gave way to Napoleonic Honor as the official, and to a significant degree, real basis of martial motivation. The Revolutionary government expected its soldiers to fight without concern for personal reward and to