“Image metaphor” is defined in Conceptual Metaphor Theory as a mapping of visual structure from one entity onto another based on the mental images they evoke. It is considered an exceptional, one-off phenomenon that can be distinguished clearly from prototypical conceptual metaphors. However, according to Perceptual Simulation Theory, all language, both literal and nonliteral, is understood partially by simulating in our minds what it would be like to actually perceive the things that are being described, which suggests that (...) visualization is not unique to image metaphor. As I argue in this article, the mental imagery invited by image metaphors is nevertheless likely to be particularly vivid, detailed, and complex, as well as involving more conscious and deliberate thought processes. Since it is hard to consider visualization in abstract terms, pictorial equivalents of image metaphors are used to support my claims. (shrink)

This article compares the poetics of Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire du cinéma in order to realign our understanding of metaphor, metonymy and montage with the inter-formal dialogues that new media artworks increasingly demand of audiences. An analysis of Godard's ‘quotation’ of Proust's words and ideas from Le Temps retrouvé sets out an explicit rivalry between text and image. However, drawing on formalist and structuralist approaches to both literature and cinema, including Roman (...) Jakobson and Gérard Genette, as well as more recent discussions developed by Gilles Deleuze and Lev Manovich, I will argue that the nature of the image manifested in both artworks corresponds to a shared aesthetic that exceeds distinctions between word and image, literature and video. (shrink)

In scholarly writing on metaphor, there is a great gap between literary theory and critical practice. Phillip Stambovsky here attempts to close that gap by presenting a theory of literary metaphor that is grounded in actual literary experience. Stambovsky begins by critically reviewing the most well-known and influential theories of metaphor, including those based on notions of comparison, substitution, transfer, analogy, semantic interaction, and context. He then introduces a phenomenology of literary experience, drawning from the writings of Whitehead, Cassirer, Merleau-Ponty, (...) Sartre, and Frye, among others. With this as his theoretical foundation, Stambovsky stresses the primacy of presentational awareness in literary experience, arguing for the reader's collaborative involvement in the creation of textual meaning. In the third chapter, Stambovsky examines how literary imagery functions in narrative discourse, showing how Henry James's imagery in The Golden Bowl depictively renders the relationships of characters, their thoughts, and their feelings so that the reader perceives them with the immediacy and aesthetic impact of perceptual, as opposed to conceptual, experience. Turning to the very concept of depictive imagery, Stambovsky next discusses experiential approaches to metaphor, particularly those of Marcus Hester and George Yoos. He concludes his study with an explication of a metaphor centered in the closing line of Dickinson's poem, "A Bird Came Down the Walk.". (shrink)

Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic landscape images (...) in biology, we develop a descriptive framework applicable to heuristic roles of various visual metaphors in the sciences. (shrink)

I propose that an account of metaphor understanding which covers the full range of cases has to allow for two routes or modes of processing. One is a process of rapid, local, on-line concept construction that applies quite generally to the recovery of word meaning in utterance comprehension. The other requires a greater focus on the literal meaning of sentences or texts, which is metarepresented as a whole and subjected to more global, reflective pragmatic inference. The questions whether metaphors (...) convey a propositional content and what role imagistic representation plays receive somewhat different answers depending on the processing route. (shrink)

Presents the latest research on how reasoning with analogies, metaphors, metonymies, and images can facilitate mathematical understanding. For math education, educational psychology, and cognitive science scholars.

In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better sense of those concepts by understanding iconic signs in the context of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce's sixty-six classes (...) of signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes. (shrink)

Recent discussions on the use of metaphor have centered on how it may be used in a way that has been said to require mandatory attention to the fact that it is metaphorical, resulting in what has come to be known as deliberate metaphor (CitationSteen, 2008). While metaphor deliberateness and conventionality/novelty are conceptually distinct, associations are likely to exist in practice. This article focuses on the deliberate use of conventional metaphor in images, by way of examining the use of animate (...) and anthropomorphic metaphors in an instance of corporate branding discourse (i.e., the prospectuses of Singapore's corporatized universities). Through our analysis, we show that deliberate conventional metaphor serves to reinforce particular conceptualizations rather than effect radical conceptual change. Moreover, we discuss visual and multimodal metaphor as deliberate if used in carefully crafted texts and draw on the notion of an image's connotative meaning to point out how such deliberateness can be further accentuated. The article concludes by discussing some implications for how the degree of conventionality is likely to have an effect on how deliberate metaphor achieves its key objective of changing addressees’ concepts of a particular Target. (shrink)

Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic landscape images (...) in biology, we develop a descriptive framework applicable to heuristic roles of various visual metaphors in the sciences. (shrink)

There is the tension between, on the one hand, Wittgenstein’s not giving theoretical weight to metaphor, and on the other, his exuberant use of it. On a more fundamental level, there is a straightforward contradiction between Wittgenstein’s claim of the primordial literalness of everyday language, and his stress on the multiplicity and flexibility of language-games. Wittgenstein’s problem was that he did not succeed in making his ideas on metaphor, and indeed his ideas on metaphor and images, converge with the main (...) drift of TS 227 (the so-called ‘Part I’ of the so-called ‘Philosophical Investigations’). It was this divergence, I believe, that prevented him from rounding out his later philosophy. (shrink)

Whereas intersectionality presents a fruitful framework for theoretical and empirical research, some of its fundamental features present great confusion. The term ‘intersectionality’ and its metaphor of the crossroads seem to reproduce what it aims to avoid: conceiving categories as separate. Despite the attempts for developing new metaphors that illustrate the mutual constitution relation among categories, gender, race or class keep being imagined as discrete units that intersect, mix or combine. Here we identify two main problems in metaphors: the (...) lack of differentiation between positions and effects and the problem of reification. We then present a new metaphor that overcomes these two problems: a basket of apples. We argue that considering social positions as the diverse properties of different apples avoids reification by considering categories as properties and not as objects themselves, and at the same time it allows us to think about the effects dimension from a plural and contextual approach. With this shift, we propose a reframing of the discussion in debates on intersectionality theory on the relation among categories, their in/separability and fragmentation. (shrink)

My case study of Heart of Darkness analyzes the role of image schemas in shaping narrative macrostructures and in organizing literary metaphor systems. Assuming that we can reconstruct global story meaning from local image-schematic metaphors, I propose a model in which compound gestalts represent major aspects of the plot-defining macrostructure. It emerges as salient textual cues progressively add up to a scaffold of image-schematic elements that represent the event's overall texture, its "plot-gene". The rich metaphor system (...) of Heart of Darkness throws into relief the amazing range of literary functions rooted in this image-schematic plot-gene, including plot mnemonics, inference, metaphor networks, and clustering of propositional knowledge, megametaphor, focalizing and viewpoint effects, irony, as well as mood contours. Progressing toward a cognitive model of narrative, I will argue that reading involves a mental simulation of how image schemas interact topologically to produce emergent effects. I dub the imagistic substrate of this simulation the "mental (story) sketchpad," following Baddeley (1986). (shrink)

In this article, I provide an account of the development of the "translate" concept from the verbs used in Old English through the Middle English period, including the establishment of the Latin-based translate. The development and current pattern of polysemy are described through the elaboration of a Lakoffian cognitive model structured by image schemas and various types of action on those schemas--more specifically combination, dissolution, and metaphoric projection. Concordance and corpus data illustrate the development at various stages.

This article focuses on two largely ignored aspects of the understanding of strong metaphors: the visual dimension and the emotional factors. Particularly, I intend to offer answers to the following questions: 1) What does it mean to understand a visual metaphor? 2) Can Wittgenstein’s ideas about the vision of aspects help to better understand this understanding? 3) In what sense does his notion of secondary sense enrich the philosophical reflection on the understanding of metaphors? 4) In what sense (...) may emotions be an important factor in the understanding of certain metaphors? The article is framed in a methodological proposal: I defend a phenomenology of the metaphor, that is, an accurate description of our experiences with metaphors, and in this case, its understanding. (shrink)

Two common themes emerge in our writings over the past several decades. Estelle Jorgensen has focused partially and significantly on models and metaphors that undergird music education.1 Iris Yob has examined the role of higher education generally and music education specifically in creating positive social change.2 At times, and against the backdrop of recent writing on music education, social change, and social justice,3 we each have explored topics in the other's area of interest.4 Neither of us, however, has systematically (...) brought together the two themes: building practices on grounding metaphors for developing music education as a means for promoting the common good. In this paper, our conversation explores... (shrink)

One way in which the characteristic gestures of philosophy and criticism differ from each other lies in their involvements with disillusionment, with the undoing of our naivete, especially regarding what we take ourselves to know about the meaning of what we say. Philosophy will often find less than we thought was there, perhaps nothing at all, in what we say about the “external” world, or in our judgments of value, or in our ordinary psychological talk. The work of criticism, on (...) the other hand, frequently disillusions by finding disturbingly more in what is said than we precritically thought was there. In our relation to the meaningfulness of what we say, there is a disillusionment of plentitude as well as of emptiness. And no doubt what is “less” for one discipline may be “more” of what someone else is looking for.In recent years, metaphor has attracted more than its share of both philosophical and critical attention, including philosophical denials of the obvious, as well as critical challenges to the obviousness of the ways we talk about metaphor. In this paper I discuss a problem of each sort and suggest a complex of relations between them. The particular denial of the obvious that I’m interested in is the claim recently made by Donald Davidson that “a metaphor doesn’t say anything beyond its literal meaning ,” nor is it even correct to speak of metaphor as a form of communication.1 There’s disillusionment with a vengeance; and even if not strictly believable, it is still not without its therapeutic value, as we shall see. 1. Donald Davidson, “What Metaphors Mean,” in On Metaphor, ed. Sheldon Sacks , p. 30; hereafter abbreviated “WMM.” Davidson’s view has found supporters among both philosophers and literary theorists. It is, for example, important to the early argument of Richard Rorty’s recent book. See his Contingency, Irony, and Solidarity , p. 18. Richard Moran is an assistant professor of philosophy at Princeton University. He is currently working on a book on subjectivity and contemporary concepts of personhood. (shrink)

Paul Ricoeur uncovered the creative aspect of language in his theory of metaphor. The metaphor is a special combination of words that as a clash of distant semantic fields forces the reader to interpret the sentence in a new way and see things in a new light. It is a process in which the imagination plays an important role. Ricoeur compares the metaphor to the Kantian schema which is a procedure to provide an image to a concept. The (...) class='Hi'>image helps in the process of assimilating distant elements and thus to achieve a new interpretation. To change perspective the suspension of reference is also needed. The aim of this essay is to analyze the imaginative functions which are operative in the metaphor and look for an answer to the question about the role of the imagination as a productive power as well as a power of internal intuitions. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 214 Seiten: 249-257.

Le newtonisme moral, à la mode au milieu du XVIIIe siècle, n’est pas seulement une métaphore: en vertu du principe de l’unité de la nature, il postule dans la société une loi semblable à la loi des distances en physique, voire une possibilité de mesure. La même règle d’analogie (A/B = CID) sous-tend le Contrat social de Jean-Jacques Rousseau : en prolongement des métaphores classiques de l’horloge, la définition du gouvernement reproduit l’agencement d’une montre, jusque dans les calculs de proportion (...) qui servent aux horlogers à former le rouage. De même, dans la Théorie des sentiments moraux, Adam Smith se sert de la vieille métaphore de I’ oeil de lesprit et des notions plus modernes de la perspective optique pour agencer en système lensemble des interactions possibles entre deux personnes – hormis l’intérêt – en faisant varier la distance imaginaire entre les protagonistes selon les passions exprimées et leur intensité. Il est important de restituer ces transferts et ces controverses pour comprendre les enjeux fondamentaux de la sociologie au XIXe siècle. (shrink)

This review article of Frederik Stjernfelt’s Sheets, Diagrams, and Realism (2022) argues that Peirce’s theory of iconicity with its subdivision into the image-diagram-metaphor triad must not be reduced to diagrammatic iconicity. The foundation of the triadic subdivision of the icon is not in Peirce’s diagrammatic logic but in Peirce’s cenopythagorean categories. A focus is on misinterpretations of Peirce’s concept of thirdness in the firstness of the icon. The paper argues that not only metaphors, but also comparisons, analogies, analogic (...) arguments, and examples belong to the third class of icons. (shrink)

This paper continues the debate about how to distinguish metaphor from metonymy, and whether this can be done. It examines some of the differences that have been alleged to exist, and augments the already existing doubt about them. The main differences addressed are the similarity/contiguity distinction and the issue of whether source-target links are part of the message in metonymy or metaphor. In particular, the paper argues that metaphorical links can always be used metonymically and regarded as contiguities, and conversely (...) that two particular, central types of metonymic contiguity essentially involve similarity. The paper also touches briefly on how metaphor and metonymy interact with domains, frames, etc. and on the role of imaginary identification/categorization of target as/under source items. With the possible exception of this last issue, the paper suggests that no combination of the alleged differences addressed can serve cleanly to categorize source/target associations into metaphorical ones and metonymic ones. It also suggests that it can be more profitable to analyse utterances at the level of the dimensions involved in the differences than at the higher level of metaphor and metonymy as such. (shrink)

The notion that metaphorical statements are strictly false suggests that all statements, even those that seemed ‘literal’, are false, as none can ‘literally’ reflect reality. Statements about what we perceive or could perceive rely on evoking sensory images of such ‘visibles’, even though we have no direct access to what others, may perceive. In addition to what is visible, we must also deal with ‘invisibilia’ (both the fantasms that respectable moderns now reject and the realities that lie beyond or before (...) all sentient experience). Talking about such distant or long-ago realities must always be ‘metaphorical’, as they cannot have any of the merely ‘subjective’ properties of experience, nor do they explain those latter properties. Is there some way of confirming the brute conviction that there is a ‘real and intelligible world’, and that we can find it out or describe it ‘literally’? May ‘Reason’ be a route to understanding? But this too is an illusion: we seem never in practice to escape contradictions and had perhaps better turn again to consider the worlds of experience to which we are confined. What we experience is conditioned by our imagination: whether that metaphorical imagination points beyond experience remains uncertain. (shrink)

Resumo: Chen Yingsong criou Lago Gato Selvagem não apenas para contar uma história sobre lésbicas. Ao descrever como Xiang’er, uma mulher rural, torna-se lésbica nas aldeias, pode-se ver a “riqueza” e o “significado metafórico” do símbolo lésbico. No que diz respeito ao Lago Gato Selvagem, é mais interessante tratar como Xiang’er se torna lésbica, que não se refere apenas sobre sexo ou gênero, mas também sobre opressão política e econômica; assim, o chamado gênero, entendido utopicamente, poderá ser identificado. Além disso, (...) a perda da subjetividade rural durante a ampliação e a transformação posterior, a nova opressão e a exploração resultantes são as razões fundamentais para Xiang’er se tornar lésbica e eventualmente “matar seu marido”. (shrink)

이 글은 ｢역경｣의 괘ㆍ효사를 시(詩)의 은유와 상징으로 이해하려는 시도이다. 괘ㆍ효 사의 주요 이미지를 은유와 상징으로 이해하면서 그러한 표현법에 담긴 상응 우주의 세계 관을 드러내 보이려는 것이다. 일반적인 시에서와 달리 ｢역경｣에서 괘ㆍ효사의 원관념(A) 은 두 종류가 될 수 있다. 하나는 특정한 괘나 그에 속한 효가 될 수 있고, 또 하나는 점을 쳤을 때 그 물음에서 원관념을 찾을 수 있다. 어느 경우이든 괘 효사는 보조관념(B)이 된다. 하나의 괘는 일곱 연으로 이루어진 병치 은유로 볼 수 있다. 그리고 매우 함축적이고 불연속적 사유를 바탕으로 쓰인 (...) 괘ㆍ효사를 하나의 주제로 통합하는 것은 괘명(卦名)이다. 즉 괘명은 시의 제목에 해당한다. ｢역경｣을 은유로 읽을 때 일반 시와 다른 두드러진 차이 점은 원관념이 매우 모호하고 유동적이라는 것이다. 그 이유는 하나의 대성괘 속에 두 개 의 소성괘(=8괘)가 들어 있고, 각 소성괘는 많은 물상을 포함하고 있기 때문이다. 상징은 직유나 은유에서 원관념이 숨고 보조관념만 나타나 있는 형태이다. 상징의 원관념은 숨어 있으며 그 의미 또한 모호하게 암시할 뿐이라는 측면에서 ｢역경｣의 괘ㆍ효사는 그 형식은 은유이지만, 주요 이미지의 의미는 상징이다. 은유나 상징으로 표현된 ｢역경｣의 괘ㆍ효사 는 알려지지 않은 자연의 비밀을 이미 잘 알려진 구체적 사물로서 비유한 것이다. 그러나 ｢역경｣의 언어는 그 모호한 상징성 때문에 읽는 사람마다 다르게 해석한다. 은유적 세계는 마치 별개인 듯 떨어진 사물을 서로 연결하고, 그 실체가 알려지지 않은 상징은 이 세계를 신비하게 만든다. 『주역』은 근대 자연과학 이전 동서양의 보편적 세계관이었던 대우주와 소우주의 상응하는 세계를 보여준다. 『주역』에서는 은유와 상징으로 표현해야 하는 세계 인식, 즉 소우주와 대우주가 교감하는 상응 우주가 저변에 깔려있다. 그러므로 『주역』을 이해하는 주요한 언어인 8괘 물상은 상징으로 이해해야 한다. (shrink)

The mirror metaphor has been an essential asset especially during the pre-modern history of philosophy. The present article is concerned with its use in the philosophy of the German thinker Nicolas of Cusa (1401-1464). Being rooted in the intellectual traditions of Greek antiquity and Medieval Christian philosophy, Nicolas of Cusa has also been hailed as one of the first modern European philosophers. Long before other occidental thinkers, Nicolas of Cusa used the mirror metaphor to describe the foundational logic of self-consciousness (...) on his own terms and in the context of his time and his cultural environment. This article presents the most important passages where Nicolas of Cusa uses the images of the mirror and of mirroring to explain the creative self-relation of consciousness as well as to hint at a way of a transformation of the common forms of reflexivity of the epistemological functions of the mind into its complete form of existence as absolute self-consciousness. In this context, Nicolas of Cusa’s use of the mirror metaphor is also concerned with the question of an all-encompassing humanistic self-perfection, practice as well as with basic anthropological considerations. (shrink)

In December 2019, 18 years after the outbreak of SARS, a new SARS-like virus began to circulate and rapidly spread in the People's R...

According to conceptual metaphor theory, there are two basic metaphorical models for conceptualising time in terms of space: the ego-moving model maps our movement through space onto our imagined movement through time, while the time-moving model represents time as an entity moving through spatial locations, the ego being just a passive observer. The aim of this article is to investigate how time is conceptualized in film where ego, movement, time and space also play basic roles. I compare the two linguistic (...) models to Gilles Deleuze’s conceptualization of filmic time: the movement-image and the time-image. While the movement-image and the moving-ego metaphor directly map spatial structures onto the domain of time, the time-image and the moving-time metaphor correlate only in their basic structures and involve different levels of conceptual integrations and conversions. Due to film techniques such as a mobile camera, montage and image manipulation, the time-image seems to transcend the constraints of natural perception and maps onto mental rather than external space, thus giving rise to a new reverse metaphor where space acquires characteristics of the time domain. (shrink)

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of the (...) Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

Reason has regularly been portrayed and understood in terms of images and metaphors that involve the exclusion or denigration of some element-body, passion, nature, instinct-that is cast as "feminine." Drawing upon philosophical insight into metaphor, I examine the impact of this gendering of reason. I argue that our conceptions of mind, reason, unreason, female, and male have been distorted. The politics of "rational" discourse has been set up in ways that still subtly but powerfully inhibit the voice and agency (...) of women. (shrink)