Most research on image schema examined the meaning configuration of words connotation. However, previous studies of adjectives are meaningful in cognitive linguistics because they provide insight into how those adjectives are involved with psychological movement. In this sense, from the perspective of cognitive linguistics, one’s conceptualization and cognition are closely associated with their bodily experience and surroundings; adjectives are no exception. The varieties of transformations of image schemas lay the foundation for the conception and perception. Accordingly, this (...) study is an investigation into the perception of adjectives and psychological activities associated with image schema. Data in this study come from adjectives in the novel The Great Gatsby, which were tagged and calculated with the help of software Python and the NLTK package. The results demonstrate that a significant amount of adjectives were used in the novel. Moreover, Nick’s psychological activities changed significantly from the SOURCE to the DESTINATION schematic stage, which is uncovered by his expression of adjectives. Finally, the results further suggest that transformations of image schema as BALANCE, CONTAINER, and PATH work together to motivate one’s linguistic expression of adjectives. The present findings have several implications for research on lexicons and literacy interpretation from cognitive linguistics. (shrink)

Mandler's target article claims that infants' capacity to abstract certain kinds of information from perceptual ldisplays occurs through a special mechanism of ?perceptual meaning analysis?, which generates abstract, ?image-schemas? that are analogical representations summarizing spatial relations and movement in space. Under this view, perceptual processes give input to forming conceptual representations, but higher-order concepts are disembodied, symbolic representations that are stripped of their embodied roots. My alternative argument is that bodily experience has an enduring role in early conceptual (...) development, and throughout the lifespan, with image-schemas being continually tied to ongoing perceptual and kinesthetic actions. Many global and abstract concepts may be created in the moment given specific task demands and retain deep connections to embodied actions and experiences. (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.

Image schemas are mental constructs central to human cognitive psychology. The neurobiological grounding of these structures has been suggested by experimental research both in non-human primates and lower animals . However, their applicability as concrete cognitive products has not been explored yet in zoosemiotics. This study shows that image schemas are highly instrumental to making sense of the impersonations of two animals featured in biology research studies and wildlife documentary films: the mimic octopus and the Gibb’s (...) sea spider crab . In analysing the movements and postures of these animals, it is argued that image schemas underlie recurring patterns of animal bodily experience and response, which ties image-schematic structures to non-human intersubjectivity. In line with the pluralistic view of zoosemiotics , this paper takes an intermediary position in the continuity–discontinuity debate regarding communication in humans and animals. In this regard, the complexity of the creative behavioural models of the animals examined leaves the door open for the existence of sophisticated mental life in non-human species. (shrink)

In much of modern scholarship, the notion of datong 大通 in Zhuangzi’s famous zuowang 坐忘 (sitting in disregard) passage is often interpreted as either Dao or a mental/spiritual state of an ideal person, a person who has obtained Dao. In either case, however, the association between datong and such interpretation lacks detailed justification resulting from an insufficiently understood relation between datong and its immediately preceding statements. Different from the more common readings, I propose a cognitive approach based on an (...) class='Hi'>image schema related to non-obstruction. In order to demonstrate the philosophical importance of this schema, I will first briefly point out the problems of previous scholarship regarding the zuowang passage. Second, I will introduce the image schema related to non-obstruction based on a number of examples taken from the Zhuangzi. Finally, I will apply this methodology and introduce a cognitive experience-based interpretation of the zuowang passage. (shrink)

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 196 Pages: 57-77.

Preceding research in cognitive linguistics has advanced the claim that evaluative components form an integral part of image schemas (cf. Krzeszowski 1993, 1997; Cienki 1997: 3–6). This so-called “plus–minus” (or “axiological”) parameter has primarily been discussed with regard to opposing dimensions within a range of image-schematic contexts. In the paired particles in–out, up–down, and on–off, for instance, the meaning of which is based on the image-schematic notions of CONTAINMENT, VERTICALITY, and CONTACT, respectively, the second elements are (...) assumed to carry negative default evaluations. Additionally, the Axiological Invariance Principle (Krzeszowski 1997) claims that these evaluative components are generally retained in metaphorical extensions. This study applies the plus–minus hypothesis in image-schema theory to the analysis of semantically highly redundant verb-particle constructions in English. The hypotheses derived from this application are tested against the real usage of such constructions as documented in the British National Corpus and the Collins Online. Though the presentation of a full-blown alternative to the plus–minus assumption is beyond the scope of this empirical investigation, an important implication of this study is that the isolated, “primitive” (noncompound) image schemas traditionally dealt with in cognitive linguistic research should not be considered as the locus of evaluative defaults. It is suggested instead that axiological components are dimensions of richer, contextualized cognitive models, in which image schemas appear as complex superimpositions, i.e., image-schema groupings or compounds. (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)

The paper focuses on metaphorical representation of military activities of the US-led international coalition and of ISIL which are construed on the basis of systematic metaphors drawn from the com...

Following on from Shaun Gallagher's influential 2005 book How the Body Shapes the Mind, this volume brings together leading experts from the fields of philosophy, neuroscience, psychology, and psychiatry in a productive dialogue, exploring key questions and debates about the relationship between body schema and body image.

The term schema (plural: schemata, or sometimes schemas) is widely used in cognitive psychology and the cognitive sciences generally to designate "psychological constructs that are postulated to account for the molar forms of human generic knowledge" (Brewer, 1999). The vagueness of this definition is no accident (and no sort of failing on Brewer's part). In fact schema is used in such very different ways by different cognitive theorists that the term has become quite notorious for its ambiguity (Miller, Polson, (...) & Kintsch, 1984 p. 6). However, a concept of.. (shrink)

There seems to be no dimension of bodily awareness that cannot be disrupted. To account for such variety, there is a growing consensus that there are at least two distinct types of body representation that can be impaired, the body schema and the body image. However, the definition of these notions is often unclear. The notion of body image has attracted most controversy because of its lack of unifying positive definition. The notion of body schema, onto which there (...) seems to be a more widespread agreement, also covers a variety of sensorimotor representations. Here, I provide a conceptual analysis of the body schema contrasting it with the body image as well as assess whether the body schema can be specifically impaired, while other types of body representation are preserved; and the body schema obeys principles that are different from those that apply to other types of body representation. (shrink)

In a majority of situations the normal adult maintains posture or moves without consciously monitoring motor activity. Posture and movement are usually close to automatic; they tend to take care of themselves, outside of attentive regard. One's body, in such cases, effaces itself as one is geared into a particular intentional goal. This effacement is possible because of the normal functioning of a body schema. Body schema can be defined as a system of preconscious, subpersonal processes that play a dynamic (...) role in governing posture and movement (Head, 1920). There is an important and often overlooked conceptual difference between the subpersonal body schema and what is usually called body image . The latter is most often defined as a conscious idea or mental representation that one has of one's own body (for example, Adame, Radell, Johnson, and Cole, 1991; Gardner and Moncrieff, 1988; Schilder, 1935). Despite the conceptual difference many researchers use the terms interchangeably, leading to both a terminological and conceptual confusion. (shrink)

A review of the literature on the subject and a discussion involving philosophical analysis, philosophy of science and phenomenology in the style of Merleau-Ponty. The study has practical interest in addition to scientific and philosophical relevance: the way a person conceptualizes his body is important to the way he behaves and the quality of his social interactions. Annotation copyrighted by Book News, Inc., Portland, OR.

Body image and body schema refer to two different yet closely related systems. Whereas BI can be defined as a system of perceptions, attitudes, and beliefs pertaining to one's own body, BS is a system of sensory-motor capacities that functions without awareness or the necessity of perceptual monitoring. Studies have demonstrated that applying the concepts of BI and BS enables us to conceptualize complex pathological phenomena such as anorexia, schizophrenia, and depersonalization. Likewise, it has further been argued that these (...) concepts play a crucial role in our ability to grasp our bodily experiences in the socio-cultural world according to various factors, such as gender, social class, and ethnicity. Referring to the insights of Frantz Fanon, the author of Black Skin, White Masks, this paper suggests that under certain conditions the BI can take over and reshape the BS. Based on an examination of Fanon’s writings, the paper suggests that not only the BI can truly remold the BS but that the gaze of the other can directly influence the BI. (shrink)

Our commentary addresses two issues that are not developed enough in the target article. First, the model does not clearly address the distinction among external objects, external body parts, and internal bodies. Second, the authors could have discussed further the role of body schema with regard to its dynamic character, and its role in perspective and in imitation.

A recent paradigm shift in music research has allowed scholars to examine the macro- and micro-processes taking place within musical performance and underlying cognitive processes. Tying in with phenomenological theories of embodied perception and cognition, this paper focuses on bodily musical activity relevant to the acquisition of instrumental musical skills—the process of learning music. Dynamic interaction with musical instruments, accompanied by the interplay of action and passion, involves body image and body schema, whose status oscillates in different phases of (...) the acquisition of instrumental musical skills; this interaction allows humans to direct attention from their bodily states—the proximal—to the quality of musical sounds and a unity of musical experience—the distal. It is thus argued that shaping music by means of playing a musical instrument can be conceived of as an embodied process, of understanding the forms of one’s own experience as related to the musical world that is created by one’s bodily activity. (shrink)

Dijkerman & de Haan (D&dH) argue that body image and body schema form parts of different and dissociable somatosensory streams. We agree in general, but believe that more emphasis should be placed on interactions between these two streams. We illustrate this point with evidence from the rubber-hand illusion (RHI) – an illusion of body image, which depends critically upon body schema.

In a unique cooperation between philosophy, linguistics, art history, and ancient studies, this volume focuses on ways in which the entangled and embodied nature of image and language enables us to symbolically articulate the world and our experience in a great variety of forms. It lays the foundation for a new cultural anthropology of symbolic processes.

The distinction between the body schema and the body image has become the stock in trade of much recent work in cognitive neuroscience and philosophy. Yet little is known about the interactions between these two types of body representations. We need to account not only for their dissociations in rare cases, but also for their convergence most of the time. Indeed in our everyday life the body we perceive does not conflict with the body we act with. Are the (...) body image and the body schema then somehow reshaping each other or are they relatively independent and do they only happen to be congruent? On the basis of the study of bodily hallucinations, we consider which model can best account for the body schema/body image interactions. (shrink)

This chapter presents an account of Merleau-Ponty’s interpretation of the body schema as an operative intentionality that is not only opposed to, but also complexly intermingled with, the representation-like grasp of the world and one’s own body, or the body image. The chapter reconstructs Merleau-Ponty’s position primarily based on his preparatory notes for his 1953 lecture ‘The Sensible World and the World of Expression’. Here, Merleau-Ponty elaborates his earlier efforts to show that the body schema is a perceptual ground (...) against which the perceived world stands out as a complex of perceptual figures. The chapter clarifies how Merleau-Ponty’s renewed interpretation of the figure-ground structure makes it possible for him to describe the relationship between body schema and perceptual (body) image as a strictly systematic phenomenon. Subsequently, the chapter shows how Merleau-Ponty understands apraxia, sleep, and perceptual orientation as examples of dedifferentiation and subtler differentiation of the body-schematic system. The last section clarifies how such body-schematic differentiating processes give rise to relatively independent superstructures of vision and symbolic cognition which constitute our body image. It, moreover, explains how, according to Merleau-Ponty, the cognitive superstructures always need to be supported by praxic operative intentionality to maintain their full sense, even though, in some cases, they have the power to compensate for praxic deficiencies. (shrink)

Immanuel Kant’s “Schema” and J. G. Fichte’s “Bild” are parallel figures of activity that serve as bridges. For both Kant and Fichte, it is not the image/schema taken as product that is primary, but the act of imaging. I show how Fichte leans on the Kantian argumentation of the schematism in order to attempt bridging the gulf critical philosophy leaves between theoretical and practical philosophy. My broader purpose is to indicate how two German Idealists emphasize activity as a way (...) of solving philosophical problems. (shrink)

Immanuel Kant’s “Schema” and J. G. Fichte’s “Bild” are parallel figures of activity that serve as bridges. For both Kant and Fichte, it is not the image/schema taken as product that is primary, but the act of imaging. I show how Fichte leans on the Kantian argumentation of the schematism in order to attempt bridging the gulf critical philosophy leaves between theoretical and practical philosophy. My broader purpose is to indicate how two German Idealists emphasize activity as a way (...) of solving philosophical problems. (shrink)

The way in which a schema represents something is precisely by abstracting from some of its features; in a schema, representation and abstraction are thus not opposed to each other but rather internally related. The first part of this paper investigates this internal relation by delineating Kant’s concept of schema as the term mediating concept and intuition. Due to its pivotal position, however, the schema tends to collapse either into the conceptual or into the intuitive. The second part of the (...) paper turns to Heidegger who tries to overcome this difficulty: he does not conceive the schema as a supplementary representation that connects already determinate concepts and intuitions, but rather locates schematization immanently in the very articulation of concept and intuition themselves. The third part of the paper proposes that the schematicity of our representations can be reflected in three pictorial strategies that are important for contemporary art: reduction, serialization, and reconstruction. These strategies are exemplified in certain images which put us in a position to see through our own representational form, as it were, and observe the procedures of figuration involved in that very form. (shrink)

As a model for processing information about people's perceptions to understand the complex world and society in which they live, the cultural schema serves as a key concept in Cultural Linguistics when directing to the perception and processing of information about people, and social groups, and events. Cultural schema theory is valuable in deciphering culturally structured concepts, covering the entire range of human experience expressed in many fields such as education, belief, religion, etc. Through the practice of sacred rituals, each (...) religious believer can form his system of ideas about entities in his or her belief world. Those experiences and experiences are conceptualized through the language picture. In the process of cultural development and integration, the cultural awareness of the Catholic community also reflects certain changes in Catholicism in the West in harmony with the customs and beliefs of Eastern countries. like Vietnam, expressed through the practice of funeral rites and traditional marriage of the Vietnamese. In this article, by using quantitative and qualitative methods, we have conducted a character analysis of the above cultural schemas based on the corpus of 120 discourses drawn during the implementation perform funeral and marriage rites for Vietnamese Catholics. Research results show that cultural schemas (event diagrams, role schemas, image schemas, propositional schemas, and emotional schemas) reflect the cultural knowledge (beliefs, standards, principles, and expectations) of each Vietnamese Catholic about DEATH and MARRIAGE as a journey or a new transformation in one's life... That is the basis for them to transmit achieve and explain the basic values of these two concepts, helping us to understand more deeply the mind of the Vietnamese Catholic community in Vietnam when performing two important rituals in human life in reality. (shrink)

Body image and body schema are two phenomenological concepts which generated a revival of Maurice Merleau-Ponty’s philosophical heritage. In the present text I intend to inquire on the relation between these two concepts and that of Logos of life, another challenging point in the Merleau-Pontyan thought.In order to delineate the correlation between body schema, body image and my understanding of a logic of life, I will first explore how what I term “schematism of the body” is connected to (...) an inherent model of life and living and how this schematism is reflected in the body image. I will turn further to the relation between body and world and highlight how the life of the body defines itself as meaningful in the context of both the surrounding world and the lifeworld. In a third part of my analysis I shall point out how the relation between body schematism and motile intentionality redefines corporeal inten-tionality. I shall conclude by noting the role of the Logos of life, through which corporeity, in its position of meaning project, is instituted as body schematism.Los conceptos fenomenológicos de imagen corporal y esquema corporal han dado lugar a un resurgimiento del legado filosófico de Maurice Merleau-Ponty. En este texto pretendo investigar la relación entre estos dos conceptos y el de Logos de la vida, otro elemento estimulante del pensamiento Merleau-Pontiano.Con el fin de trazar la correlación entre es-quema corporal, imagen corporal y mi interpretación de la lógica de la vida, exploraré en pri-mer lugar cómo el término “esquematismo del cuerpo” está conectado con un modelo inheren-te de vida y de vivir, y cómo este esquematis-mo se refleja en la imagen corporal. Consideraré después la relación entre cuerpo y mundo y remarcaré cómo la vida del cuerpo se define como significativa en el contexto tanto del mundo circundante como del mundo de la vida. En la tercera parte de mi análisis señalaré cómo la relación entre esquematismo corporal e intencionalidad moto-ra redefine la intencionalidad corporal. Concluiré destacando el papel del Logos de la vida, a través del cual la corporeidad, en su posición de proyecto significativo, se instituye como esquematismo corpora. (shrink)

Jakob von Uexküll’s problematic is manifested in his paradoxical portraiture of form within the plan of nature: the one a sensual schema and the other a transsensual ideal form. At first sight, Uexküll’s belief in the Platonic and the Reformational notions of the immobile becoming of form seems to be a resignation from the heated debates among his contemporary materialists, vitalists, dynamists, and evolutionists. However, in terms of the Kantian subjective teleology, Uexküll’s appropriation of the ancient philosophy reinstates the invisible, (...) static, but repetitive cycle as his regulating principle in the observation of the activity of animals. This regulating principle distinguishes itself from the rule of resemblance established by the appearances and fossil remains of animals, which is linear, incomplete, and digressive. In the light of Michel Foucault, the transition from the visible to the invisible recoups the study of nature from the living beings (les êtres vivants) to the life itself (la vie), from natural philosophy to biology. My study suggests that we recast Uexküll’s sign theory from his observations on the crux that models and triggers an animal to action in its Umwelt. Bracketing Uexküll’s transcendental configuration of form and image, we still find that schema, in itssensual and functional context, evolves from a reflection of the objects to a summary of their features plus an ignorance of their proper names. Uexküll's erasure of proper names (in different languages) that directs our attention to the presentation in its pure form (Gestalt) not only constitutes an important step in epistemology, but also in a life science that meticulously delves into the genotypes. (shrink)

Ancient schematic systems originating in the Jewish and Chinese traditions that demonstrate dynamic integration of human consciousness with the material world offer fresh insights into the process through which technoetic art forms are created at the intersections of art, science, technology, and culture. Kabbalah is Judaism's esoteric tradition that reveals the deep structure of biblical consciousness through a symbolic language, conceptual schema, and graphic model for exploring the creative process. The Tree of Life schema is a network of 22 pathways (...) linking 10 nodes (sephirot) that represent stages in the creative process. The first three sephirot represent the artist's undifferentiated intention to create and the cognitive dyad in which a flash of insight begins to crystallize into a viable idea. Two affective dyads, largess/restraint and success/gracefulness, are balanced by the sephirah (singular for sephirot) of Beauty, the aesthetic heart of the entire process. The ninth sephirah funnels the integrated flow of intention, thought, and emotion into the world of physical action that is the tenth sephirah. The Kabbalistic schema is used to trace the process of creating Inside/Outside: P'nim/Panim, a technoetic moist- media artwork in which a biofeedback imaging system forms a feedback loop between changing mind/body processes and corresponding changes in digital self-portraits. (shrink)

Body integrity identity disorder (BIID), formerly also known as apotemnophilia, is characterized by a desire for amputation of a healthy limb and is claimed to straddle or to even blur the boundary between psychiatry and neurology. The neurological line of approach, however, is a recent one, and is accompanied or preceded by psychodynamical, behavioural, philosophical, and psychiatric approaches and hypotheses. Next to its confusing history in which the disorder itself has no fixed identity and could not be classified under a (...) specific discipline, its sexual component has been an issue of unclarity and controversy, and its assessment a criterion for distinguishing BIID from apotemnophilia, a paraphilia. Scholars referring to the lived body—a phenomenon primarily discussed in the phenomenological tradition in philosophy—seem willing to exclude the sexual component as inessential, whereas other authors notice important similarities with gender identity disorder or transsexualism, and thus precisely focus attention on the sexual component. This contribution outlines the history of BIID highlighting the vicissitudes of its sexual component, and questions the justification for distinguishing BIID from apotemnophilia and thus for omitting the sexual component as essential. Second, we explain a hardly discussed concept from Maurice Merleau-Ponty’s Phenomenology of Perception (1945a), the sexual schema, and investigate how the sexual schema could function in interaction with the body image in an interpretation of BIID which starts from the lived body while giving the sexual component its due. (shrink)