We demonstrate in two experiments that real and imagined body movements appropriate to metaphorical phrases facilitate people's immediate comprehension of these phrases. Participants first learned to make different body movements given specific cues. In two reading time studies, people were faster to understand a metaphorical phrase, such as push the argument, when they had previously just made an appropriate body action (e.g., a push movement) (Experiment 1), or imagined making a specific body movement (Experiment 2), than when they (...) first made a mismatching body action (e.g., a chewing movement) or no movement. These findings support the idea that appropriate body action, or even imagined action, enhances people's embodied, metaphorical construal of abstract concepts that are referred to in metaphorical phrases. (shrink)

Roger Scruton's extraordinarily rich and impressive book The Aesthetics of Music has not received the attention it deserves. In this paper I take issue with one of its most striking claims, namely that the basic perceptions of music are informed by spatial concepts understood metaphorically. To evaluate this claim it is necessary to grasp Scruton's theory of metaphor, which has largely been neglected. I sketch his theory and derive from it the essence of his claim about the fundamental role (...) of spatial metaphors in musical experience. With the issue clarified in this way, I attempt to show that the claim is not plausible. (shrink)

Body Memory, Metaphor and Movement is an interdisciplinary volume with contributions from philosophers, cognitive scientists, and movement therapists. Part one provides the phenomenologically grounded definition of body memory with its different typologies. Part two follows the aim to integrate phenomenology, conceptual metaphor theory, and embodiment approaches from the cognitive sciences for the development of appropriate empirical methods to address body memory. Part three inquires into the forms and effects of therapeutic work with body memory, based on (...) the integration of theory, empirical findings, and clinical applications. It focuses on trauma treatment and the healing power of movement. The book also contributes to metaphor theory, application and research, and therefore addresses metaphor researchers and linguists interested in the embodied grounds of metaphor. Thus, it is of particular interest for researchers from the cognitive sciences, social sciences, and humanities as well as clinical practitioners. (shrink)

In recent issues of this journal, Roger Scruton and Malcolm Budd have debated the question whether hearing a melody in a sequence of sounds necessarily involves an ‘unasserted thought’ about spatial movement. According to Scruton, the answer is ‘yes’; according to Budd, the answer is ‘no’. The conclusion of this paper is that, while Budd may have underestimated the viability of Scruton's thesis in one of its possible interpretations, there is no good reason to assume that the thesis is (...) true. Very briefly, the argument for the second part of the conclusion is that we can account for all the data adduced by Scruton in favour of his hypothesis by means of hypotheses that are far less daring. (shrink)

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)

An eye-tracking while listening study based on the blank screen paradigm was conducted to investigate the processing of literal and metaphorical verbs of motion. The study was based on two assumpti...

The metaphor of the labyrinth in the second half of the XX century becomes an iconic model of the postmodern world order. In musical culture, the phenomenon of the labyrinth has acquired the meaning of a symbol of intertextuality, a game with cultural codes and musical heritage of the past, multivariance, variability, uncertainty. The ballet "Labyrinths" by Alfred Schnittke is an example of the embodiment of the labyrinth paradigm and is the object of research. The subject of the study (...) is the peculiarity of the implementation of the idea of the labyrinth at the compositional and dramatic level of the ballet cycle. In the light of the author's individual interpretation, the labyrinth model takes the form of a "macrolabirint" and a "microlabiint", where the macrostructure is the construction of the whole, and the microstructure is the last, fifth part. The novelty of the research lies in the consideration of the compositional and dramatic features of the ballet "Labyrinths" in the context of the metaphor of the labyrinth. The concept of the "macrolabyrint" contributed to the relief display of the principles of symmetry and centralization inherent in the labyrinth of the classical Cretan type. Symmetry in the ballet cycle found expression in the structure of the extreme parts, in their author's division into sections, the presence of a reprise in Maestoso and Meno mosso, a single tonal organization interspersed with modal episodes, the assertion of the third c–e in the intonation system of the parts. Centralization of the Cretan labyrinth was reflected in the endowment of the fourth part with the properties of the culmination point, characterized by an increase in sonorous qualities, an abundance of cluster verticals, and heterogeneous stratified tissue. The concept of "microlabirint" contributed to the depiction of the multivariance of the maze-confusion in the fifth part of the ballet. The nonlinear movement of the characters along the branched labyrinth model was carried out by the interaction of contrasting sections correlated with deviation into various emotional states. The conducted research allowed us to conclude about a new interpretation of the labyrinth paradigm in ballet in the light of Schnittke's individual author's handwriting. (shrink)

Ever since Aristotle, metaphor has been placed in the context of a mimetic theory of language and of art. Metaphors are in some sense about reality. The poet uses metaphor to help reveal what is. He, too, serves the truth, even if his service is essentially lacking in that "Metaphor consists in giving the thing a name that belongs to something else."1 Thus it is an improper naming. This impropriety invites a movement of interpretation that can (...) come to rest only when metaphorical has been replaced with a more proper speech. This is not to say, however, that such replacement is possible nor that interpretation can ever come to rest. What metaphor names may transcend human understanding so that our language cannot capture it. In that case, proper speech would be denied to man. But regardless of whether we seek proper speech with man, for example, with the philosopher, or locate it beyond man with God, or think it only an idea that cannot find adequate realization, as long as we understand metaphor as an improper naming, we place its telos beyond poetry. · 1. Aristotle Poetics 21. 1457b. 6-7. Karsten Harries, chairman of the department of philosophy at Yale University, is the author of several works on aesthetics, including The Meaning of Modern Art: A Philosophical Interpretation. He is currently writing a book on the Bavarian rococo church. See also: "On Thinking about Aristotle's 'Thought'" by James E. Ford in Vol. 4, No. 3. (shrink)

Summary Ideomotor apraxia is a cognitive disorder in which the patient loses the ability to accurately perform learned, skilled actions. This is despite normal limb power and coordination. It has long been known that left supramarginal gyrus lesions cause bilateral upper limb apraxia and it was proposed that this area stored a visualkinaesthetic image of the skilled action, which was translated elsewhere in the brain into the pre-requisite movement formula. We hypothesise that, rather than these two functions occurring separately, (...) both are complementary functions of chains of ‘‘mirror neurons’’ within the left inferior parietal lobe. We go on to propose that this neural mechanism in the supramarginal gyrus and its projection zones, which originally evolved to allow the creation of a direct map between vision and movement, was subsequently exapted to allow other sorts of cross-domain mapping and in particular those sorts of abstract re-conceptualisation, such as metaphor, that make mankind unique. (shrink)

Genes are often described by biologists using metaphors derived from computa- tional science: they are thought of as carriers of information, as being the equivalent of ‘‘blueprints’’ for the construction of organisms. Likewise, cells are often characterized as ‘‘factories’’ and organisms themselves become analogous to machines. Accordingly, when the human genome project was initially announced, the promise was that we would soon know how a human being is made, just as we know how to make airplanes and buildings. Impor- tantly, (...) modern proponents of Intelligent Design, the latest version of creationism, have exploited biologists’ use of the language of information and blueprints to make their spurious case, based on pseudoscientific concepts such as ‘‘irreducible complexity’’ and on flawed analogies between living cells and mechanical factories. However, the living organ- ism = machine analogy was criticized already by David Hume in his Dialogues Concerning Natural Religion. In line with Hume’s criticism, over the past several years a more nuanced and accurate understanding of what genes are and how they operate has emerged, ironically in part from the work of computational scientists who take biology, and in particular developmental biology, more seriously than some biologists seem to do. In this article we connect Hume’s original criticism of the living organism = machine analogy with the modern ID movement, and illustrate how the use of misleading and outdated metaphors in science can play into the hands of pseudoscientists. Thus, we argue that dropping the blueprint and similar metaphors will improve both the science of biology and its understanding by the general public. (shrink)

People often make use of a spatial “mental time line” to represent events in time. We investigated whether the eyes follow such a mental time line during online language comprehension of sentences that refer to the past, present, and future. Participants' eye movements were measured on a blank screen while they listened to these sentences. Saccade direction revealed that the future is mapped higher up in space than the past. Moreover, fewer saccades were made when two events are simultaneously taking (...) place at the present moment compared to two events that are happening in different points in time. This is the first evidence that oculomotor correlates reflect mental looking along an abstract invisible time line during online language comprehension about time. Our results support the idea that observing eye movements is likely to “detect” invisible spatial scaffoldings which are involved in cognitively processing abstract meaning, even when the abstract meaning lacks an explicit spatial correlate. Theoretical implications of these findings are discussed. (shrink)

Aiming to circumvent metaphor-prone properties of natural language, Chapman, Kim, Susskind, and Anderson (2009) recently reported evidence for morally induced activation of the levator labii region (manifest as an upper lip raise and a nose wrinkle), also implicated in responding to bad tastes and contaminants. Here we point out that the probative value of this type of evidence rests on a particular (and heavily contested) account of facial movements, one which holds them to be “expressions” or automatic read-outs of (...) internal states. We also observe a largely neglected difference between morally induced disgust and moral disgust proper, arguing that data such as Chapman et al.’s (2009) provide evidence only for the former. (shrink)

This paper studies how the concept WATER is metonymically and metaphorically extended to six super-domains: NATURE, LIFE SUSTAINER, MOVEMENT, POWER, PURITY, and WOMAN. We demonstrate that these six target domains are related to each other in intricate ways and within each are a number of sub-domains. This complicated semantic network of WATER is formed via speakers’ embodied experience with their physical as well as cultural environment. We believe that our detailed discussion of the WATER network will contribute to the (...) current research on the relationship between metaphor and metonymy. (shrink)

Phenomenology is a well‐founded qualitative methodology that is frequently used by nurse researchers and considered of value when addressing research questions in nursing practice and nurse education. However, at present, nurse researchers using phenomenology tend to divide phenomenological methodology into the descriptive and interpretive formats. The nursing literature suggests that there is a deep divide between researchers following the methodological underpinnings and basic precepts pertaining to these two camps. If we are to reach a clearer understanding of the theory underlying (...) phenomenological methods it would be more helpful if we started to recognise that there are also important associations between transcendental and interpretive phenomenology. One such association is that a paradigm of movement exists that is not unique to transcendental and interpretive phenomenology but is common to them, as well as being inherent within a variety of fields of study. If we consider the universality of such imagery, looking to examples through parallel texts, we can obtain insights into phenomenology and its transposition into a workable scientific method that can be of use to the nurse researcher. (shrink)

Movement and, more particularly, kinesthesia as a modality and as a metaphor has become of interest at the intersection of phenomenology and cognitive science. In this paper I wish to combine three historically related strands, aisthêsis, kinesthesis and aesthetics, to advance an argument concerning the aesthetic value of certain somatic sensations. Firstly, by capitalizing on a recent regard for somatic or inner bodily senses, including kinesthesia, proprioception and the vestibular system by drawing lines of historical continuity from earlier (...) philosophical investigations on bodily background experience, initially from aisthêsis, Aristotle’s concept of the sensory faculty. Secondly, concepts of the sensate body are advanced through discoveries in the nervous system and related discussions of the ‘inner’ senses such as Charles Bell’s ‘muscle sense’ (1826), and what Charles Sherrington later termed ‘proprio-ception’ (1906). Thirdly, we consider the possibility of aesthetic status for those inner senses, where recently aesthetic arguments by Montero (2006) and Cole and Montero (2007) seek to determine aesthetic criteria for proprioception, and similarly in dance theory the aesthetic status of kinesthesia has been questioned (e.g. Foster 2011). Finally we consider whether previous exposure to a ‘grammar’ of movement is a factor in determining the relative aesthetic value. (shrink)

The Computational Metaphor is an extremely influential notion, and more than any other trend has given rise to the field of Cognitive Science. Environmentalism is at present better formalised as a political movement than as a scientific paradigm, despite significant research by Gibson and his followers. This article attempts to address the difficult problem of synthesising these two apparently antagonistic research paradigms.

Abstract:Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting’s ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. (...) Maurice Merleau-Ponty’s theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting. (shrink)

The purpose of this article is to study the use of “UP–DOWN” metaphors in Russian and French material. A list of 10 conceptual metaphors expressing up–down movement was proposed by CitationLakoff and Johnson (1980), and this list has been reproduced many times since. However, this analysis shows that the list is not fully accurate. In addition to the conceptual metaphors proposed by Lakoff and Johnson, the authors find it important to include 5 more metaphorical models expressing vertical movement. (...) On the other hand, 5 of the conceptual metaphors in Lakoff and Johnson's list turned out not to be relevant to this analysis. The authors also attempt to describe the connections between different metaphoric models and observe that not all metaphoric models are equally important in their evidential and conceptual power. (shrink)

The gap between the prelinguistic and the linguistic levels cannot be bridged as easily as Lakoff's cognitive linguistics suggests. Lakoff's event structure metaphor is reviewed here. Compared with physical movement, the bringing together of separated elements which occurs in predication would not be metaphorical only because it departs from concrete physical experience, but, more significantly, because it relies on elements artificially separated by means of language. However, if we do not overlook this fundamental leap, the event structure (...) class='Hi'>metaphor is a good tool to understand how predication takes place, and its application is even wider than Lakoff suggests. (shrink)

This study explores multimodal metaphors and metonymies in Faust, a German Expressionist silent fiction movie by Murnau. The article combines principles of psychocinematics, an interdisciplinary scientific field of enquiry, with the multimodal metaphor and expressive movement model, which looks into the temporal dynamics of metaphoric meaning-making by movie watchers. It is shown that interrelating both film-analytic approaches provides a deeper and more comprehensive insight into how figurative thought influences psycho-cognitive processes in the moviegoer’s mind as they dynamically unfold (...) in their cinematic contexts. Evidence is provided that Kappelhoff and co-workers’ proposal can be complemented and enriched by psychocinematics findings on the allocation of visual attention and eye fixation, motion and image frame sensing, and mental activity underlying emotional and diagetic experiences. (shrink)

Malcolm Budd argues that spatial metaphors are not involved in the musical experience at the ‘foundational’ level, and that my attempt to show that the musical experience is dependent on spatial concepts is therefore unwarranted. The argument that Budd gives for this conclusion does not seem to me to achieve its purpose, and his alternative suggestion, that musical movement is ‘merely temporal’ does not, I argue, amount to a genuine alternative. He is right to worry about my account of (...) ‘double intentionality’, and about the relation between experience and concept. But these worries refer to general problems in the philosophy of mind and perception, and have no special bearing on the experience of music. (shrink)

Physical literacy, a concept introduced by Britain’s physical education and phenomenological scholar, Margaret Whitehead, who aligned the term with her monist view of the human condition and emphasis that we are essentially embodied beings in-the-world, is a foundational hub of recent physical education curricular revision. The adoption of the term serves a political purpose as it helps stakeholders advocate for the educational, specifically literacy, rights of the whole child. Yet, one might wonder what impact conceptual shifts of becoming “physically literate” (...) in lieu of becoming “physically educated” have on physical education research and practice. Terms such as “reading” the game and metaphors that describe the body as an “instrument of expression” are entering the lexicon of physical education but from a seemingly cognitive frame of reference. Arguably, the extent to which the adoption of physical literacy has on dissolving Cartesian views of the body and the mechanization of movement it performs has yet to be questioned. This article thus acts as an invitation to explore physical literacy in a Merleau-Pontian inspired act of inscribing the world through movement and how a reading of a reversible imprint might awaken a more fluent sense of what it means to become physically literate as new curricular pathways in the field of physical education emerge. (shrink)

In this paper, as an example, describes the dynamic Chinese philosophical texts and images intertwined with language movement. First proposed interpretation of the text should follow the sequence of "internal context", "coherence agreement" "minimal changes" and "Maximum read the" principle of reciprocity, and attention to text features of Chinese philosophy, focusing on "metaphor" and "narrative" to express "image - View of Concept "and the contemplative, artistic, moral and historical experience all undivided. Text in the pragmatics of the dynamic (...) development process, In order to express the dynamic context of what I call doctrine, and to show images and narrative, the establishment of Chinese philosophy based on "image - View of Concept" thinking, the two are integrated in the language can be described using kinetic into . This article paragraph by paragraph analysis text and in the cause of the "image - View of Concept" or images, in order to release such I view the Chinese philosophy of hermeneutics. This paper takes Qiwulun, the second chapter of the Zhuangzi, to illustrate the pragmatic movement of text and image-ideas in Chinese Philosophy. I sustain a dynamic contextualism in the reading of Chinese philosophical texts and develop a set of general rules for interpreting them, to be followed one after another: principle of intratextuality, principle of coherence, principle of minimum amendment and principle of maximal reading. Also, there is a particular rule for respecting the special characteristic of Chinese philosophy that emphasizes the use of metaphor more than concept, narrative more than argumentation, in order to express its image-ideas rather than pure ideas. The pragmatic development of a philosophical text like Qiwulun depends on the dynamic structuration of writing and reading based on these principles of dynamic contextualism, and the movement of metaphorical images and their narrative unfolding into stories or parables is based on what I call the philosophy of image-ideas, and these two are integrated into a dynamic pragmatics. This paper will analyze section by section the Qiwulun to illustrate my hermeneutics of Chinese Philosophy. (shrink)

Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors (...) from three performance arts—dance, theatre, and music—and giving examples from social media and other technologies, it is shown that we can helpfully describe technology use and experience as performance involving movement, sociality, and temporality. Moreover, it is argued that these metaphors can also be used to reformulate the idea that in such uses and experiences, now understood as “technoperformances”, technology is not merely a tool but also takes on a stronger, often non-intended role: not so much as “mediator” but as choreographer, director, and conductor of what we experience and do. Performance metaphors thus allow us to recast the phenomenology and hermeneutics of technology use as moving, social, and temporal—indeed historical—affair in which technologies take on the role of organizer and structurer of our performances, and in which humans are not necessarily the ones who are fully in control of the meanings, experiences, and actions that emerge from our engagement with the world, with technology, and with each other. This promises to give us a more comprehensive view of what it means to live with technology and how our lives are increasingly organized by technology—especially by smart technologies. Finally, it is argued that this has normative implications for an ethics and politics of technology, now understood as an ethics and politics of technoperformances. (shrink)

If Reality or What-Is is "presential, perspectival and coalescent," then only the tensive language of metaphor is adequate to express and reveal it. Dividing metaphor into epiphor, movement from the concrete to the strange, and diaphor, movement through the heterogeneous, Wheelwright extends the terms to myth as a narrative or story. With a lucid and easy style, the author inter twines the complexities of anthropology, mythology, poetry, and philosophy.--A. B.

The powerful images of the events^ of 9/11 have made an indelible impression on the world psyche. It has given rise to a pervasive rhetoric in practically all fields attempting to explain, interpret and understand the underlying causes and world changing consequences of the events. In a post-modern and secular world it has led to a refocusing on the religious fervour and ideals at work in established religions and in movements that are ostensibly devoid of all religious motivation, such as (...) expansive globalization and American free enterprise capitalism. I argue that similar ideological and "religious" notions are at work in the conflict of worldviews represented by this historical event. In order to substantiate this claim and an identification of the ideological sources of the malaise at work in the world requires a clear distinction between religion, myth and ideology and the legitimate role played by constitutive root metaphors in culture, science and society. Root metaphor analysis reveals the underlying 'war of worlds' at work in the foundational symbolizations of the world (Gibson Winter, 1981) which function as fundamental building blocks of the "cultural cosmologies" of society (Harrington, 1995, 360). It is not only religious convictions that shape the world but the choices of metaphors by scientists, educators and politicians are not random and innocent but fraught with root metaphorical notions as religious as those of their ostensibly secular counterparts and thus laden with frameworks that dramatically alter the perception of phenomena and the behaviour and actions of groups. Harrington's (1995) analysis of the role of holism in the shadow of the Third Reich shows this very clearly. Recognition of the presence and influence of root metaphors of an ideological nature will contribute to the dies-enchantment with their allure. This paper attempts to develop a methodology on the basis of which it is possible to distinguish between the legitimate function of root metaphors in science and society and their hypostatization. (shrink)

The neo-liberal upsurge of the last twenty years and the neo-liberal case against the welfare state has gained much of its emotional force from a sub-text which is highly gendered. Whereas social liberalism had contained the promise of more autonomy within the private sphere and more caring values in the public sphere, neo-liberalism depicts the results of social liberalism as a loss of self reliance – through ‘over-protection’ by the state in the public sphere and usurpation of male roles in (...) the private sphere. The identification of the welfare state as female (the ‘nanny state’) helps fuel resentment on the part of those already confused by rapidly changing gender roles. This paper tracks the sex change which took place in the image of the liberal state as it evolved out of the night watchman state – the link between the women's suffrage movement and social regulation, maternal principles of distribution and demands for the public organization of caring. It examines the neo-liberal rejection of the breast and neo-liberal claims that the maternal state is incompatible with ‘self-reliance’ and a barrier to competitiveness in the world market. (shrink)

Aside from adducing little data that bear on our original concerns (pervasive “audience effects” in the encoding of identifiable “disgust expressions”/lack of morally induced disgust versus moral disgust differentiation), Chapman and Anderson (2011) fail to muster a convincing body of evidence for the founding premise of their empirical endeavor—disgust is a bona fide “basic emotion” whose theoretically predicted FM pattern is a goosebump-like, metaphor-resistant readout capable of being effectively analyzed within the “expression programs” canon, leading us to reaffirm that (...) our favored alternative, the “moral disgust as a metaphor” interpretation, is as consistent with all the pertinent data (including theirs), if not more so. (shrink)

In his recently published 1975–76 seminar on Life Death (§3), Jacques Derrida offers a severe critique of French epistemologists and philosophers of life. On Derrida’s view, they do not seem to be concerned with the question of the metaphoricity of metaphor but, rather, by taking the epistemological cut between (inadequate) metaphors and (adequate) concepts for granted, they explain the scientific process as a movement of critical rectification of metaphors by concepts. Moreover, they do not engage with Nietzsche seriously. (...) Here I build on this last point to examine the project of accounting for the very condition of the scientific process that Derrida puts forward in ‘White Mythology’ (1971) and Life Death. My reading hypothesis is that this project rests on Derrida’s original interpretation of Nietzsche’s Darwinian-type genesis of thinking, according to which selective reproduction consists in the metaphoricity of metaphor. (shrink)

It is not too great an exaggeration to claim that On the Origin of Species was, along with Das Kapital, one of the two most significant works in the intellectual history of the nineteenth century. As George Henry Lewes wrote in 1868, ‘No work of our time has been so general in its influence’. However, the very generality of the influence of Darwin’s work provides the chief problem for the intellectual historian. Most books and articles on the subject assert the (...) influence but remain very imprecise about its nature. It is very difficult indeed to assess what it was about the Darwinian theory which was so influential and how its influence was felt. This problem in Victorian intellectual history intersects with a related one in the history of science. There has been a tendency on the part of historians of science to isolate Darwin in two related ways. The first is to single him out from the mainstream of nineteenth-century naturalism in Britain and allow ‘Darwinism’ to stand duty for the wider movement of which it was in fact but a part. The second is the tendency to single out his evolutionary theory and to demarcate it sharply from those of his predecessors and contemporaries. According to this interpretation Darwin stood alone as a real, empirical scientist and provided the first genuinely scientific hypothesis for the process by which evolution might have occurred. The theories of the other main evolutionists—Erasmus Darwin, Lamarck, Chambers, Spencer, and Wallace—were more or less besmirched by ideological, anthropomorphic, or other ‘non-scientific’ factors or by the uses to which they were put by their authors. Charles Darwin is thus made to stand out as a figure of comparatively unalloyed scientific status and is treated in relative isolation from the social and intellectual context in which he worked and into which his theory was received. (shrink)

This book focuses on a dimension of art which the philosophical tradition has consistently overlooked, such was its commitment – explicit or implicit – to mimesis and the metaphysics of truth it presupposes. De Beistegui refers to this dimension, which unfolds outside the space that stretches between the sensible and the supersensible – the space of metaphysics itself – as the _hypersensible_ and show how the _operation_ of art to which it corresponds is best described as _metaphorical_. The movement (...) of the book, then, is from the classical or metaphysical aesthetics of mimesis to the aesthetics of the hypersensible and metaphor. Against much of the history of aesthetics and the metaphysical discourse on art, he argues that the philosophical value of art doesn’t consist in its ability to bridge the space between the sensible and the supersensible, or the image and the Idea, and reveal the sensible as proto-conceptual, but to open up a different sense of the sensible. His aim, then, is to shift the _place_ and _role_ that philosophy attributes to art. (shrink)

It is not too great an exaggeration to claim that On the Origin of Species was, along with Das Kapital, one of the two most significant works in the intellectual history of the nineteenth century. As George Henry Lewes wrote in 1868, ‘No work of our time has been so general in its influence’. However, the very generality of the influence of Darwin’s work provides the chief problem for the intellectual historian. Most books and articles on the subject assert the (...) influence but remain very imprecise about its nature. It is very difficult indeed to assess what it was about the Darwinian theory which was so influential and how its influence was felt. This problem in Victorian intellectual history intersects with a related one in the history of science. There has been a tendency on the part of historians of science to isolate Darwin in two related ways. The first is to single him out from the mainstream of nineteenth-century naturalism in Britain and allow ‘Darwinism’ to stand duty for the wider movement of which it was in fact but a part. The second is the tendency to single out his evolutionary theory and to demarcate it sharply from those of his predecessors and contemporaries. According to this interpretation Darwin stood alone as a real, empirical scientist and provided the first genuinely scientific hypothesis for the process by which evolution might have occurred. The theories of the other main evolutionists—Erasmus Darwin, Lamarck, Chambers, Spencer, and Wallace—were more or less besmirched by ideological, anthropomorphic, or other ‘non-scientific’ factors or by the uses to which they were put by their authors. Charles Darwin is thus made to stand out as a figure of comparatively unalloyed scientific status and is treated in relative isolation from the social and intellectual context in which he worked and into which his theory was received. (shrink)

Cet essai porte sur les implications ontologiques de l’opposition métaphore / métonymie. La première partie discute l’étude faite par Gérard Genette du rôle de la métonymie et de la métaphore dans la structure du roman proustien, explorant les relations d’implications mutuelles entre les deux mouvements tropologiques. La seconde partie essaie de montrer comment cette distinction s’ancre dans la structure même de signification et – étant donné le lien constitutif entre signification et objectivité – sa pertinence ontologique première. Elle étudie d’abord (...) l’importance de la distinction dans l’émergence et la constitution des espaces politiques, avant d’en discuter deux exemples : l’unilatéralisation de re-agrégations métaphoriques dans la logique de la « grève générale » selon Sorel et le rôle des métonymies dans les stratégies léninistes. This essay attempts to approach the ontological implications of the metaphor/metonymy opposition. A first part starts with a discussion of Gerard Genette’s study of the role of metonymy and metaphor in the structuration of Proust novel and explores the relations of mutual implications between both tropological movements. A second part tries to show how this distinction is anchored in the very structure of signification, and – given the constitutive link between signification and objectivity – its primary ontological relevance. A first part studies the importance of the distinction in the emergence and constitution of political spaces. Two examples are discussed : the unilateralization of metaphorical reaggregations in the logic of Sorel’s 'general strike', and the role of 'frozen' metonymies in the design of Leninist strategies. (shrink)

The powerful images of the events of 9/11 have made an indelible impression on the world psyche. It has given rise to a pervasive rhetoric in practically all fields attempting to explain, interpret and understand the underlying causes and world changing consequences of the events. In a post-modern and secular world it has led to a refocusing on the religious fervour and ideals at work in established religions and in movements that are ostensibly devoid of all religious motivation, such as (...) expansive globalization and American free enterprise capitalism. I argue that similar ideological and "religious" notions are at work in the conflict of worldviews represented by this historical event. In order to substantiate this claim and an identification of the ideological sources of the malaise at work in the world requires a clear distinction between religion, myth and ideology and the legitimate role played by constitutive root metaphors in culture, science and society. Root metaphor analysis reveals the underlying 'war of worlds' at work in the foundational symbolizations of the world (Gibson Winter, 1981) which function as fundamental building blocks of the "cultural cosmologies" of society (Harrington, 1995, 360). It is not only religious convictions that shape the world but the choices of metaphors by scientists, educators and politicians are not random and innocent but fraught with root metaphorical notions as religious as those of their ostensibly secular counterparts and thus laden with frameworks that dramatically alter the perception of phenomena and the behaviour and actions of groups. Harrington's (1995) analysis of the role of holism in the shadow of the Third Reich shows this very clearly. Recognition of the presence and influence of root metaphors of an ideological nature will contribute to the dies-enchantment with their allure. This paper attempts to develop a methodology on the basis of which it is possible to distinguish between the legitimate function of root metaphors in science and society and their hypostatization. (shrink)

Koriat & Goldsmith's abstract correspondence metaphor is unlikely to prove useful to memory science. It aims to motivate and inform the investigation of everyday memory, but that movement has prospered without it. The irrelevance of its competitor – the more concrete storehouse metaphor – as a guiding force in memory research presages a similar fate for the correspondence perspective.

Both of these traditional interpretations were seriously challenged by Vico and the romantic movement. Rather than viewing metaphor as an ornamental substitution for the proper word, or as a mere comparison, Vico, Croce and Collingwood insisted that metaphor historically or logically precedes the solidified meanings of conceptual language, and further performs a uniquely revelatory function. While the fixed meanings of literal and logical discourse might be practically or intellectually useful, only the fluidity of poetic metaphor can (...) reveal the concrete physiognomy of the experienced world. Still, by stressing the pre-conceptual character of metaphor, the traditional dichotomy between it and all intellectual pursuits was made even more pronounced. Moreover, on the basis of this theory, it became impossible to distinguish poetic metaphor from primitive myth, or even from the assertions of schizophrenics. Equally embarrassing is the fact that aphasiacs, who have actually lost the use of conceptual language, are also completely unable to understand metaphors of any sort. (shrink)

George Kubler was one of the most important art historians of the twentieth century who is especially relevant today mainly for shifting the emphasis from high art to what is now known as ‘visual culture’ and for being the first genuinely global art historian. But what he has been most widely known for is the rejection of the biological metaphor of art—the general idea that artistic styles and movements grow, flower and then wither away. I argue that Kubler did (...) not in fact reject the biological metaphor of art but rather replaced a pre-Darwinian biological metaphor with a post-Darwinian one which bears remarkable similarities to Ernst Mayr’s concept of population thinking, developed at the same time that Kubler wrote The Shape of Time. Importantly, taking Kubler’s post-Darwinian biological metaphor seriously can help us to understand his distinctive art-historical explanatory scheme. (shrink)

The Song Empire had a larger population, a higher agricultural output, a more efficient infrastructure, and a more extensive monetary system than any previous empire in Chinese history. As local jurisdictions during the eleventh century became entangled in empire-wide economic relations and trans-regional commercial litigation, imperial officials sought to reduce the bewildering movement of people, goods, and money to an immanent cosmic pattern. They reasoned that because money and commerce brought to imperial subjects the goods they required to survive, (...) money and commerce must be beneficent, and because they were beneficent, they must conform to the immanent pattern of the moral cosmos, as did everything else that was enduringly sustaining of life and wellbeing. And because money and commerce conformed to the moral cosmos, officials attempted to understand their workings by analogy with other phenomena that sustained human life, such as the flow of water and the circulation of vital essences through the human body. During the 1030s and 1040s, officials and scholars believed that knowledge of the cosmic pattern lay within their grasp, and that this knowledge would allow them to align culture with nature, and the present with hallowed antiquity. By the 1080s, however, this intellectual optimism had been defeated by irreconcilable disagreements about financial and economic policy. The failure of the attempt to understand finance by natural analogy draws attention to the underlying ideological insistence on moral learning as the basis for political power, and to the very limited range of economic discourse that has been preserved in eleventh-century texts. (shrink)

ABSTRACTIn recent years, studies on discourses of resistance in politics have become prevalent, focusing mainly on the language of radical movements and rebel groups, but not the discourses on colonialism, imperialism, and repression which can be considered as potential sites for discourses of resistance. To fill this gap, this paper critically explores how an independence leader utilized metaphor to construct a discourse of resistance against colonialism and imperialism. It analyzes a number of speeches delivered by Kwame Nkrumah, a pioneering (...) Pan-African and Ghana's independence leader, using a combination of models, including critical metaphor analysis and membership categorization analysis. The analysis illustrates that Nkrumah deployed war/conflict/military and religious metaphors in conjunction with other discursive strategies such as labeling or stereotyping, category work, sentimentalism, victim-playing, and negative other-presentation to formulate a resistance discourse against colonialism and imperialism. These metaphors were exploited through representations of vilification, enemification, demonization, freedom and justice, and attack and defense. This paper provides insight into the use of language in the service of resistance and activism, thereby demonstrating that the use of metaphor by political actors serves manipulative and/or ideological purposes and illustrating that metaphor is essential to a leader's persuasive force. (shrink)

In the Speech of Pythagoras fromMetamorphoses15, Ovid uses a metaphor of how wax can be stamped with new images to illustrate how theanimacan remain substantially the same while altering in shape when undergoing transmigration. Shortly after he describes how all things are in a state of flux, and compares the flow of time to the movement of a river. In Plato’sTheaetetus, Socrates, in an extended analogy, tells us to imagine that the ψυχή contains a block of wax, upon (...) which are imprinted our memories, while the dialogue also contains a lengthy criticism of the Heraclitean doctrine of flux. This article will argue that Ovid adapts the wax-metaphor from theTheaetetusand that the dialogue also provides the context for Ovid’s allusion to the Heraclitean principle that πάντα ῥεῖ. It will analyse how the wax and river metaphors were transformed in the epistemological theories of the Stoics and the Epicureans in order to demonstrate how Ovid reformulates this series of philosophical discussions for poetic purposes. The final part of this article will discuss how the wax and river metaphors can be read in term of the wider intertextual agenda of the Speech of Pythagoras. (shrink)