Dieser Band bietet eine interdisziplinäre Untersuchung von Parabeln, Fabeln und Gleichnissen aus einer Reihe griechisch-römischer, jüdischer und christlicher Quellen in der Antike. Die Autoren und ...Autorinnen beleuchten sowohl die fließenden Grenzen zwischen diesen Gattungen als auch ihre unterschiedlichen literarischen Adaptionen.
The study of metaphor is now firmly established as a central topic within cognitive science and the humanities. We marvel at the creative dexterity of gifted speakers and writers for their special ...talents in both thinking about certain ideas in new ways, and communicating these thoughts in vivid, poetic forms. Yet metaphors may not only be special communicative devices, but a fundamental part of everyday cognition in the form of 'conceptual metaphors'. An enormous body of empirical evidence from cognitive linguistics and related disciplines has emerged detailing how conceptual metaphors underlie significant aspects of language, thought, cultural and expressive action. Despite its influence and popularity, there have been major criticisms of conceptual metaphor. This book offers an evaluation of the arguments and empirical evidence for and against conceptual metaphors, much of which scholars on both sides of the wars fail to properly acknowledge.
'Metonymy' is a type of figurative language used in everyday conversation, a form of shorthand that allows us to use our shared knowledge to communicate with fewer words than we would otherwise need. ...'I'll pencil you in' and 'let me give you a hand' are both examples of metonymic language. Metonymy serves a wide range of communicative functions such as textual cohesion, humour, irony, euphemism and hyperbole - all of which play a key role in the development of language and discourse communities. Using authentic data throughout, this book shows how metonymy operates, not just in language, but also in gesture, sign language, art, music, film and advertising. It explores the role of metonymy in cross-cultural communication, along with the challenges it presents to language learners and translators. Ideal for researchers and students in linguistics and literature, as well as teachers and general readers interested in the art of communication.
This book explores the cognitively-oriented approach tometaphor studies, comparing it critically to other contemporary paradigms ofmetaphor in meaning. It incorporates cutting edge empirical data.In ...both semantics and cognitive linguistics, metaphor has gained central statusover the past decades, chiefly on account of Lakoff and Johnson's 1980 book Metaphors We Live By, which has become astandard point of reference.Rather than advocating a 'pick and mix' combination of cognitive attitudes withtheory and data from other paradigms, the book argues for the methodologicallyreflective comparison of theory traditions and acknowledgement of theirstrengths and weaknesses. This criticalreflection on metaphor is an essential read for students of metaphor at anadvanced undergraduate or postgraduate level. Each chapter outlines areas for further reading and research, and thebook is built around data drawn from a multilingual research corpus ofmetaphors compiled from existing research, other corpora and internet data.
The Parable of the Prodigal Son stands as one of the most powerful imaginings of the grace of God extended to fallen humanity: its themes of departure, longing, and embrace speak to the very heart of ...human existence. In Prodigal Christ Kendall Cox engages this timeless story as not only a parable of salvation but also a parable of atonement and election, and therefore a parable of the divine life. Far more than a depiction of God’s abstract, general, or unmediated love for humankind, what it recounts is the primordial prodigality of the second person of the Trinity. Setting in conversation two innovative and highly resonant christological readings of the parable, found in Julian of Norwich’s Revelations of Divine Love and Karl Barth’s Church Dogmatics , Cox shows that the identity of Jesus Christ with the wayward son is a textually faithful interpretive trajectory arising from the Lukan story itself. Such an identification is illuminated by a Ricoeurean account of parable as metaphorized narrative and by aligning the parable along the intertextual threads to which both Julian and Barth appeal. The extraordinary divine welcome figured in the lost son’s homecoming prompts Julian’s unprecedented excursus on divine motherhood and compels Barth to speak, irreducibly, of the humanity of God. This famous story of God’s tender condescension is theologically fecund not only because of its content but also because of its parable form. Through their creative retellings, Cox argues that Julian and Barth are not simply interpreting scripture christologically but rather doing Christology in the mode of parable. Embodying what we might call parabolic theology, these authors invite us to consider this narrative form as an exemplary and enduring theological genre particularly well suited to christological discourse. What emerges from this reading is a striking image of Christ the divine Son and Servant who goes into the far country in order to bear humanity’s burden as his own, embodying an alien identity, taking it up into the divine life. This is our story, and the story of God.
Creative metaphor has been of central interest to the cognitive linguistic research community in recent years. However, little is known about what propels people to use metaphor in a creative way. In ...this Element, the authors identify and explore some of the clues that synaesthesia may provide to help us better understand the factors that drive creativity, with a particular focus on creative metaphor. They identify the factors that seem to trigger the production of creative metaphor in synaesthetes, and explore what this can tell us about creativity in the population more generally. Their findings provide insights into the nature of creativity as it relates to metaphor, emotion and embodied experience. They argue that the production of creative metaphor arises from strong affective reactions to sensory and emotional stimuli and that there is an embodied symbiotic relationship between sensory experiences, embodiment, emotion, hyperbole, empathy, metaphor and creativity.
A story or picture is worth a thousand words. A story, picture or metaphor can help us crystallise what we need to do next. A phrase such as 'the seed has to die' or 'the light at the end of the ...tunnel' or 'the risk of not seeing the wood for the trees' can sum up in a poignant way truths that we as leaders need to recognise. As we explore a metaphor, the next steps can become clearer. A metaphor can stimulate our imagination and allow us to think afresh about an issue. Reflecting on a problem using a metaphor can help us unblock our thinking and open up the possibility of new solutions. It can enable us to 'cut to the heart of an issue', clarify situations, provide insights or show us where we are stuck. They enable us to face the reality that we need to abandon a project, make a fresh start or change direction. Metaphors can be used in coaching conversations and lead to creative and stimulating dialogue. The metaphors featured are drawn from myriad sources. Often in the midst of a coaching conversation, a phrase comes to mind that encapsulates an idea or way forward. The memorable metaphor allows an idea to stick in the memory and be a constant reminder that there is a way forward which may be different to what we had previously anticipated. The content in this book is organised into 8 thematic sections for ease of use.
One of the most fundamental capacities of language is the ability to express what speakers see, hear, feel, taste, and smell. Sensory Linguistics is the interdisciplinary study of how language ...relates to the senses.
L’expérience interactive du jeu vidéo permet à tout joueur de concourir à la narration de sa partie. D’un jeu vidéo à l’autre, le dispositif lui laisse une certaine latitude dans la mise en scène des ...événements et dans leur déroulement. En tant que « co-créateur de son expérience ludique », le joueur entre dans The Stanley Parable (Galactic Cafe, 2013) en conflit ouvert avec un personnage singulier : le narrateur. Figure allégorique s’il en est, ce personnage de narrateur – simple voix hors champ dictant le cours de l’action – est le symbole d’une contrainte structurelle qui s’exerce habituellement de manière impersonnelle. Alors que la plupart des jeux vidéo ont tendance à faire passer le fil d’un scénario pré-écrit pour une suite de décisions appartenant au joueur seul, la contradiction est ici tendue à l’extrême : la contrainte de la narration est personnalisée et l’on peut lui désobéir. Lorsque Stanley, avatar du joueur, arrive devant deux portes, la voix lui intime de prendre celle de gauche. Libre à lui de prendre celle de droite. Une lutte s’instaure alors entre le joueur et le narrateur pour le contrôle de l’histoire. Cette lutte entre narrateur et avatar, au cœur de la mécanique ludique de The Stanley Parable, nous semble questionner la place du joueur dans le dispositif du jeu vidéo. À l’instar des films de la Nouvelle Vague, le jeu de Galactic Cafe parodie les codes et les canons de l’industrie et va jusqu’à les déconstruire pour proposer une expérience singulière de jeu. Cette lutte entre le joueur et le narrateur, explicitée par la mise en scène, n’est-elle pas à l’image de l’ambivalence entre poïèse et esthèse qui structure toute expérience vidéoludique ? N’est-elle pas l’expression imagée d’une lutte intérieure que connaît tout joueur ?
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