Visual metaphor

By examining the trans-disciplinary neologisms called "terminological junctions" in writings of Arakawa and Gins, one may find adequate conditions for making visible, and perhaps resolving a central paradox in the thinking of Gilles Deleuze, who exhorts us to "forge alliances" across scientific percepts, philosophical concepts and artistic constructs, and yet denies the adequacy of metaphor specifically, and tropes generally, because of the taint of representation and transcendence. Drawing on my earlier work which emphasizes the "agency" of tropes (by reference to Peter Galison and Bruno Latour) I attempt to recuperate tropes from within a Deleuzean frame, through an analysis of of "terminological junctions" as "shocks of thought."

To have an open mind is more important than learning; and we can have an open mind, not by cramming it full of information, but by being aware of our own thoughts and feelings, by carefully observing ourselves and the influences about us, by listening to others, by watching the rich and the poor, the powerful and the lowly. Wisdom does not come through fear and oppression, but through the observation and understanding of everyday incidents in human relationship.

Lakoff and Johnson’s dictum that “metaphor is primarily a matter of thought and action and only derivatively a matter of language” (1980: 153) has given rise to numerous studies investigating how metaphors’ verbal manifestations relate to their cognitive origins. Curiously, little attention has hitherto been paid to a logical extension of this adage, namely the examination of non-verbal metaphor, for instance pictorial metaphor. In this article, Carroll’s
(1994, 1996) proposals concerning the nature and identifiability of pictorial metaphors are discussed in terms of the model developed by Forceville (1996). Two theses inherent in Carroll’s approach are investigated and rejected: (1) that most prototypical pictorial metaphors, unlike verbal ones, allow a reversibility of their respective targets and sources; and (2) that prototypical pictorial metaphors are ‘homospatially noncompossible’, that is, that they are visual hybrids. The article ends by making suggestions concerning the investigation of cinematic metaphors in line with Forceville (1996).
reserved.

What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual metaphors, which are considered to be the most complex ones, and we compare them to those that in language are called indirect metaphors. Our proposal is that a syllogistic mechanism of comprehension permeates both metaphors expressed in the verbal modality as well as metaphors expressed in the pictorial modality. While in the verbal modality the metaphoric syllogism is solved by inference, we argue that in the pictorial modality the role of inference is performed through mental imagery.

En este trabajo se estudia la adaptación de la literatura al cómic a partir del caso concreto de El puente del troll, un relato de Neil Gaiman que Colleen Doran ha ilustrado más de veinte años después de la publicación del primero. En primer lugar, se contextualiza el fenómeno de la adaptación como parte de un entramado socioeconómico en el que ambas producciones (adaptada y adaptación) se retroalimentan. Se hace, no obstante, especial hincapié en distinguir los rasgos de un medio y los del otro incluso cuando el cómic de Doran vierte el texto original de Gaiman de manera íntegra. En segundo lugar, se atiende a los rasgos intersemióticos que se desprenden de la adaptación, a fin de examinar la transposición de los distintos elementos de un medio al otro. Así, se presta especial atención a la yuxtaposición de la palabra y la imagen, a la metáfora y, sobre todo, a la transmisión de las emociones en el marco de una fábula de carácter alegórico. Se concluye que el trasvase semiótico pleno es inviable en la medida en que se trata de dos medios distintos, si bien los constituyentes de la ficción (historia, personajes, escenarios) son en esencia los mismos.

This qualitative study looks at what constitutes learning from international graduate students' point of view. The qualitative study used focus group and personal interviews to get a comparative look at the meaning of learning from the cross-cultural perspectives of doctoral students from five Asian nations: Thailand, China, Korea, India, and Japan studying at a USA university. In addition to the students' ideas concerning learning, the study also asked of the participants to provide learning-related visual representations/metaphors and interpretations. The study questioned whether there are any universal or cultural aspects related to their ideas of learning and how the cross-cultural experience itself is related to learning. It is intended that this paper will inform teachers and faculty of the need to re-think learning in this age of globalization and take into account the significance of cross-cultural experiences when designing learning objectives. It is also intended to initiate further dialog among comparative educators, intercultural specialists, and policy-makers to re-examine global educational goals, the nature of learning in cross-cultural settings, and the limitations of school as a place of learning in the globalized world.

The essay presents the mechanism of what would be called “the Pygmalion effect of art” (the ontological-transfigurative effect of the creator on the created—a term also used in psychology) through Ernst Gombrich’s theory of metaphor. Though in the philosophical literature Gombrich is usually not considered as holding a self-standing metaphor theory, I maintain that he  holds an instructive theory, which explains the dialectic, both constructivist and conservative, mechanism of artistic representation and creativity. The argument is divided to two:
1. According to Gombrich's theory of representation, Pygmalion practice is the metaphorical mechanism of artistic creativity. Metaphor—a re-classification of an object—transfigures the image’s mere symbolic referential function to reconstructing the symbolized. This is a philosophical shift from a semantic theory of representation to a constructivist one—which Nelson Goodman, following Gombrich, developed as well.
2. Gombrich's theory of metaphor reveals the inverse nature of artistic creativity. Contrary to the prevailing definition of metaphor as a new predication of a familiar thing, according to Gombrich, constructivism emerges from non-innovative, and conservative tendencies of applying familiar categories to new objects. Metaphor is actually stimulated by our perceptual fixations and tendencies to personify and familiarize the non-familiar, which dialectically results in a new creation

Today it is generally accepted that metaphor is not simply a figure of speech or a feature of language, but a fundamental mode of cognition. It is vital to our thinking and crucial for our understanding of abstract concepts. This reconceptualization has an important theoretical implication: if metaphor is no longer confined to language (because it is conceptual), then it is plausible to assume that there exist modes of expression other than the verbal one. Validating this assumption is important because it will lend more weight to the existence of conceptual metaphors. Indeed, without the empirical support of other modalities, it would be hard to see how metaphor differs from language. To avoid the risk of circular reasoning and "to prove the idea that metaphors are expressed by language, as opposed to the idea that they are necessarily linguistic in nature, " it is therefore "imperative, " as Forceville asserted in one of his agenda-setting articles, "to demonstrate that, and how, they can occur non-verbally and multimodally as well as purely verbally" (p. 381, italics in original). In view of this, it is all the more remarkable that nonverbal metaphor has never been explored with the same rigour as metaphor in language. Although Conceptual Metaphor Theory (henceforth, CMT) approaches its forty-year anniversary, it is only now, after a modest start, that scholarly work investigating metaphors in nonverbal and multimodal modalities is thriving. Steen's edited volume "Visual Metaphor: Structure and Process" further builds on this line of research. Restricting itself to the nonverbal case of visual metaphor, it aims to exploit the vast psycholinguistic expertise and knowledge on metaphor in language for a more in-depth and empirically founded understanding of static visuals. The book establishes this goal, which is sketched in the introductory chapter, in six chapters that are equally divided over two parts.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

Relying on earlier work on metaphor by Black, Lakoff and Johnson, Forceville and others, this investigation explores the practices of photographic sequencing used by American media photographer Richard Avedon, and interrogates the circumstances under which a photographic sequence might qualify as a pictorial metaphor. Avedon's sequences often depend on claims of similarity among photographic subjects, and they expose a gap in existing theories of pictorial metaphor, which can only function by translating purely visual content into verbal equivalents.

Batı resim sanatının temel konularından biri olan peyzaj, Türk resim sanatının da ana dinamiklerinden birini oluşturmaktadır. Toplumsal ve dinsel nedenlerden dolayı insan bedenine mesafeli yaklaşan sanatçılar, duygularını ifade etme aracı olarak manzara veya belirli doğa imgelerini seçmişlerdir. 19. yüzyıla kadar doğaya olan hayranlığın bir ifadesi olarak estetik kaygıyla ön plana çıkan peyzaj resimleri çağdaş sanatta; sosyal, kültürel, psikolojik ve teknolojik araştırmaların bir metaforu haline gelmiştir. Çağdaş sanatta resim sanatının dışına çıkan sanatçıların; fotoğraf, video-enstalasyon, performans sanatı gibi yeni anlatım olanakları kullanarak oluşturduğu peyzaj imgeleri fiziksel bir sunumun yanında bedenin ve psikolojik durumların bir uzantısıdır. Doğayı kavrama ve sanatla yaşam arasındaki bağıntıların anlaşılması sezgisel bir kavrayış gerektirmektedir. Sanatta peyzaj imgesinin çağdaş sanatçıların eserlerindeki değişen anlamsal çağrışımları, karşılaştırılarak incelenecektir. Landscape which is one of the main subjects of Western pictorial art, also constitutes Turkish pictorial art's basic dynamics. The artists who approach to the human body distantly because of the social and regional reasons, have chosen landscape or certain nature images as an expression tool. Landscape paintings in modern art, which took over as an expression of admiration to the nature until 19th century with aesthetics worry, has become an metaphor of the social, cultural, psychological and technological researches. The artists, who digress painting art in contemporary art, landscape images that are formed by using new narration opportunities as photography, video-installation and performance art are the extension of a physical presentation as well as the psychological situations. Comprehending nature and understanding the relation between art and life require an intuitive insight. The changing semantic connotations in contemporary artists' works in landscape image in art is examined. Giriş Peyzaj ir r ş çerçevesinde yer alan t n doğal ve k lt rel çevrenin meydana etirdiği ir kompozisyon yahut ir ta lodur, aşka ir tanımla ulunduğumuz herhan i ir yerde izi çevreleyen şeylerin t m d r Dağlar, ovalar, çeşitli itki rt s ile arazi, yağmur, ulut i i zellikler peyzajın fiziki elemanlarını oluşturmaktadır Aynı zamanda peyzaj doğa ile insan ve onun k lt r n n değişen oranlarda ir araya elmiş halini yansıtır D nya zerinde doğa ve insanın var olduğu sonsuz varyasyonlarda s rekli değişen ir peyzajlar serisini rmemiz m mk nd r Doğa r n mleri ve onu kullanan insan topluluklarının r n ş ve yaşayış ilkeleri mekan ve zaman oyutuna ağlı olarak değişiklik stermiştir u nedenledir ki peyzaj doğal sosyal ekonomik ve k lt rel etkilerle değişime uğrayan dinamik ir yapıya sahiptir G l, ,s Sanat tarihi s recinde resim sanatına konu olan çevresel elemanlar ve doğa, Orta Çağda insanı Tanrı dan ve te d nyadan uzaklaştıran ir nah i i tanımlamasına ağlı olarak, soyut ve izemli ir nitelik kazanmış, doğa st ir erçeğin sim esi olmuştur atı sanatında doğanın manzara resmi ağlamında fon revi olarak kullanılmasından yola çıkılarak resmin elli aşlı konusu haline elmesi, 1 y zyıl kuzey Avrupa resminde ortaya çıkmıştır ununla irlikte, Almanya da ortaya çıkarak yay ınlaşan Romantizmin, kuzeyde peyzaj resmi ile ne çıkmasını da, manzara eleneğine ve Protestanlığın etirdiği kurallar t n ne ağlamak m mk nd r Octavio Paz Roma nın t renciliğine karşıt olarak, Protestanlığın vur uladığı dinsel deneyimin içe d n k doğası, romantik aşkaldırının ruhsal ve ahlaki nkoşullarını sağladığını elirtmiştir as ler, 1 , s Sanatta peyzaj, irçok akımın şekillenmesini sağlayan temel konulardan iri olmuştur Sanayi devrimi sonrası kentler, makineler, metropoller, insanlığa daha rahat ir yaşam etireceği fikriyle y kselirken Romantiklerin yarattığı kırılma ve oluşturdukları doğa duyarlılığı, modernizme eçiş periyodunda nemli ir d n m noktası olmuştur Romantizm ile irlikte nat ralizm ve Antik Çağ filozofu Lon inus tarafından kullanılan y celik kavramı, 1 Y zyılın nemli kavramlardan olmuştur Carlson, ,s u kavramsal yaklaşımın da desteklemesiyle, romantizmle irlikte peyzajın farklı varyasyonları ve insansız doğa manzaraları, resmin temalarını oluşturmuştur Romantik Dönem: Yüceltilen Doğa

Ovo se poglavlje bavi metaforom, jednim od središnjih fenomena kognitivnolingvističkih istraživanja. Shvaćanje metafore u kognitivnoj lingvistici značajno je obilježilo pristup tom fenomenu i u drugim disciplinama, a ne samo lingvistici, od osamdesetih godina dvadesetog stoljeća pa sve do danas. Osvrnut ćemo se na neke prethodnike kognitivnolingvističkog pristupa, te ukazati na sličnosti i razlike u njihovu shvaćanju metafore u odnosu na kognitivnolingvistički pristup kojem je posvećen glavni dio ovog poglavlja.1 U tom se dijelu poglavlja osvrćemo na glavne kategorije i postavke teorije konceptualne metafore Σ izvorne i ciljne domene, te preslikavanja Σ ilustrirajući izlaganje brojnim primjerima. Završni su dijelovi poglavlja posvećeni pitanju motiviranosti konceptualnih metafora i njihovoj psihološkoj realnosti, vizualnoj i multimodalnoj metafori, te metafori u diskursu.

Ova je knjiga uvodni pogled na paradigmu kognitivne lingvistike općenito s posebnim naglaskom na nekoliko tema obrađenih u deset poglavlja. Te teme smatramo temeljnima što zbog osobnog istraživačkog iskustva, a što na temelju strukture priručnika sličnoga tipa na drugim jezicima, no to ne znači da je obuhvaćeno sve što bi netko drugi smatrao temeljnim. Kao i u svakom izboru, ulogu su igrali i subjektivni faktori.
Knjiga je prvi uvod općega i preglednoga tipa u temeljne kognitivnolingvističke teme u Hrvatskoj. Iako je, naime, uz dosta znanstvenih radova posljednjih godina u Hrvatskoj izišao i određen broj akademskih monografija i uredničkih izdanja s kognitivnolingvističkom tematikom, a s tom je tematikom napisan i niz doktorata (pregled tih istraživanja donosimo u desetom poglavlju naše knjige), ipak smatramo da potreba za ovakvom knjigom još uvijek postoji: postojeće su studije zahtjevne i bave se specifičnim temama koje je teško pratiti bez određenoga predznanja iz kognitivne lingvistike. Nasuprot tome, ova je knjiga zamišljena kao tekst koji pretpostavlja osnovno predznanje o lingvističkim metodama i povijesti lingvistike, ali ne i kognitivnolingvističko predznanje. Zamišljena je kao polazište čiji je cilj omogućiti ili olakšati pristup tematski specifičnim te metodološki složenijim kognitivnolingvističkim radovima. Cilj nam je bio uputiti čitatelja u temeljna pitanja i spoznaje, ponuditi mu uvid u široki raspon tema uz popratne smjernice i zadatke, kako bi onda svatko na temelju te osnovne, no nadajmo se ipak dovoljno informativne građe, mogao odlučiti na koji se segment prikazane slike fokusirati.

[Article's introduction] Born a decade prior to the Islamic Revolution, Marjane Satrapi grew up in the midst of turmoil. Her critically acclaimed graphic memoir Persepolis: The Story of a Childhood, which spans the years immediately before and after the Revolution, and its sequel, Persepolis 2: The Story of a Return, have found an abundant readership around the world. As Satrapi indicates in her introduction to the first volume, in creating this narrative of her life, she hoped to provide non-Iranians, particularly those in the West, with a more accurate perspective on Iran. Implicit in this aim is a distinction between the Iranian Self and the Western Other, with the latter constituting Satrapi’s major implied audience. While the didactic aspects of the two Persepolis volumes cannot be denied, another, perhaps less appreciated, aspect of Satrapi’s work resides in its critical dialogue with Iranian culture. Satrapi’s assertion at the end of her introduction to Persepolis—“One can forgive but one should never forget”—applies as much to Iranians as to Western readers and reflects her attention to the Self as the other important implied audience for the text. Indeed, as Amy Malek notes, many Iranian readers have praised Satrapi’s work “for preserving the communal memory of a generation” (375). In narrating her own memories, Satrapi critically intervenes in the culture and politics of censorship and compulsory veiling under the post-revolutionary Islamic regime and touches upon the important psychological consequences of such tactics of repression.

By choosing to present her story through the medium of comics, Satrapi further establishes a dialogue with the Other, in the form of her engagement with the established Western attitudes and aesthetic values that surround the production and reception of comics. Satrapi’s relative unfamiliarity with comics before producing the Persepolis volumes seems to have contributed to her eclectic approach to the medium. Her style shows influences from various sources, not only the cartooning style of her mentor, David B., but also the tradition of Persian miniature painting and probably the satiric political cartoons that at one point appeared in newspapers and magazines in her native country. Yet Satrapi has clearly forged a cohesive, and very distinctive, style of her own, one that successfully deploys the expressive visual language of the medium.

This essay was written for the  catalogue of the Textures of Memory' exhibition, which I co-curated with Pamela Johnson. It explores the poetics of cloth, and in particular the fold,  drawing on ideas from  Gilles Deleuze and  Felix Guattari, Michel Serres, amongst others.

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor.
Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media.
Keywords: conceptualism, formalism, ontology, visual metaphor, externalism, internalism, cognitivism, cognition, visual turn, linguistic turn, aesthetics, embodied cognition, Danto, Johnson, Lakoff, metaphor

Metaphors play an important role in cognitive process, as they help us to understand the world better, allowing us to shift from the abstract to the concrete.  Language in general and metaphors in particular illustrate what is in our mind: a metaphor is the linguistic simplification of what happens in the mind, this simplification giving way to a visual illustration of what is originally abstract.
This visual illustration is all the more concrete when metaphors involve colours: indeed, in any culture, colours themselves are metaphorical, as they convey abstract concepts or feelings; colours are most of the time used metaphorically as concrete source domains to illustrate an abstract target domain.

Metaphor is generally defined as describing a concept or an issue through another matter that is more familiar and known. The basis of metaphor is describing a fact or an object by linking to concepts of different domains of meaning, in other words conceptualizing the fact again. Metaphors help individuals in materializing and making sense of complex thought, concept and associations through mental processes. Metaphors are particularly useful in understanding and explaining a new fact and they shift the meaning of a known condition to an unknown condition. Defined as a way of thinking and seeing, metaphors are used frequently in all branches of art and design. Both in the literary domain and visual domain, metaphors are elements that strengthen the language of expression, increase and deepen emphasis rather than explaining a concept by another concept. Metaphors are also used in poster design to materialize abstract concepts and to convey the message in a more effective and comprehensible manner. Hand figure which involves plurality of references in religious, cultural and communicational context is used as metaphor in posters in many different meanings with varying content and objective. In this context, hand figure will be examined in this study over examples of its metaphoric meanings referring to many different concept and emotion like power, unity, invocation, accusation, designation, appreciation etc depending on the way of use.

This chapter discusses and reflects on the contributions in the “metaphor analysis in multimodal discourse” part of the current book, and sketches developments and challenges in CMMT (Conceptual Metaphor & Metonymy Theory). Specifically, aspiring multimodality scholars are exhorted to invest time and energy in learning about other modes and media than the one they have been trained to analyze; to familiarize themselves with other theoretical paradigms; to investigate other tropes besides metaphor and metonymy; and to be aware of the crucial importance of genre.

THOUGHT or Imaginary EXPERIMENTS and METAPHORS‭ (‬volume‭ ‬3‭)

I intended to deal with the different sections or chapters in one volume,‭ ‬but as certain sections or chapters are very long,‭ ‬like chapter‭ ‬1,‭ ‬THEORIZING AND PHILOSOPHIZING‭ (‬VOLUME‭ ‬1‭)‬,‭ ‬I divided some of them into separate volumes,‭ ‬chapter‭ ‬2‭ ‬HEURISTICS AND PROBLEMSOLVING‭ (‬Volume‭ ‬2‭)  ‬and‭ ‬chapter‭ ‬3‭ ‬IMAGINARY EXPERIMENTS AND METAPHORS‭ (‬Vol‭ ‬3‭)‬.
In this volume,‭ ‬3,‭ ‬I deal with Thought and Imaginary Experiments,‭ ‬and then with the use of Metaphors‭ (‬as is the case with Weick and Cornelissen‭)‬,‭ ‬analogies and theories such as‭ ‬CMT,‭ ‬CB or BT,‭ ‬CMA metaphors‭ ‬.
My attitude towards thought and imaginary experiments,‭ ‬the use of metaphors and analogies in theorizing and in the doing of philosophy is this:‭ ‬one needs to look at the particular context in which these tools are employed and one must identify the specific function and role of a certain experiment or metaphor and the reasons why they are employed.

"The essence of metaphor is understanding and experiencing one kind of thing in terms of another" (Lakoff and Johnson 1980: 5). Lakoff and Johnson's description is an attractive one, since it suggests that what people do with metaphor is no less important than what it is. Moreover it allows for non-verbal manifestations of this trope. A crucial element in the cognitivist approach to metaphor fathered by Lakoff and Johnson (and anticipated in the collection by Ortony 1979) is that metaphor is primarily a matter of thinking, and only derivatively a matter of language. But while much fine work has been done by Lakoff and Johnson and their followers, the vast majority of studies still only discusses verbal manifestations of metaphor.
In this series of eight lectures, the focus will be on appearances of metaphor that are not, or not exclusively, verbal. The emphasis will be on visual manifestations of metaphor, but since pictures, in whatever form, are more often than not accompanied by words, many "pictorial" metaphors are in fact hybrids involving language as well. Moreover, once the discussion shifts to moving images (films, videoclips, commercials), a third channel of information must often be taken into consideration: the aural, a heading under which both (non-verbal) sound and music will be considered. In effect, therefore, this course gradually broadens from verbal, via pictorial, to multimodal metaphor.

This commentary appraises the approach and methodology used in a visual interpretation of Nietzsche’s Thus Spoke Zarathustra in the form of graphic narrative art. While not alone in the field of graphic novel adaptations, this research project presents, for the first time in English, an illustrative interpretation of all four parts of Thus Spoke Zarathustra, one that tackles Nietzsche’s challenging concepts in a more philosophically informed light through the praxis of the visual aphorism, which is posited as a visual counterpart to Nietzsche’s chosen form of rhetoric.
The interpretation and depiction of Nietzsche’s concepts are considered alongside other attempts by graphic artists to represent literary and philosophical ideas in a visual format. Attention is also paid to Nietzsche’s distorted public reputation and, in particular, the way that his concept of the Übermensch has become synonymous with the DC character, Superman. Given how entrenched such an association is, this graphic reworking has sought to draw profitably on the links in order to make more contemporary sense of Nietzsche’s avatar, Zarathustra.
Not only does this thesis contribute to knowledge in being the first comprehensive reworking of all four parts of Nietzsche’s text in graphic format, but also in developing the concept of the ‘visual aphorism’ as a powerful technique for representing complex philosophical and conceptual ideas.

Over the past decades, metaphor has come to be seen as a trope that governs thought, not just language. A consequence of accepting this view is that its mani-festations should be examined in semiotic modes other than language alone. Re-search of non-verbal metaphor has hitherto mainly focused on its role in gesturing and in visuals. This chapter provides an overview of issues that deserve attention in the investigation of pictorial (or: visual) metaphor, and of multimodal metaphor involving visuals. These issues include: monomodal versus multimodal metaphor; identifying non-verbal metaphor; creative versus structural metaphor; diegetic versus extradiegetic source domains; metaphor in static versus dynamic discourses; metaphor and genre; metaphor and other tropes.

Austerity is a by-product of the ongoing financial crisis. As Kitson et al (2001) explain, what was a “NICE” (‘non-inflationary consistent expansion’) economy has turned “VILE” (‘volatile inflation, little expansion’), and the economic and social fall-out is now becoming visible. Unemployment, redundancy, inflation, recession, insecurity, and poverty all loom, causing governments, businesses and individuals to reevaluate their priorities.

A changing world changes attitudes, and the earliest manifestations of such change can often be found in figurative language. Political rhetoric attempts to sweeten the bitter pill that nations have no choice but to swallow; all are invited to share the pain, make sacrifices for the common good, and weather the storm. But more sinister undertones can also be perceived. In times of social and financial dire straits, scapegoats are sought and mercilessly pursued in the press. The elderly, unemployed, and disabled are under fire for “sponging off the state”; and as jobs become scarcer and the tax bill rises, migrant populations and asylum seekers are viewed with increasing suspicion and resentment. Calls for a “big society” fall on deaf ears. Society, it seems, is shrinking as self-preservation takes hold.

Austerity is a timely area of study: although austerity measures have been implemented in the past, most of the contributions here address the current political and economic situation, which means that some of the studies reported are work in progress while others look at particular “windows” of language output from the recent past. Whichever their focus, the papers presented here feature up-to-the-minute research into the metaphors being used to comment upon our current socioeconomic situation. The picture of austerity that emerges from these snapshots is a complex one, and one which is likely to be developed further and more widely in the coming future.

References
M. Kitson, R. Martin & P. Tyler. 2011. The geographies of austerity. Cambridge Journal of Regions, Economy and Society 4. 289–302.

CONTENTS
Malgorzata Paprota: Not a Safety Net: Metaphors of the welfare state in times of austerity in a corpus of British (and Polish) newspaper articles
Elena Negrea-Busuioc: What does austerity ‘look’ like? An analysis of visual metaphors in three newspaper cartoons depicting the Eurozone crisis
Davida Fromm et al.: Interpretation of Metaphors in Four Languages: Some Psycholinguistic Experiments
Susie Caruso: Metaphorical Representations of Immigrants in the Italian Press in Times of Economic Crisis
Olympia Tsaknaki & Eleni Tziafa: "Democracy’s Cradle, Rocking the World”: Figurative language regarding the Greek crisis
Hanno Biber: Austerity in the Thirties and the Consequences. Examples of Figurative German Language from the AAC Austrian Academy Corpus
Laura Cariola: Exploring the embodied basis of political discourse types
Augusto Soares da Silva: Obese bodies, indebted families, and good students: Metaphors of austerity in the Portuguese press
Patrick Hanks: The Mechanics of Metaphor
Rosamund Moon: Metaphors and the Elderly
Gill Philip: Metaphors in the ministries revisited: from WAR to the hospital ward.

(Meta-Philosophy) Theorizing about Philosophy (CMT, CB and CM) as an exercise inXPhi


The processes of theorizing are explored, Weick's Conceptual Metaphor Theory,  Conceptual Blending Theory and Conceptual Metaphor tool are described.
This Meta-Philosophy investigation of philosophy and philosophizing is an exercise in Experimental Philosophy. The Empirical Generalization or Hypothesis arrived at states that: Philosophy/izing is like or resembles the process/es of Theorizing.

This is a more elaboret and developped version of the first paper published in Polish : M.T. Olszewski, Uwagi na temat mosaiki z Domu Aiona w Nea Paphos (Cypr), Menander XLII, 9-10, 1987, pp. 421-438 (translated to English : The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory (In Connection with the Interpretation of the Mosaic from “House of Aion” at Paphos in Cyprus), see on academia.edu

The author proposes a new interpretation of the iconographical and iconological programme of five panels mosaic from the House of Aion at Nea Pahos in Cyprus. He proposes reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; ; 3. Apollo and Marsyas; 4. The Dionysian thiasos; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception (Leda and a Swan)  and ending with the liberation of the soul and its apotheosis (the apotheosis of Cassiopeia).
The author rejects the interpretation of W.A. Daszewski, (Dionysos der Erlöser, Mainz am Rheim 1985) proposed in 1985 and his order of interpetation the five mythological pictures (1. Dionysus on Mount Nysa; 2. Leda and Zeus; 3. The Apotheosis of Cassiopeia; 4. Apollo and Marsyas 5. The Dionysian thiasos). Daszewski would like see in Dionysos - a newly born supreme god, the universal savior.
see also a new article: M.T.Olszewski, The iconographic programme of the Cyprus mosaic from the House of Aion reinterpreted as an anti-Christian polemic, in: Et in Arcadia Ego. Studia memoriae professoris Thomae Mikocki dicata, Institute of Archaeology, University of Warsaw, Warsaw 2013, pp. 207-239, Pls 74-86.

It is often claimed that a picture tells us more than a thousand words, but studying pictorial metaphors reveals how much background knowledge is needed to make sense of, and evaluate, visuals. Commercial print advertising and billboards make for good case studies, because their goal is unambiguous: to sell consumer products and services. In this chapter, some pitfalls of analysing visual and multimodal metaphors are discussed, and considerations of a number of examples suggest how visual metaphors may misfire when they are interpreted by members from another culture than the one for which they were designed. In the conclusion, some ideas are promoted to make the insights productive in educational contexts.

Μεταπτυχιακή εργασία χειμερινού εξαμήνου 2005-2006 στο μάθημα ΓΣΓ 641 ΕΡΕΥΝΗΤΙΚΗ ΜΕΘΟΔΟΛΟΓΙΑ: ΓΕΝΙΚΗ ΚΑΙ ΣΥΓΚΡΙΤΙΚΗ ΓΡΑΜΜΑΤΟΛΟΓΙΑ επιβλέπων καθηγητής κος ΜΙΛΤΙΑΔΗΣ ΠΕΧΛΙΒΑΝΟΣ ΜΕΤΑΠΤΥΧΙΑΚΗ ΕΡΓΑΣΙΑ ΣΤΟ ΤΜΗΜΑ ΦΙΛΟΛΟΓΙΑΣ, ΤΟΜΕΑΣ ΜΕΣΑΙΩΝΙΚΩΝ ΚΑΙ ΝΕΟΕΛΛΗΝΙΚΩΝ ΣΠΟΥΔΩΝ, ΕΙΔΙΚΕΥΣΗ ΓΕΝΙΚΗΣ ΚΑΙ ΣΥΓΚΡΙΤΙΚΗΣ ΓΡΑΜΜΑΤΟΛΟΓΙΑΣ ΑΡΙΣΤΟΤΕΛΕΙΟΥ ΠΑΝΕΠΙΣΤΗΜΙΟΥ ΘΕΣΣΑΛΟΝΙΚΗΣ  μεταφορολογία  γνωσιακό παράδειγμα  γνωσιακό πέρασμα στη θεωρία λογοτεχνίας  γνωσιακή θεωρία μεταφοράς: η εξέλιξη  φύση της ποιητικής μεταφοράς κατά Lakof & Turner στο MTCR  κριτική στο μοντέλο των Lakof & Turner στο MTCR και προοπτικές  παραπομπές  ενδεικτική βιβλιογραφία λακοφιανού κύκλου   μεταφορολογία Categories Reveal about the Mind,

This article examines environmental public service announcements, or eco-PSAs, as increasingly crucial yet under-investigated tools for environmental communication in mainland China. Following an overview of existing gaps in the literature on both visual and localized forms of environmental communication, it evaluates the birth, development and new trends of Chinese eco-PSAs. It then explains the process of data collection and the methodology employed, which is visual semiotic analysis. The corpus consists of seven print eco-PSAs, sponsored by the World Wildlife Fund (WWF), that employ "Chinese elements" as the main creative strategy. Findings show that these eco-PSAs use a range of culturally loaded elements (from folk art and idioms to inanimate objects, from Chinese characters to animal symbols) as intertextual references or visual metaphors to promote awareness of animal protection, ecological protection and resource saving, as well as reinforcing national culture. This contribution opens up new directions in researching visual environmental communication in a global context and presents new empirical findings demonstrating that, in Chinese eco-PSAs, local culture still matters.

Книжка на численних прикладах із візуальних мистецтв досліджує візуальні й мультимодальні метафори з перспективи інтеракційної теорії метафори та теорії концептуальної метафори. Крім аналізу принципів побудови візуальних і мультимодальних метафор, а також особливостей сприйняття та інтерпретації таких метафор із боку реципієнта, автор критикує популярні серед сучасних метафорологів когнітивістські ідеї, прагнучи очистити теорію концептуальної метафори від когнітивізму. Книжка зацікавить не лише вчених, що досліджують комунікаційні аспекти візуальних мистецтв, а й митців, що працюють із візуальними матеріалами.
ISBN 978-966-2764-41-3

Our minds are capable of perceiving similarities not only within the same but also across different sensory areas and different cognitive domains. Iconicity is representation based on similarity, and cross-modal iconicity, which is an extremely widespread phenomenon, should be understood as iconicity that crosses the borders of different kinds of material, spatiotemporal, and sensorial modes, and, furthermore, the border between sensory structures and cognitive configurations. For instance, a visual entity may resemble and thus iconically represent something that is auditory or abstractly cognitive. The aim of this semiotic study, substantially based on empirical findings in psychological, cognitive, and neurological research, is to suggest a general theoretical framework for conceptualizing cross-modal iconicity and relating different kinds of mono-modal and cross-modal iconicity to each other. Its chief argument is that perception and conception of images and metaphors should be understood as the two extremes in a continuum of iconic representation where cross-modal iconicity bridges the apparent gap between mono-modal, sensory-based iconicity and cognitive iconicity. It offers an outline of material, spatiotemporal, and sensorial modes and their interrelations; a thorough account of cross-modal iconicity; a conceptual structure for charting degrees of similarity and iconicity with the aid of cross-modality; an array of examples illustrating the continuum of iconicity from image to metaphor; and a brief discussion of the notion of image schema as an explanatory factor for cross-modal iconicity.

In "The Architectural Metaphor in Western Medieval Artistic Culture: From the Cornerstone to The Mystic Ark," I identify and analyze the source texts for the use of architectural metaphor in medieval culture, and trace their use up through the twelfth century to most ambitious use of architectural metaphor anywhere in the West up until that time: Hugh of Saint Victor's Mystic Ark. Despite the widespread use of architectural metaphor, no one has ever written on the subject before, to the best of my knowledge.
The earliest appearance of architectural metaphor in the Bible is a strictly literary one. That is, it is highly unlikely that it was part of any broader contemporary artistic culture, that it affected the conception, creation, use, or understanding of works of visual art and architecture of its time. It was only the Christian tendency toward sermonizing that brought about the ever-increasing elaboration of the architectural metaphor from the simple to the complex, from the cornerstone to The Mystic Ark; and that allowed the architectural metaphor to permeate the boundaries of Scripture and scriptural writing to become a visual image itself; as, for example, in The Mystic Ark. This visual state of the architectural metaphor is, perhaps, more effective than the verbal state in exercising the intrinsic dynamic of the metaphor in that it goes beyond the literal reference or exegetical reading to engage the reader/listener/viewer and compel him or her to actively participate in the intellectual exchange of the artistic experience. This is because the mind of the participant must commit itself to a further level of engagement in the dynamic of the metaphor by the very necessity of identifying the metaphor as such in the first place.
The paper concludes by asking if architectural metaphors were operative in such medieval works of art as the image of Francis holding up the church in The Dream of Innocent III in the church of San Francesco in Assisi, the piers of the cloister of the monastery of Moissac, the eighth canon table of the Ebbo Gospels, the House of Heaven and in the House of Hell of the tympanum of Sainte-Foi at Conques, certain scenes of the Tower of Babel, the façade of the Cathedral of Notre-Dame in Paris, and the main east-west axis of the abbey church of Saint-Denis, from the Infancy Window to west central portal.
    Hugh of Saint Victor's Mystic Ark: Illustrations: http://mysticark.ucr.edu.  This site presents a collection of images of The Mystic Ark that repeat in greater visual detail the same illustrations published in my study The Mystic Ark: Hugh of Saint Victor, Art, and Thought in the Twelfth Century for those who would like to study the image of The Mystic Ark more closely than is possible with the printed illustrations.

This article explores the mental operations people undertake when they encounter a visual metaphor. First, an integrated theoretical model of visual metaphor processing is proposed. The model is then empirically evaluated: in a think aloud task, six participants were presented with twelve pictures containing visual metaphor and asked to verbalize their thoughts as they looked at the pictures. The experimental materials represented four different genres: political cartoons, magazine advertisements, educational illustrations and paintings. The findings enable a more precise description of what happens when people attempt to reach understanding of visual metaphor. The results have implications for building theory around visual metaphor processing, as well as empirical research on the interpretation of visual metaphor.

Abstract: Le village de Shahba, devenu la colonie romaine de Philippopolis, est situé à quatre-vingt dix kilomètres au sud de Damas et à vingt kilomètres au nord de Suweida’ en Syrie du Sud. Sa notoriété et son développement sont dus à l’empereur Philippe l’Arabe qui a transformé la petite bourgade où sa famille s’était installée, en une petite, mais riche cité de 244 à 249 lors de son règne.
La mosaïque polychrome qu’on pourrait appeller mosaïque de la « Fête Nocturne Pannychis » - à cause de sa représentation personnifiée - a été quelque peu oubliée par la littérature scientifique. On trouve cependant quelques brèves descriptions dans les travaux de J. Balty, de J.-Ch. Balty, de H. Hatoum, de L. Abad Casal, de H. Sichterman et d’A. Kossatz-Deismann. À ma connaissance, elle n’a été publiée que par petits fragments. Seul J.-Ch. Balty, dans un article du LIMC consacré à la personnification abstraite d’Euphrasia, propose une rapide interprétation de la mosaïque en expliquant le sens des mots « pannychis » et « euphrasia ».
La mosaïque de Pannychis n’est plus malheureusement en place, on peut néanmoins supposer, vu le thème représenté, qu’elle devait probablement orner une salle à manger (triclinium ou œcus).
Cette mosaïque rectangulaire, abritée au musee de Shahba, est composée d’une large bordure géométrique, de six petits panneaux représentant des personnifications inscrites sur les cotés courts du tapis, et d’un grand tableau central avec une effigie des trois Grâces (Charites) mis en valeur dans une belle bordure géométrique de ruban torsadé. Les tableaux angulaires représentent les Quatre Saisons. En commençant par l’angle gauche dans la rangée inférieure et en suivant le mouvement contraire à celui des aiguilles d’une montre, les Saisons sont placées en ordre suivant : Theros (l’Été), Methoporon (l’Automne), Heimon[e] (l’Hiver) et Ear (le Printemps). Entre l’Été et l’Automne, l’artiste a placé le buste de la personnification féminine de Pannychis – de la Fête Nocturne. Entre les personnifications du Printemps et de l’Hiver, le portrait en trois quart de la personnification féminine d’Euphrasia – (la Gaîté, la Joie dans un festin, la Réjouissance) a été placée.
Quel sens se cache derrière toutes ces images et à quelle idée elles font allusions ? Si le tableau central est le plus grand, il n’est que complémentaire par rapport aux panneaux latéraux. La clé du programme de la mosaïque est la personnification de Pannychis – de la Fête Nocturne. La personnification de la Gaîté – Euphrasia fait son pendant.
Que sait-on de ces faites nocturnes que les citoyens romains hellénisés en Orient célébraient en se réunissant en grand nombre ? Une source inestimable dans la recherche sur l’histoire des mentalités grecques sous la domination romaine est l’auteur grec d’Éphèse connu sous le nom d’Artémidore de Daldis, spécialiste de l’oniromancie. Il est célèbre grâce à son manuel d’interprétation des rêves (Onirocriticon) rédigé probablement à Éphèse à la fin du IIe siècle. Artémidore parle des Fêtes nocturnes vues dans les rêves. La fête nocturne est célébrée très joyeusement par ses participants. C’est une fête bruyante avec danse et musique. C’est l’occasion pour tout le monde de se rassembler et de faire de nouvelles connaissances. De plus, cette fête permet aux jeunes de dépasser certaines interdictions et d’exprimer leurs sentiments. Les nouveaux couples formés durant cette fête nocturne peuvent confirmer leur engagement par un mariage. Artémidore effectue des rapprochement entre la Fête nocturne et la réunion de personnes, le mariage, la gaîté, la bonne humeur, l’abondance et l’acquisition des biens (pour les pauvres). Le Pannychis et l’Euphrasia sont présents ensemble dans le texte d’Artémidore comme sur la mosaïque de Philippopolis. Sa description met l’accent sur des éléments caractérisant la Fête Nocturne : la joie, la bonne humeur et l’abondance (de la table et des boissons) que les fêtes offrent aux participants. La signification des Charites est complémentaire de celle qui est évoquée par les personnifications de Pannychis et d’Euphrasia. Le tableau de la mosaïque de Philippopolis fait sans doute allusion aux fêtes nocturnes que le propriétaire envisageait d’organiser, et sans aucun doute organisait dans sa demeure.
La mosaïque de la Fête Nocturne de Philippopolis qui ornait probablement un triclinium rappelle ce qu’on rencontre dans d’autres salles à manger chez les riches propriétaires. La théorie du caractère allusif à la vie de l’aristocratie de l’époque romaine (et de ses nouveaux riches) dans la décoration interne des maisons et des villa a de plus en plus de partisans parmi les chercheurs. La mosaïque de Philippopolis ressemble à la décoration des salles à manger qui évoquent la fête, les festins, la boisson, la bonne nourriture, la musique et la danse, tout les ingrédients d’un banquet réussi.