578028324 03 01 01 JB code JB John Benjamins Publishing Company 01 JB code BCT 124 Hb 15 9789027211606 06 10.1075/bct.124 13 2022026477 00 BB 08 665 gr 10 01 JB code BCT 02 1874-0081 02 124.00 01 02 Benjamins Current Topics Benjamins Current Topics 01 01 Visual Metaphors Visual Metaphors 1 B01 01 JB code 420440850 Réka Benczes Benczes, Réka Réka Benczes Corvinus University of Budapest 07 https://benjamins.com/catalog/persons/420440850 2 B01 01 JB code 837440849 Veronika Szelid Szelid, Veronika Veronika Szelid Eötvös Loránd University 07 https://benjamins.com/catalog/persons/837440849 01 eng 11 290 03 03 vi 03 00 284 03 10 LAN009000 12 CFG 24 JB code LIN.COGN Cognition and language 24 JB code LIN.COGPSY Cognitive linguistics 24 JB code LIT.THEOR Theoretical literature & literary studies 01 06 02 00 The interplay of metaphorical/metonymical text and imagery is not necessarily (and not usually) straightforward and raises complex theoretical and methodological questions. The eleven chapters in this collection address a wide range of such challenges. Originally published as special issue of Cognitive Linguistic Studies 7:1 (2020). 03 00 Whenever we think about the world – including its concrete and abstract entities – we typically see a series of so-called mental images in front of our eyes that aid us in everyday problem solving and navigating ourselves in the world. Visual metaphors, similarly to their linguistic counterparts, largely build on such images.
Nevertheless, the interplay of metaphorical/metonymical text and imagery is not necessarily (and not usually) straightforward and raises complex theoretical and methodological questions. The eleven chapters in this collection address a wide range of such challenges, such as what are visual metaphors in the first place; how can they be identified; what is their relationship to linguistic metaphors; what are their most common manifestations; what knowledge structures are required for their interpretation; and how do they interact with metonymies. The studies cut across linguistics, politics, philosophy, poetry, art and history – highlighting the ubiquitous role that visual metaphor plays in everyday life and conceptualizations.
Originally published as special issue of Cognitive Linguistic Studies 7:1 (2020).
01 00 03 01 01 D503 https://benjamins.com/covers/475/bct.124.png 01 01 D502 https://benjamins.com/covers/475_jpg/9789027211606.jpg 01 01 D504 https://benjamins.com/covers/475_tif/9789027211606.tif 01 01 D503 https://benjamins.com/covers/1200_front/bct.124.hb.png 01 01 D503 https://benjamins.com/covers/125/bct.124.png 02 00 03 01 01 D503 https://benjamins.com/covers/1200_back/bct.124.hb.png 03 00 03 01 01 D503 https://benjamins.com/covers/3d_web/bct.124.hb.png
01 01 JB code bct.124.01sze 06 10.1075/bct.124.01sze 1 12 12 Chapter 1 01 04 From verbality to visuality From verbality to visuality 01 04 An introduction An introduction 1 A01 01 JB code 8444502 Veronika Szelid Szelid, Veronika Veronika Szelid Eötvös Loránd University 07 https://benjamins.com/catalog/persons/8444502 2 A01 01 JB code 5444503 Réka Benczes Benczes, Réka Réka Benczes Corvinus University of Budapest 07 https://benjamins.com/catalog/persons/5444503 01 eng 01 01 JB code bct.124.p1 06 10.1075/bct.124.p1 13 80 68 Section header 2 01 04 Theories of visual and linguistic metaphor Theories of visual and linguistic metaphor 01 eng 01 01 JB code bct.124.02kov 06 10.1075/bct.124.02kov 15 32 18 Chapter 3 01 04 Visual metaphor in extended conceptual metaphor theory Visual metaphor in extended conceptual metaphor theory 1 A01 01 JB code 781444504 Zoltán Kövecses Kövecses, Zoltán Zoltán Kövecses Eötvös Loránd University 07 https://benjamins.com/catalog/persons/781444504 01 eng 30 00

My goal in the chapter is to examine a variety of visual experiences that appear to evoke visual metaphors. This is a range of experience types that extends from “sign-like” visual experiences to “non-sign-like” visual experiences. I propose that visual metaphors are evoked by paintings through winner’s podiums all the way to cityscapes and scenes in nature. The latter two (non-sign-like) cases, cityscapes and natural scenes, are not commonly subjected to serious examination from a CMT perspective. However, they provide us with new challenges in the study of visual metaphors, since they greatly extend the range of visual experience that might give rise to visual metaphors. I suggest, further, that the comprehension or interpretation of all of these visual experiences, including sign-like and non-sign-like alike, makes use of the same metaphorical processing mechanisms. The visual metaphors that are evoked by visual experiences can be based either on correlations or resemblance.

01 01 JB code bct.124.03cav 06 10.1075/bct.124.03cav 33 60 28 Chapter 4 01 04 Uncanny resemblance Uncanny resemblance 01 04 Words, pictures, and conceptual representations in the field of metaphor Words, pictures, and conceptual representations in the field of metaphor 1 A01 01 JB code 606444505 Alessandro Cavazzana Cavazzana, Alessandro Alessandro Cavazzana Ca’ Foscari University of Venice 07 https://benjamins.com/catalog/persons/606444505 2 A01 01 JB code 691444506 Marianna Bolognesi Bolognesi, Marianna Marianna Bolognesi University of Bologna 07 https://benjamins.com/catalog/persons/691444506 01 eng 30 00

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 chapter 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.

01 01 JB code bct.124.04gal 06 10.1075/bct.124.04gal 61 80 20 Chapter 5 01 04 The visuality of metaphors The visuality of metaphors 01 04 A formalist ontology of metaphors A formalist ontology of metaphors 1 A01 01 JB code 430444507 Michalle Gal Gal, Michalle Michalle Gal Shenkar College 07 https://benjamins.com/catalog/persons/430444507 01 eng 30 00

This chapter 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 chapter 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 chapter presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivistconceptualist 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 chapter 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.

01 01 JB code bct.124.p2 06 10.1075/bct.124.p2 81 282 202 Section header 6 01 04 Applications of visual and linguistic metaphor Applications of visual and linguistic metaphor 01 eng 01 01 JB code bct.124.05kas 06 10.1075/bct.124.05kas 83 116 34 Chapter 7 01 04 Visual and multimodal interaction of metaphor and metonymy Visual and multimodal interaction of metaphor and metonymy 01 04 A study of Iranian and Dutch print advertisements A study of Iranian and Dutch print advertisements 1 A01 01 JB code 220444508 Zahra Kashanizadeh Kashanizadeh, Zahra Zahra Kashanizadeh University of Amsterdam 07 https://benjamins.com/catalog/persons/220444508 2 A01 01 JB code 311444509 Charles Forceville Forceville, Charles Charles Forceville University of Amsterdam 07 https://benjamins.com/catalog/persons/311444509 01 eng 30 00

Conceptual Metaphor Theory’s central idea that metaphor is a figure of thought rather than a figure of language has led to the examination of nonverbal and multimodal manifestations of metaphor. Over the past twenty years, the verbal trope of metonymy has similarly been theorized from a conceptual point of view, but the implications of this work for visual studies have only begun to be examined. Investigating visual manifestations of metonymy will moreover also improve our understanding of visual metaphor, as often these latter depend on, and interact with, metonymies. In this chapter we propose to explore the interaction of metaphor and metonymy in the visual/multimodal realm of print advertising, using Francisco Ruiz de Mendoza and Olga Díez’ (2002) typology, and building on Paula Peréz-Sobrino’s (2017) applications of this typology. Our twofold aim is (1) to see if, and if so, how, all patterns of this typology appear in ads; and (2) to investigate a number of Iranian and Dutch print advertisements in which metaphor and metonymy interact. Analyzing ads from two cultures will enable us to demonstrate how cultural background knowledge is essential for understanding metaphor-metonymy interactions.

01 01 JB code bct.124.06sze 06 10.1075/bct.124.06sze 117 146 30 Chapter 8 01 04 Poetic and visual metaphors in Hungarian folklore Poetic and visual metaphors in Hungarian folklore 1 A01 01 JB code 124444510 Veronika Szelid Szelid, Veronika Veronika Szelid Eötvös Loránd University 07 https://benjamins.com/catalog/persons/124444510 01 eng 30 00

In this chapter I have a twofold aim: (1) to reveal the complexity of the concept of love in Hungarian folklore by analyzing a number of its linguistic (oral-verbal) and visual representations side by side; and (2) to decipher these two modes of expression in light of each other, with the help of Conceptual Metaphor Theory. The reason for doing so is that folkloric artefacts and folk poetry are two different self-expressional modes of a community; therefore, if their symbolism represents certain aspects of the same concept, it enables us to get a more complex view on the concept itself, as well as to explore and compare the different modes the messages are conveyed by.

Texts of folk songs and the patterns, structure and functions of the hope chest, an artefact that played an essential role in a woman’s life in Hungarian folklore, are analyzed in line with each other. I propose that the model of love revealed by folk poetry and folk art is thoroughly intertwined with the concepts of morality, marriage and life, reflecting an optimistic view of the world that extends the bounderies of this earthly life. Furthermore, I argue that both the linguistic and visual representations under scrutiny are manifestations of a coordinating view of the world, which is present in the form of both coordinated source and coordinated target representations. The conceptual disparity between the two modes lies mainly in the static nature of folk art and the dynamicity of language, but the creativity of the studied community seems to surmount this issue by imparting ornaments with a functional value.

01 01 JB code bct.124.07het 06 10.1075/bct.124.07het 147 174 28 Chapter 9 01 04 Visual metaphor and its narrative function Visual metaphor and its narrative function 01 04 Jacek Malczewski's parabolic painting Jacek Malczewski’s parabolic painting 1 A01 01 JB code 742444511 Marek Hetmański Hetmański, Marek Marek Hetmański Maria Curie-Skłodowska University 07 https://benjamins.com/catalog/persons/742444511 01 eng 30 00

The chapter aims at analyzing visual metaphors and allegories in the fine arts – particularly in the symbolic paintings by J. Malczewski – as creative tools of both artistic expression and discourse storytelling in which they play a vital role. Visual metaphors are suggestive and effective in artistic performance and, therefore, in communicating abstract ideas to the individual viewer and the public. Such paintings (symbolic and surrealistic), whilst encompassing concrete (source) and universal (target) domains in their depicted metaphoric structures, can be powerful enough to create possible and alternative courses of events. Based on the analysis of R. Arnheim’s concept of openness of fine art works, J. Bruner’s theory of narrative mind, storytelling and possible worlds, and Ch. Forceville’s analyses of visual metaphors, the chapter will attempt to answer the following two philosophical and epistemological questions: (1) how universal themes are depicted, perceived, conveyed, and comprehended in metaphorical paintings; and (2) what is the difference between the structures of the visual metaphors characteristic for these paintings and merely literary parabolic means. Both conceptual metaphors and blending theories are used in the analyses of selected symbolic and metaphoric paintings by Malczewski to explain in what scope his painting methods and their narrative structures are entangled in Polish national-cultural history, and how important they are in cognitive studies as well as in the history and theory of fine arts.

01 01 JB code bct.124.08put 06 10.1075/bct.124.08put 175 208 34 Chapter 10 01 04 Image metaphors of Trianon Image metaphors of Trianon 1 A01 01 JB code 339444512 Orsolya Putz Putz, Orsolya Orsolya Putz Eötvös Loránd University 07 https://benjamins.com/catalog/persons/339444512 01 eng 30 00

This chapter studies the visual representation of the Treaty of Trianon by identifying the most common image metaphors related to it. Three hypotheses are articulated. (1) Visual metaphors about Trianon are based on the same underlying conceptual metaphors as the corresponding metaphorical linguistic expressions. However, it is proposed that figures tend to be construed of mixed metaphors in order to convey a more condensed and complex message. In case of mixed metaphors, more source domains are applied to conceptualize the same target domain. (2) There exists a cultural cognition (Sharifian 2011) about Trianon, which is shared by the contemporary Hungarian community and which is represented in different modes of communication, namely in language and in images. The members of the community are able to understand and (re-)produce the linguistic and image metaphors about Trianon, because their conceptual system about Trianon is structured by similar conceptual metaphors. (3) Furthermore, based on linguistic data Putz (2019), it is assumed that the figures represent the perspective of the post-1920 Hungarian nation exclusively.

The data is based on a Google search conducted on January 15, 2019, which referenced figures of Trianon with a .hu internet domain. Among the hundreds of thousands of search results, the first 150 figures were selected and ordered into six categories. Among this set of figures, the analysis focused on illustrations based on maps of pre- and post-1920 Hungary. The chapter provides an in-depth analysis of eight figures, based on a three-step procedure, which is motivated by Steen et al.’s (2017) protocol.

01 01 JB code bct.124.09kno 06 10.1075/bct.124.09kno 209 230 22 Chapter 11 01 04 Rendering, generalization and variation Rendering, generalization and variation 01 04 On the use of multiple parallel texts as a comparative method in cognitive poetics On the use of multiple parallel texts as a comparative method in cognitive poetics 1 A01 01 JB code 939444513 Magdaléna Knotková Knotková, Magdaléna Magdaléna Knotková Masaryk University 07 https://benjamins.com/catalog/persons/939444513 2 A01 01 JB code 248444514 Wei-lun Lu Lu, Wei-lun Wei-lun Lu Masaryk University 07 https://benjamins.com/catalog/persons/248444514 01 eng 30 00

The chapter presents a case study of how the use of multiple parallel texts may be employed as a useful research method in cognitive poetics, using the English version of Alice’s Adventures in Wonderland and Through the Looking-Glass and its four published Czech versions as the samples. In the analysis, we examine the language of space in alternative verbalizations of the same literary scene across languages (English and Czech) and within the target language (Czech), and the different mental images invoked by the different ways of verbalizing the same scene. Our analysis shows that the use of multiple parallel texts can be a helpful research method in cognitive poetics, in the sense that the method is capable of providing naturalistic and representative linguistic evidence of how languages systematically differ, even for a domain as basic as space.

01 01 JB code bct.124.10vir 06 10.1075/bct.124.10vir 231 262 32 Chapter 12 01 04 Multimodal conceptual patterns of Hungary in political cartoons Multimodal conceptual patterns of Hungary in political cartoons 1 A01 01 JB code 855444515 Ágnes Virág Virág, Ágnes Ágnes Virág Corvinus University of Budapest 07 https://benjamins.com/catalog/persons/855444515 01 eng 30 00

Conventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012, 2014). The present chapter explores the multimodal representations of hungary in cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventyfive cartoons from the satirical magazine Ludas Matyi. Two major claims are justified by adopting Paula Pérez-Sobrino’s (2017) multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation of hungary in political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames, financial crisis and political changes, appear through the sources of human body and object in metaphorical scenarios, such as ordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging, and church scenes. Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.

01 01 JB code bct.124.11lu 06 10.1075/bct.124.11lu 263 282 20 Chapter 13 01 04 Viewpoint and metaphor in culture Viewpoint and metaphor in culture 01 04 A Cognitive Linguistic analysis on a selection of Chinese eulogistic idioms used in Taiwan A Cognitive Linguistic analysis on a selection of Chinese eulogistic idioms used in Taiwan 1 A01 01 JB code 470444516 Wei-lun Lu Lu, Wei-lun Wei-lun Lu Masaryk University 07 https://benjamins.com/catalog/persons/470444516 01 eng 30 00

The chapter presents an in-depth analysis of the language of death in Chinese and discusses the relation between language and occupation as a social factor in analyzing the language of death. In this chapter, I address in what specific ways Cognitive Linguistics may serve as a useful analytical framework in studying Chinese idioms used in funerals, in an attempt to uncover cultural elements and viewpoint structure in communicating death. The study introduces basic constructs in Cognitive Linguistics which could be used for such an analysis, and applies this CL machinery to analyzing three selected groups of four-character eulogistic idioms used at funerals in Taiwan. The analysis shows that, in addition to Conceptual Metaphor Theory, which has been considered the classic CL tool for studying abstract concepts like death, the subjectivity/objectivity distinction in Cognitive Grammar may also be employed as a complementary and useful theoretical construct in studying the language of death, as it helps identify the special characteristics of the eulogistic idioms for teachers as a special profession in the Chinese culture.

01 01 JB code bct.124.si 06 10.1075/bct.124.si 283 284 2 Miscellaneous 14 01 04 Subject index Subject index 01 eng
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752028325 03 01 01 JB code JB John Benjamins Publishing Company 01 JB code BCT 124 Eb 15 9789027257406 06 10.1075/bct.124 13 2022026478 00 EA E107 10 01 JB code BCT 02 1874-0081 02 124.00 01 02 Benjamins Current Topics Benjamins Current Topics 11 01 JB code jbe-all 01 02 Full EBA collection (ca. 4,200 titles) 11 01 JB code jbe-eba-2023 01 02 Compact EBA Collection 2023 (ca. 700 titles, starting 2018) 11 01 JB code jbe-2022 01 02 2022 collection (96 titles) 01 01 Visual Metaphors Visual Metaphors 1 B01 01 JB code 420440850 Réka Benczes Benczes, Réka Réka Benczes Corvinus University of Budapest 07 https://benjamins.com/catalog/persons/420440850 2 B01 01 JB code 837440849 Veronika Szelid Szelid, Veronika Veronika Szelid Eötvös Loránd University 07 https://benjamins.com/catalog/persons/837440849 01 eng 11 290 03 03 vi 03 00 284 03 10 LAN009000 12 CFG 24 JB code LIN.COGN Cognition and language 24 JB code LIN.COGPSY Cognitive linguistics 24 JB code LIT.THEOR Theoretical literature & literary studies 01 06 02 00 The interplay of metaphorical/metonymical text and imagery is not necessarily (and not usually) straightforward and raises complex theoretical and methodological questions. The eleven chapters in this collection address a wide range of such challenges. Originally published as special issue of Cognitive Linguistic Studies 7:1 (2020). 03 00 Whenever we think about the world – including its concrete and abstract entities – we typically see a series of so-called mental images in front of our eyes that aid us in everyday problem solving and navigating ourselves in the world. Visual metaphors, similarly to their linguistic counterparts, largely build on such images.
Nevertheless, the interplay of metaphorical/metonymical text and imagery is not necessarily (and not usually) straightforward and raises complex theoretical and methodological questions. The eleven chapters in this collection address a wide range of such challenges, such as what are visual metaphors in the first place; how can they be identified; what is their relationship to linguistic metaphors; what are their most common manifestations; what knowledge structures are required for their interpretation; and how do they interact with metonymies. The studies cut across linguistics, politics, philosophy, poetry, art and history – highlighting the ubiquitous role that visual metaphor plays in everyday life and conceptualizations.
Originally published as special issue of Cognitive Linguistic Studies 7:1 (2020).
01 00 03 01 01 D503 https://benjamins.com/covers/475/bct.124.png 01 01 D502 https://benjamins.com/covers/475_jpg/9789027211606.jpg 01 01 D504 https://benjamins.com/covers/475_tif/9789027211606.tif 01 01 D503 https://benjamins.com/covers/1200_front/bct.124.hb.png 01 01 D503 https://benjamins.com/covers/125/bct.124.png 02 00 03 01 01 D503 https://benjamins.com/covers/1200_back/bct.124.hb.png 03 00 03 01 01 D503 https://benjamins.com/covers/3d_web/bct.124.hb.png
01 01 JB code bct.124.01sze 06 10.1075/bct.124.01sze 1 12 12 Chapter 1 01 04 From verbality to visuality From verbality to visuality 01 04 An introduction An introduction 1 A01 01 JB code 8444502 Veronika Szelid Szelid, Veronika Veronika Szelid Eötvös Loránd University 07 https://benjamins.com/catalog/persons/8444502 2 A01 01 JB code 5444503 Réka Benczes Benczes, Réka Réka Benczes Corvinus University of Budapest 07 https://benjamins.com/catalog/persons/5444503 01 eng 01 01 JB code bct.124.p1 06 10.1075/bct.124.p1 13 80 68 Section header 2 01 04 Theories of visual and linguistic metaphor Theories of visual and linguistic metaphor 01 eng 01 01 JB code bct.124.02kov 06 10.1075/bct.124.02kov 15 32 18 Chapter 3 01 04 Visual metaphor in extended conceptual metaphor theory Visual metaphor in extended conceptual metaphor theory 1 A01 01 JB code 781444504 Zoltán Kövecses Kövecses, Zoltán Zoltán Kövecses Eötvös Loránd University 07 https://benjamins.com/catalog/persons/781444504 01 eng 30 00

My goal in the chapter is to examine a variety of visual experiences that appear to evoke visual metaphors. This is a range of experience types that extends from “sign-like” visual experiences to “non-sign-like” visual experiences. I propose that visual metaphors are evoked by paintings through winner’s podiums all the way to cityscapes and scenes in nature. The latter two (non-sign-like) cases, cityscapes and natural scenes, are not commonly subjected to serious examination from a CMT perspective. However, they provide us with new challenges in the study of visual metaphors, since they greatly extend the range of visual experience that might give rise to visual metaphors. I suggest, further, that the comprehension or interpretation of all of these visual experiences, including sign-like and non-sign-like alike, makes use of the same metaphorical processing mechanisms. The visual metaphors that are evoked by visual experiences can be based either on correlations or resemblance.

01 01 JB code bct.124.03cav 06 10.1075/bct.124.03cav 33 60 28 Chapter 4 01 04 Uncanny resemblance Uncanny resemblance 01 04 Words, pictures, and conceptual representations in the field of metaphor Words, pictures, and conceptual representations in the field of metaphor 1 A01 01 JB code 606444505 Alessandro Cavazzana Cavazzana, Alessandro Alessandro Cavazzana Ca’ Foscari University of Venice 07 https://benjamins.com/catalog/persons/606444505 2 A01 01 JB code 691444506 Marianna Bolognesi Bolognesi, Marianna Marianna Bolognesi University of Bologna 07 https://benjamins.com/catalog/persons/691444506 01 eng 30 00

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 chapter 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.

01 01 JB code bct.124.04gal 06 10.1075/bct.124.04gal 61 80 20 Chapter 5 01 04 The visuality of metaphors The visuality of metaphors 01 04 A formalist ontology of metaphors A formalist ontology of metaphors 1 A01 01 JB code 430444507 Michalle Gal Gal, Michalle Michalle Gal Shenkar College 07 https://benjamins.com/catalog/persons/430444507 01 eng 30 00

This chapter 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 chapter 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 chapter presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivistconceptualist 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 chapter 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.

01 01 JB code bct.124.p2 06 10.1075/bct.124.p2 81 282 202 Section header 6 01 04 Applications of visual and linguistic metaphor Applications of visual and linguistic metaphor 01 eng 01 01 JB code bct.124.05kas 06 10.1075/bct.124.05kas 83 116 34 Chapter 7 01 04 Visual and multimodal interaction of metaphor and metonymy Visual and multimodal interaction of metaphor and metonymy 01 04 A study of Iranian and Dutch print advertisements A study of Iranian and Dutch print advertisements 1 A01 01 JB code 220444508 Zahra Kashanizadeh Kashanizadeh, Zahra Zahra Kashanizadeh University of Amsterdam 07 https://benjamins.com/catalog/persons/220444508 2 A01 01 JB code 311444509 Charles Forceville Forceville, Charles Charles Forceville University of Amsterdam 07 https://benjamins.com/catalog/persons/311444509 01 eng 30 00

Conceptual Metaphor Theory’s central idea that metaphor is a figure of thought rather than a figure of language has led to the examination of nonverbal and multimodal manifestations of metaphor. Over the past twenty years, the verbal trope of metonymy has similarly been theorized from a conceptual point of view, but the implications of this work for visual studies have only begun to be examined. Investigating visual manifestations of metonymy will moreover also improve our understanding of visual metaphor, as often these latter depend on, and interact with, metonymies. In this chapter we propose to explore the interaction of metaphor and metonymy in the visual/multimodal realm of print advertising, using Francisco Ruiz de Mendoza and Olga Díez’ (2002) typology, and building on Paula Peréz-Sobrino’s (2017) applications of this typology. Our twofold aim is (1) to see if, and if so, how, all patterns of this typology appear in ads; and (2) to investigate a number of Iranian and Dutch print advertisements in which metaphor and metonymy interact. Analyzing ads from two cultures will enable us to demonstrate how cultural background knowledge is essential for understanding metaphor-metonymy interactions.

01 01 JB code bct.124.06sze 06 10.1075/bct.124.06sze 117 146 30 Chapter 8 01 04 Poetic and visual metaphors in Hungarian folklore Poetic and visual metaphors in Hungarian folklore 1 A01 01 JB code 124444510 Veronika Szelid Szelid, Veronika Veronika Szelid Eötvös Loránd University 07 https://benjamins.com/catalog/persons/124444510 01 eng 30 00

In this chapter I have a twofold aim: (1) to reveal the complexity of the concept of love in Hungarian folklore by analyzing a number of its linguistic (oral-verbal) and visual representations side by side; and (2) to decipher these two modes of expression in light of each other, with the help of Conceptual Metaphor Theory. The reason for doing so is that folkloric artefacts and folk poetry are two different self-expressional modes of a community; therefore, if their symbolism represents certain aspects of the same concept, it enables us to get a more complex view on the concept itself, as well as to explore and compare the different modes the messages are conveyed by.

Texts of folk songs and the patterns, structure and functions of the hope chest, an artefact that played an essential role in a woman’s life in Hungarian folklore, are analyzed in line with each other. I propose that the model of love revealed by folk poetry and folk art is thoroughly intertwined with the concepts of morality, marriage and life, reflecting an optimistic view of the world that extends the bounderies of this earthly life. Furthermore, I argue that both the linguistic and visual representations under scrutiny are manifestations of a coordinating view of the world, which is present in the form of both coordinated source and coordinated target representations. The conceptual disparity between the two modes lies mainly in the static nature of folk art and the dynamicity of language, but the creativity of the studied community seems to surmount this issue by imparting ornaments with a functional value.

01 01 JB code bct.124.07het 06 10.1075/bct.124.07het 147 174 28 Chapter 9 01 04 Visual metaphor and its narrative function Visual metaphor and its narrative function 01 04 Jacek Malczewski's parabolic painting Jacek Malczewski’s parabolic painting 1 A01 01 JB code 742444511 Marek Hetmański Hetmański, Marek Marek Hetmański Maria Curie-Skłodowska University 07 https://benjamins.com/catalog/persons/742444511 01 eng 30 00

The chapter aims at analyzing visual metaphors and allegories in the fine arts – particularly in the symbolic paintings by J. Malczewski – as creative tools of both artistic expression and discourse storytelling in which they play a vital role. Visual metaphors are suggestive and effective in artistic performance and, therefore, in communicating abstract ideas to the individual viewer and the public. Such paintings (symbolic and surrealistic), whilst encompassing concrete (source) and universal (target) domains in their depicted metaphoric structures, can be powerful enough to create possible and alternative courses of events. Based on the analysis of R. Arnheim’s concept of openness of fine art works, J. Bruner’s theory of narrative mind, storytelling and possible worlds, and Ch. Forceville’s analyses of visual metaphors, the chapter will attempt to answer the following two philosophical and epistemological questions: (1) how universal themes are depicted, perceived, conveyed, and comprehended in metaphorical paintings; and (2) what is the difference between the structures of the visual metaphors characteristic for these paintings and merely literary parabolic means. Both conceptual metaphors and blending theories are used in the analyses of selected symbolic and metaphoric paintings by Malczewski to explain in what scope his painting methods and their narrative structures are entangled in Polish national-cultural history, and how important they are in cognitive studies as well as in the history and theory of fine arts.

01 01 JB code bct.124.08put 06 10.1075/bct.124.08put 175 208 34 Chapter 10 01 04 Image metaphors of Trianon Image metaphors of Trianon 1 A01 01 JB code 339444512 Orsolya Putz Putz, Orsolya Orsolya Putz Eötvös Loránd University 07 https://benjamins.com/catalog/persons/339444512 01 eng 30 00

This chapter studies the visual representation of the Treaty of Trianon by identifying the most common image metaphors related to it. Three hypotheses are articulated. (1) Visual metaphors about Trianon are based on the same underlying conceptual metaphors as the corresponding metaphorical linguistic expressions. However, it is proposed that figures tend to be construed of mixed metaphors in order to convey a more condensed and complex message. In case of mixed metaphors, more source domains are applied to conceptualize the same target domain. (2) There exists a cultural cognition (Sharifian 2011) about Trianon, which is shared by the contemporary Hungarian community and which is represented in different modes of communication, namely in language and in images. The members of the community are able to understand and (re-)produce the linguistic and image metaphors about Trianon, because their conceptual system about Trianon is structured by similar conceptual metaphors. (3) Furthermore, based on linguistic data Putz (2019), it is assumed that the figures represent the perspective of the post-1920 Hungarian nation exclusively.

The data is based on a Google search conducted on January 15, 2019, which referenced figures of Trianon with a .hu internet domain. Among the hundreds of thousands of search results, the first 150 figures were selected and ordered into six categories. Among this set of figures, the analysis focused on illustrations based on maps of pre- and post-1920 Hungary. The chapter provides an in-depth analysis of eight figures, based on a three-step procedure, which is motivated by Steen et al.’s (2017) protocol.

01 01 JB code bct.124.09kno 06 10.1075/bct.124.09kno 209 230 22 Chapter 11 01 04 Rendering, generalization and variation Rendering, generalization and variation 01 04 On the use of multiple parallel texts as a comparative method in cognitive poetics On the use of multiple parallel texts as a comparative method in cognitive poetics 1 A01 01 JB code 939444513 Magdaléna Knotková Knotková, Magdaléna Magdaléna Knotková Masaryk University 07 https://benjamins.com/catalog/persons/939444513 2 A01 01 JB code 248444514 Wei-lun Lu Lu, Wei-lun Wei-lun Lu Masaryk University 07 https://benjamins.com/catalog/persons/248444514 01 eng 30 00

The chapter presents a case study of how the use of multiple parallel texts may be employed as a useful research method in cognitive poetics, using the English version of Alice’s Adventures in Wonderland and Through the Looking-Glass and its four published Czech versions as the samples. In the analysis, we examine the language of space in alternative verbalizations of the same literary scene across languages (English and Czech) and within the target language (Czech), and the different mental images invoked by the different ways of verbalizing the same scene. Our analysis shows that the use of multiple parallel texts can be a helpful research method in cognitive poetics, in the sense that the method is capable of providing naturalistic and representative linguistic evidence of how languages systematically differ, even for a domain as basic as space.

01 01 JB code bct.124.10vir 06 10.1075/bct.124.10vir 231 262 32 Chapter 12 01 04 Multimodal conceptual patterns of Hungary in political cartoons Multimodal conceptual patterns of Hungary in political cartoons 1 A01 01 JB code 855444515 Ágnes Virág Virág, Ágnes Ágnes Virág Corvinus University of Budapest 07 https://benjamins.com/catalog/persons/855444515 01 eng 30 00

Conventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012, 2014). The present chapter explores the multimodal representations of hungary in cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventyfive cartoons from the satirical magazine Ludas Matyi. Two major claims are justified by adopting Paula Pérez-Sobrino’s (2017) multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation of hungary in political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames, financial crisis and political changes, appear through the sources of human body and object in metaphorical scenarios, such as ordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging, and church scenes. Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.

01 01 JB code bct.124.11lu 06 10.1075/bct.124.11lu 263 282 20 Chapter 13 01 04 Viewpoint and metaphor in culture Viewpoint and metaphor in culture 01 04 A Cognitive Linguistic analysis on a selection of Chinese eulogistic idioms used in Taiwan A Cognitive Linguistic analysis on a selection of Chinese eulogistic idioms used in Taiwan 1 A01 01 JB code 470444516 Wei-lun Lu Lu, Wei-lun Wei-lun Lu Masaryk University 07 https://benjamins.com/catalog/persons/470444516 01 eng 30 00

The chapter presents an in-depth analysis of the language of death in Chinese and discusses the relation between language and occupation as a social factor in analyzing the language of death. In this chapter, I address in what specific ways Cognitive Linguistics may serve as a useful analytical framework in studying Chinese idioms used in funerals, in an attempt to uncover cultural elements and viewpoint structure in communicating death. The study introduces basic constructs in Cognitive Linguistics which could be used for such an analysis, and applies this CL machinery to analyzing three selected groups of four-character eulogistic idioms used at funerals in Taiwan. The analysis shows that, in addition to Conceptual Metaphor Theory, which has been considered the classic CL tool for studying abstract concepts like death, the subjectivity/objectivity distinction in Cognitive Grammar may also be employed as a complementary and useful theoretical construct in studying the language of death, as it helps identify the special characteristics of the eulogistic idioms for teachers as a special profession in the Chinese culture.

01 01 JB code bct.124.si 06 10.1075/bct.124.si 283 284 2 Miscellaneous 14 01 04 Subject index Subject index 01 eng
01 JB code JBENJAMINS John Benjamins Publishing Company 01 01 JB code JB John Benjamins Publishing Company 01 https://benjamins.com 02 https://benjamins.com/catalog/bct.124 Amsterdam NL 00 John Benjamins Publishing Company Marketing Department / Karin Plijnaar, Pieter Lamers onix@benjamins.nl 04 01 00 20220909 C 2022 John Benjamins D 2022 John Benjamins 02 WORLD 13 15 9789027211606 WORLD 09 01 JB 3 John Benjamins e-Platform 03 https://jbe-platform.com 29 https://jbe-platform.com/content/books/9789027257406 21 01 00 Unqualified price 02 95.00 EUR 01 00 Unqualified price 02 80.00 GBP GB 01 00 Unqualified price 02 143.00 USD