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This chapter begins by distinguishing some European and American framing of Shelley as a politically salient poet, made evident in commentary at the bicentenary of his death. It continues by accepting the negative judgements in Leavis’s notorious critique of ‘Ode to the West Wind’, reversed as positive features of Shelley’s poetry. Identified as prosodic velocity and metaphorical dynamism, these features are deemed to characterise ‘lyric trouble’. They are key to Shelley’s acknowledged influence in poems by Francis Thompson and Tom Raworth, while specific Shelleyan intertexts are identified in poems by Edward Dorn and Keston Sutherland.
This article combines allegorical, symbolic and metaphorical readings with modern theoretical approaches (primarily, affect theory) to explore the representations of objects and bodies within Peristephanon 9. In Prudentius’ poem, the tortured body of Cassian overlaps with the tormented soul of the poet; the written text is both a co-actor in Cassian’s death and a vehicle for the perpetuation of his extra-textual memory. Figurative language provides words and concepts with new meanings so that a pen can transform into a sword, writing into torture. Through a process of materialization and resemantization, the physical objects become agents in the narrative construction.
The Introduction summarizes the book’s thesis and offers a survey of current critical thinking on Henry James and travel. Demonstrating how studies of the author’s oft-cited ‘international theme’ have tended to approach his treatment of journeying either in abstractly cultural ways or in terms of place or destination, it argues for the need to consider the process of travel in more detail and in its own right. The first half of the Introduction outlines the crucial role of transport throughout James’s life and career and his interest in the epistemological and relational value of both small-scale (urban) and transatlantic ‘comings and goings’. The second half of the Introduction considers James’s association with what I call an aesthetics of stasis, whereby certain pictorial or architectural conceits from his Prefaces, notably the house of fiction, have become dominant models in Jamesian criticism. As I argue, much of James’s style and aesthetic logic, including his complex use of metaphor, borrows rather from the idea of conveyance. In support of its claims, the Introduction provides short readings and exempla from a number of James’s fictions, including The Sense of the Past, The Wings of the Dove, The Ambassadors, and The Golden Bowl.
This study investigated the differences in the expression of numerical motion metaphors in English and Spanish. We evaluated 1472 English-to-Spanish translations in which a manner of motion verb (e.g., skyrocket, plummet) was used to metaphorically express numerical change (e.g., unemployment is skyrocketing). For each of the translations, we annotated (1) the type of metaphor used in Spanish, (2) whether the manner of motion and path information was present in Spanish, and (3) whether the path and manner information in Spanish were conflated in a single word or indicated via adjuncts. There were three main findings. First, Spanish translations shifted from the motion domain to a quantity domain in almost half of the translations (e.g., skyrocket translated as aumentar, Eng. increase). Second, Spanish translations omitted manner of motion in half of the cases (e.g., prices surging translated as alza de los precios, Eng. rise in prices). Third, the path of motion was always present in the Spanish translations. This translation analysis provides evidence that the typological differences reported for the encoding of literal motion are also observed in the expression of numerical, metaphorical motion and that the choice of metaphorical mappings depends on language typology.
The notion of cognitive detachment (i.e. the capacity to treat thoughts as just thoughts, with no greater significance or importance) is introduced in this paper. Its link to similar established terminologies (e.g. distancing, decentering, defusion/deliteralisation, detached mindfulness), importance within cognitive behaviour therapies and place within an adapted cognitive-behavioural framework is highlighted. The use of metaphor to facilitate cognitive detachment is then the primary focus of the paper. An overview of how metaphor has typically been used within psychotherapy is presented and reflects mostly the use of therapist-generated metaphor for psychoeducational purposes. While the use of metaphor in serving a therapeutic cognitive detachment function is not new, developing idiosyncratic client-generated metaphors in this regard has been largely neglected, despite the widely held view that client-generated metaphors are more potent. Practical guidance on how clinicians can collaboratively assist clients to intentionally generate their own personalised cognitive detachment metaphor is provided, and specific ways to elaborate metaphors during therapy to enhance metaphor application and hence effectiveness in enabling cognitive detachment is considered. Finally, clinical examples are provided to illustrate the varied, creative and rich metaphors that can emerge from this process.
Key learning aims
(1) To introduce the term cognitive detachment and understand this important therapy target within an adapted cognitive-behavioural framework.
(2) To appreciate the broader use of metaphors in therapy and frame metaphor as one method for facilitating cognitive detachment.
(3) To motivate therapists to pursue idiosyncratic client-generated metaphor.
(4) To provide an instructional script to support therapists to help clients develop a personalised cognitive detachment metaphor.
(5) To provide specific guidance to therapists regarding methods for metaphor elaboration.
In the Wicked Tenants parable, a landowner plants a vineyard, a symbol of Israel, and lets it out to tenants who resort to violence when the landowner sends first servants and then his own son to report on how the vineyard is faring. Underlying the parable is the hostile, violent behavior of Joseph’s brothers when their father, Jacob, sent Joseph to bring back a report on them.
Previous research has found that metaphor comprehension is often more challenging in L2 than in L1 because of the prioritization of literal meanings, but the effect of cross-cultural conceptual differences and the role of inhibitory control during L2 metaphor processing remain uninvestigated. We explored these through a metaphor-induced lexical forgetting paradigm (Experiment 1), a metaphor interpretation task (Experiment 2), and an eye-tracking reading task (Experiment 3) to evaluate competing theories. Inhibitory control did not play a significant role during reading culturally congruent metaphors as it did for culturally incongruent ones. However, interpreting both kinds of L2 metaphors involved more inhibitory control than literals, even after explicit explanatory contexts. Although literal meanings (and culturally incongruent L1 metaphorical meanings) of L2 metaphors may always be activated, inhibition involvement depends on both task requirements and metaphor properties. These can be explained by the extended graded salience view and the predictive processing framework.
The chapter is concerned with metaphor and focusses specifically on war metaphors in political discourses. The cognitive mechanisms at work in metaphor are described with an emphasis on frames as the unit of conceptual organisation that gets mapped in political metaphors. Recent experimental studies demonstrating the framing effects of metaphor are discussed. The war frame is described to include discussion of intertextuality as a means of accessing it. Three case studies are then presented exploring war metaphors in discourses of Covid-19, Brexit and immigration. Analogies with the first and second world wars in particular are highlighted and critiqued. The chapter defines and discusses extreme metaphors illustrated through examples in which immigrants are compared to animals and closes with a discussion of how readers may resist extreme metaphors.
I begin with those categories that involve neutral terminology. The inherent connection of neutral terms with the ground, the likeness of an image, has been indicated already. Interaction of other kinds does not have this characteristic. It is worth stressing that, in many ways, the more apparent the connection with the ground, the less interesting the interaction. This applies especially to explicit imagery, where, of course, the ground, or part of it, is usually made explicit as a matter of predictable organisation.
This chapter explores the potential of Construction Grammar for analyzing literary texts. First, it investigates typical features of literary language from a constructional point of view. Fairy tales, for example, are characterized by their opening lines like “Once upon a time …,” analyzed as a concrete, complex construction. Similarly, many authors, styles, and genres are characterized by particular constructions, or the use of particular words and phrases. The second section deals with creative, innovative, and seemingly ‘rule-breaking’ language in a constructional framework, suggesting that Construction Grammar as a usage-based and cognitively plausible model offers the perfect toolkit to analyze seemingly unruly linguistic behavior. The third part deals with literary genres as linguistic units beyond the sentence, arguing that literary texts are also learned form–meaning pairings and can be treated as constructions. Genres as constructions may change dynamically over time and be subject to prototypeeffects. Drawing on numerous examples, this chapter thus demonstrates that literary language and texts can be productively analyzed using concepts and methods of Construction Grammar.
The nineteenth-century antivivisection movement was supported by a striking number of poets, authors, and playwrights who attended meetings, signed petitions, contributed funds, and lent their pens to the cause. Yet live animal experimentation also permeated the Victorian imagination and shaped British literary culture in ways that the movement against it did not anticipate and could not entirely control. This is the first sustained literary-critical study of the topic. It traces responses to the practice through an extensive corpus of canonical, popular, and ephemeral texts including newspapers, scientific books, and government documents. Asha Hornsby sheds light on the complex entanglement of art and science at the fin-de-siècle and explores how the representational and aesthetic preoccupations opened up by vivisection debates often sat uneasily alongside a socio-political commitment to animal protection. Despite efforts to present writing and vivisecting as rivalrous activities, author and experimenter, pen and scalpel, often resembled each other.
This chapter bridges environmental humanities and Black humanities by examining a figure largely, if curiously, excluded from the “ecocritical” canon: Charles Chesnutt, the first African American writer of commercially successful fiction. Reading literary environmentalism beyond the lenses of Romanticism or transcendentalism, Forbes finds in Chesnutt’s late nineteenth-century conjure tales a richly imagined Black environmental heritage that connected race and nature. Chesnutt’s short fiction featuring metamorphoses of humans into plants and animals represents a key node in an alternate, and nonlinear, Black environmentalist timeline. In contrast to environmentalisms that pit nature’s interests against humans’, the insights we see at flashpoints across this tradition, and crucially in Chesnutt’s conjure tales, belie narratives of human/nature separation that underpin most “white” environmentalisms. Moreover, his marshaling of racialized nonhuman agencies also helps us address persistent difficulties associated with new materialist theorizing. Fusing human/plant/animal agencies to frameworks of care and nurturance, characters in Chesnutt’s conjure tales weaponize “waste” against enslavement’s inhuman valuation systems.
This paper aims to examine Wolfhart Pannenberg's theology of divine action using the conceptual framework of cognitive linguistics. Central to this exploration is Pannenberg's use of the scientific concept of force field in an analogical/metaphorical way, enabling him to present a trinitarian-pneumatological understanding of divine action through divine omniscience and omnipresence. This paper argues that, despite justified criticisms of Pannenberg's reliance on Faraday's outdated concept of a universal force field, recent developments in cognitive linguistics affirm the legitimacy of Pannenberg's panentheistic metaphorical approach to the theology of divine action while calling for revisions.
Biblical authors used wine as a potent symbol and metaphor of material blessing and salvation, as well as a sign of judgement. In this volume, Mark Scarlata provides a biblical theology of wine through exploration of texts in the Hebrew Bible, later Jewish writings, and the New Testament. He shows how, from the beginnings of creation and the story of Noah, wine is intimately connected to soil, humanity, and harmony between humans and the natural world. In the Prophets, wine functions both as a symbol of blessing and judgement through the metaphor of the cup of salvation and the cup of wrath. In other scriptures, wine is associated with wisdom, joy, love, celebration, and the expectations of the coming Messiah. In the New Testament wine becomes a critical sign for the presence of God's kingdom on earth and a symbol of Christian unity and life through the eucharistic cup. Scarlata's study also explores the connections between the biblical and modern worlds regarding ecology and technology, and why wine remains an important sign of salvation for humanity today.
Semantic equivalence in the affective domain is always a matter of degree, even for the words that may seem uncontroversial. For example, a word may be quoted in dictionaries as the semantic equivalent of another word and be used in practice as its most frequent translation equivalent, and yet those two words may significantly differ in meaning. This study focuses on one such case – that of the English term frustration and its cognates in Spanish (frustración), French (frustration) and German (Frustration). Using data from corpora and self-report, we find that, while frustration terms in Spanish, French and German reflect a cross-culturally stable type of low-power anger, or can denote affective experiences other than anger, English frustration refers to a prototypical anger experience characterized by high power. Converging evidence is presented from two psycholinguistic and two linguistic studies employing elicited and observational data. We offer a possible explanation for the observed semantic differences based on psychological appraisal theory and cross-cultural psychology. The novelties and limitations of our findings are discussed, along with their implications for researchers in the affective sciences.
Japanese patients often describe their pain with ideophones (sound-symbolic, imitative words), such as biribiri ‘having a continuous electric shock’. However, some manuals for healthcare workers recommend avoiding using these words in their interactions with patients, assuming that they are too subjective. We examined how reliable pain ideophones are in comparison with pain metaphors, such as denki-ga hashiru-yoona itami ‘pain like an electric current running through one’s body’. In Experiment 1, Japanese speakers rated visually presented pain ideophones and metaphors on 15 semantic-differential scales (e.g., strong–weak, momentary–continuous). It was found that the ratings of ideophones and metaphors equally varied between participants. In Experiment 2, Japanese speakers did the same rating task for a selected set of pain ideophones and metaphors presented auditorily in sentence frames. The results show that ideophones were rated more consistently than metaphors across participants, and this was true for various prosodic/morphological variants of ideophones (e.g., biriiit-to ‘having a sudden, great electric shock’, biribirit-to ‘having a momentary repetitive electric shock’). These findings indicate that ideophones can be more reliable than metaphors in health communication, especially when placed in proper context.
This study investigates claims that metaphor acquisition is rooted in the words’ concrete meanings: to be able to use metaphors and other non-literal languages, the child needs to ‘go beyond’ meanings that are conventional and so presumably concrete (e.g., Falkum, 2022: 97). To test if metaphor-related words emerge via their concrete senses and how this reflects child-directed speech, I examined 594 hours of interactional data for three English-speaking toddlers from urban middle-class England, whose speech was densely sampled between the ages of 2;00 and 3;01. The data show that 75%–82% conventional metaphors were acquired via their concrete senses and that the order of acquisition of concrete and abstract senses corresponded with their input frequencies. Overall, when hearing conventional metaphors, 81%–89% of the time children were exposed to their concrete meanings. Contrary to the generic argument that children’s pragmatic reasoning with non-literal uses is impeded by meaning conventionality (Falkum, 2022), my preliminary data suggest that it is influenced by the frequency of exposure to the concrete meanings of conventional metaphors, which leads to a generalised prediction that the most probable interpretation of any new metaphor is concrete (literal). Qualitative analyses further reveal that abstract meanings, when acquired first, were learned in highly emotive contexts.
J. Blake Couey, in “Isaiah as Poetry,” begins with the basic fact that nearly all of the book is written as poetry and encourages readers to approach it as such. He surveys its erudite vocabulary, its creative use of sound, and its parallelism and larger strophic structures. He closes with an extended appreciation of the “imaginative worlds” evoked in the book through the use of imagery and metaphors. He observes of its poetic vision that “its scope is nearly boundless.”
Hanne Løland Levinson’s “Gendered Imagery in Isaiah” looks at one of the most significant and striking features of Isaiah: its repeated use of feminine imagery for God. She begins with an advanced yet accessible discussion of how metaphors work, then goes on to analyze how the use of imagery comparing God to a pregnant woman, a midwife, and a breastfeeding mother—alongside more widespread masculine imagery—combine to challenge and transform the ways in which readers perceive God. In conclusion, she points out the importance of female god-language in a world in which gender continues to be a basis for inequality and exclusion.