Metaphors are powerful communicative tools because they produce ”framing effects’. These effects are especially palpable when the metaphor is an insult that denigrates the hearer or someone he cares about. In such cases, just comprehending the metaphor produces a kind of ”complicity’ that cannot easily be undone by denying the speaker’s claim. Several theorists have taken this to show that metaphors are engaged in a different line of work from ordinary communication. Against this, I argue that metaphorical insults are rhetorically (...) powerful because they combine perspectives, presupposition, and pragmatics in the service of speech acts with assertoric force. (shrink)

ABSTRACT Effective communication relies on the use of rhetorical devices and strategies to make ideas present in the minds of an audience. By employing the concept of cognitive environments, we can use the visual analogy of making an idea “present” to its fullest effect, empowering our rhetorical skills and helping influence audience reception. In this article, the author argues that while cognitive environments do indeed provide a significant and important conceptual tool for understanding and anticipating an audience’s experiences, beliefs, and (...) knowledge, a more robust sense of agreement is necessary. The article proposes the concept of a topos that serves as a shared meeting place within cognitive environments within which both author and audience contribute their background assumptions to find common ground and commonalities in interpretations. It is in figuring the topos effectively that cognitive environments can be more accurately and effectively mapped onto each other, and breaches between such environments can be productively bridged. (shrink)

According to a now-standard theory, ‘Juliet is the sun’ is supposed to be a ‘pregnant’ metaphor, ready at any moment to beget a sprawling heap of adorable semantic puppies. Its two parts—‘Juliet’ and ‘the sun’—ostensibly meet at a virtually endless number of points, and it’s allegedly illuminating, enjoyable, or at least interesting to sit there all day spelling them out. But what if none of that is true? What if, instead, a successful creative comparison tends to offer exactly two points (...) of contact, the first of which makes it adequate, while the second gives it power? To put it metaphorically (as is only appropriate): such an image is neither an iceberg (à la Cavell) nor a simple triangle (à la Aristotle) but a tetrahedron, a muscle, a covalent bond. And the telos of such images isn’t to transmit additional information but intensify, or disorient, or even—surprisingly—make us feel at home in this miserable world. (shrink)