Image schemas are mental constructs central to human cognitive psychology. The neurobiological grounding of these structures has been suggested by experimental research both in non-human primates (Rizzolatti and Craighero 2004; Umiltá et al. 2001) and lower animals (Knudsen 2002, 1998). However, their applicability as concrete cognitive products has not been explored yet in zoosemiotics. This study shows that image schemas are highly instrumental to making sense of the impersonations of two animals featured in biology research studies and wildlife documentary films: (...) the mimic octopus (Thaumoctopus mimicus) and the Gibb’s sea spider crab (Pisa armata). In analysing the movements and postures of these animals, it is argued that image schemas underlie recurring patterns of animal bodily experience and response, which ties image-schematic structures to non-human intersubjectivity. In line with the pluralistic view of zoosemiotics (e.g. Maran, Martinelli and Turovski 2011), this paper takes an intermediary position in the continuity–discontinuity debate regarding communication in humans and animals. In this regard, the complexity of the creative behavioural models of the animals examined leaves the door open for the existence of sophisticated mental life in non-human species. (shrink)

The purpose here is to explore metaphorical conceptions of the self in a fourth century B.C.E. Chinese text, the Zhuangzi, from the perspective of cognitive linguistics and the contemporary theory of metaphor. It is argued that the contemporary theory of metaphor provides scholars with an exciting new theoretical grounding for the study of comparative thought, as well as a concrete methodology for undertaking the comparative project. What is seen when the Zhuangzi is examined from the perspective of metaphor theory is (...) that conceptions of the self portrayed in this text are based on a relatively small set of interrelated conceptual metaphors, and that the metaphysics built into the Zhuangzi's classical Chinese metaphors resonates strongly with the (mostly unconscious) metaphysical assumptions built into the metaphors of modern American English. This should not be surprising, considering the claims of contemporary cognitive linguists that the metaphoric schemas making up the foundation of human abstract conceptual life are not arbitrarily created ex nihilo, but rather emerge from common embodied experience and are conceptual, rather than merely linguistic, in nature. (shrink)

The issue of meaningful yet unexpressed background - to language, to our experiences of the body - is one whose exploration is still in its infancy. There are various aspects of "invisible," implicit, or background experiences which have been investigated from the viewpoints of phenomenology, cognitive psychology, and linguistics. I will claim that James, as explicated by Gurwitsch and others, has analyzed the phenomenon of fringes in such a way as to provide a structural framework from which to investigate and (...) better understand those ideas or concepts that are unexpressed, particularly those experienced in the sense of being sought-after. I will consider Johnson?s conception of the image -schematic gestalt as a way of bridging the descriptive gap between phenomenology and cognitive psychology. Starting from an analysis of the fringes, I will turn to a consideration of the of tip-of-tongue state, as a kind of feeling-of-knowing state, from a variety of approaches, focusing mainly on cognitive psychology and phenomenology. I will then integrate a phenomenological analysis of these experiences, from the James/Gurwitsch structural viewpoint, with a cognitive/ phenomenological analysis in terms of ISGs; and further integrate that with a cognitive/functional analysis of consciousness. I will employ this synthesis of three viewpoints to explore the thesis that the TOT state and similar experiences may relate to the gestalt nature of schemas as well as to particular cues, and may thus be experienced as an aspect of the continuum to the general background to all our conscious experiences. (shrink)

Este trabajo analiza el concepto de espacio público en el pensamiento de Hannah Arendt a partir de metáforas provenientes del ámbito teatral. El objetivo principal es reconstruir el camino entre las intuiciones provenientes del mundo del teatro y la construcción del concepto de lo público arendtiano. Después de algunas precisiones metodológicas, se enumeran las expresiones vinculadas con el ámbito teatral que se encuentran en distintas obras arendtianas. Posteriormente, se analiza la fuente de la metáfora teatral y se caracteriza el concepto (...) de espacio público a partir de ellas. Este trabajo muestra que: 1. La fuente de la metáfora teatral incluye a la tragedia antigua tanto como a formas contemporáneas de teatro. 2. Las formas contemporáneas de teatro permiten: a) conceptualizar las formas sociales de publicidad y, b) considerar el rol de los espectadores como políticamente relevante. (shrink)

Previous research has shown that na_ve participants display a high level of agreement when asked to choose or drawschematic representations, or image schemas, of concrete and abstract verbs [Proceedings of the 23rd Annual Meeting of the Cognitive Science Society, 2001, Erlbaum, Mawhah, NJ, p. 873]. For example, participants tended to ascribe a horizontal image schema to push, and a vertical image schema to respect. This consistency in offline data is preliminary evidence that language invokes spatial forms of representation. It also (...) provided norms that were used in the present research to investigate the activation of spatial image schemas during online language comprehension. We predicted that if comprehending a verb activates a spatial representation that is extended along a particular horizontal or vertical axis, it will affect other forms of spatial processing along that axis. Participants listened to short sentences while engaged in a visual discrimination task (Experiment 1) and a picture memory task (Experiment 2). In both cases, reaction times showed an interaction between the horizontal/vertical nature of the verb's image schema, and the horizontal/vertical position of the visual stimuli. We argue that such spatial effects of verb comprehension provide evidence for the perceptual–motor character of linguistic representations. (shrink)

In this paper I will analyse the relationship between metaphor and imagination. This issue has been recently studied by cognitive linguists who appreciate its importance, while other semantic perspectives neglect it. I will analyse the thesis which affirms that metaphors are based on cognitive components which are not logical-propositional but imaginative: the “image schemata” are recurrent models of corporeal experiences, centres of knowledge organization which structure – in a non-propositional form – an amount of salient information. This information emerges from (...) the sensorimotor activities such as: manipulation of objects, spatial orientation and focusing perceptive attention on different goals. According to this theory, imagination is the drive of the entire cognitive experience and, through metaphorical projection, it activates and coordinates the schemata from which the very linguistic activity originates. Starting with empirical studies about the cognitive and neurobiological plausibility of image schemata, I will assert the function of imagination as the trait d’union between experience and cognitive use of the metaphor, through the use of sensory and synesthetic metaphors as mediators among perceptive, physical and linguistic dimensions. I hope future research will concentrate on the relationship between synesthesia and image schemata because of their strong connection with human perceptive, cognitive and neural structures. (shrink)

The article presents an analysis of metaphorical names for yoga postures as well as other verbal and verbo-gestural means of communication used by yoga teachers to describe these co...

How does the human brain link relational concepts to perceptual experience? For example, a speaker may say “the cup to the left of the computer” to direct the listener's attention to one of two cups on a desk. We provide a neural dynamic account for both perceptual grounding, in which relational concepts enable the attentional selection of objects in the visual array, and for the generation of descriptions of the visual array using relational concepts. In the model, activation in neural (...) populations evolves dynamically under the influence of both inputs and strong interaction as formalized in dynamic field theory. Relational concepts are modeled as patterns of connectivity to perceptual representations. These generalize across the visual array through active coordinate transforms that center the representation of target objects in potential reference objects. How the model perceptually grounds or generates relational descriptions is probed in 104 simulations that systematically vary the spatial and movement relations employed, the number of feature dimensions used, and the number of matching and nonmatching objects. We explain how sequences of decisions emerge from the time‐ and state‐continuous neural dynamics, how relational hypotheses are generated and either accepted or rejected, followed by the selection of new objects or the generation of new relational hypotheses. Its neural realism distinguishes the model from information processing accounts, its capacity to autonomously generate sequences of processing steps distinguishes it from deep neural network accounts. The model points toward a neural dynamic theory of higher cognition. (shrink)

The Pragmatics of Multi-Verb Sequences: The Case of the Verb Go This paper is an empirical investigation into the nature of multi-verb sequences in English. Multi-verb sequences such as V-to-VP and V-and-VP present a natural construction type of investigating recurring patterns of event sequences as conceived situations. This paper focuses on the image-schematic properties of both the go-to-VP construction and the go-and-VP construction to which previous accounts have paid little attention, and it demonstrates that the interpretation of the image-schemas has (...) enhanced research. The go-to-VP and the go-and-VP constructions require different image schemas. With respect to the go-to-VP construction, the SOURCE-PATH-GOAL schema plays an important role; sometimes a compound image schema of that type are necessary. Specifically, the image-schematic properties of the first verb go are incorporated into the event structure of the second verb to allow the speaker to construe the event denoted by the second verb in accordance with the image-schematic meaning of the first verb go. Consequently, this paper offers a pragmatic and cognitive account of the two constructions respectively. Some results in a data-driven analysis in this paper also reinforce selected convincing explanations. (shrink)

This study examined the performances of three groups of participants in interpreting metaphors in three different conditions: congruent gesture-prime conditions, opposite gesture-prime conditions, and no-prime conditions. In congruent gesture-prime conditions, each metaphor was preceded by the congruent gestural representation of metaphor schema. In opposite gesture-prime conditions, each metaphor was preceded by the opposite gestural representation of metaphor schema. The results showed that participants of congruent gesture-prime conditions had the best performance in interpreting metaphors, while participants of opposite gesture-prime conditions had (...) the worst performance. It is suggested that metaphor schema is an important part of metaphorical meaning of a metaphor. Therefore, when this part of meaning is activated by a gestural prime, metaphor comprehension is facilitated. Furthermore, when a schema is used to metaphorically describe a concept or an event, that schema and the neural network that represents it become one part of a larger interconnected neural network that represents the meaning of the metaphor. It could mean that the activation of one part of it could facilitate the activation of the whole of the network. Finally, it is emphasized that a gesture that depicts the schema of a metaphor is in fact the embodied realization of that metaphor. (shrink)

This paper presents and evaluates a model of how the abstractness of source and target concepts influences metaphoricity, the property of how metaphoric a linguistic metaphoric expression is. The purpose of this is to investigate the long-standing claim that metaphoric mappings are from less abstract concepts to more abstract concepts. First, abstractness is modeled using Searle’s social ontology and this model of abstractness evaluated using a participant-based measure of abstractness. Second, this model of abstractness is used to determine the direction (...) and distance in abstractness of metaphoric mappings. Direction of abstractness in these mappings is whether the source or target concept is the more abstract. Distance is the difference in abstractness between source and target concepts. Both factors influence metaphoricity, as measured using introspection and a participant-based study of metaphoricity. The results give empirical support for a long-standing claim about abstractness in mappings, but also.. (shrink)

This article investigates the origin of editorial images, with a focus on the mental processes that enable cartoonists and illustrators across cultures to come up with novel ideas. It provides the most compelling evidence to date that recycling, where artists regularly recycle pictorial and compositional ideas they have developed earlier, is the origin of ideas. Recycling theory is thus compatible with a variety of ongoing research programs. Among these are Turner’s work on blending (2014), Musolff’s research on scenarios (2016), Langacker’s (...) ideas on constructional schemas (1991), Johnson’s work on image schemas (1987), and van Dijk’s proposals concerning discourse complexes and intertextuality (2014). More specifically, the present study gives cognitively plausible answers to the perennial questions: To what extent does recycling shape and constrain the human way of thinking? Is it bound to certain cultural traditions? Does it characterize the style of certain artists or artistic movements? How does it contribute to discourse? Are the products of recycling always imaginative and creative? Is it a mode of efficiency? The theoretical insights are applied to 440 editorial images of Egyptian and British origin. This investigation will aid both semiotics scholarship and cognition studies based on multimodal stimuli. (shrink)