The present study examines the relationship between pictorial similes and hybrid pictorial metaphors. The results suggest that hybrid pictorial metaphors are perceived more strongly than pictorial similes when they are presented on their own and in corrective convention but not when they are verbalized. We argue that hybrid pictorial metaphors have transformational effects as the fusion of two concepts allow the reader to see one thing in terms of another. Juxtaposition in a pictorial simile merely suggests a search for similarity, (...) which is not explicit. Results also showed that verbalized metaphor (X is Y) or the simile (X is like Y) forms are often used to convey a similar meaning and strength for pictorial simile and pictorial metaphor. However, in corrective scenarios participants are forced to reassess visual features: in this situation, pictorial metaphors are considered more strongly than pictorial similes even when they are verbalized. (shrink)

This paper investigates the use of hashtags in the building of brand narratives (i.e. the open-ended, unfolding and participative depiction of a company’s core ideology and beliefs). A collection of over 700 hashtags involved in the creation of the advertising narratives of the four leading soft drinks brands in 2017 (i.e.Coca-Cola, Pepsi, RedBull, Nescafé) has been analyzed both quantitatively and qualitatively to unveil their functions and formal characteristics, as well as the cognitive processes that underlie their interpretation and operate on (...) the framing and dissemination of brand narratives. Ultimately, by categorizing and explaining the roles of hashtags in the construction of a brand narrative, as well as the potential correlations between their formal and functional traits and their retweeting rate and digital lifespan, this paper shapes a preliminary description of the characteristics of the subgenre of hashtag-based brand narratives and spells out some of the factors that should be considered in the choice of hashtags for advertising purposes. (shrink)

The exceptional nature of poetic language – testified by its patent untranslatability – represents a problem for philosophy, and particularly for analytic philosophy, which aims to provide an overarching explanation of ordinary language. It is difficult to explain the peculiar creativity of poetic language, starting from a finite basic vocabulary and a finite set of rules to be used by an interpreter who has finite powers. Poetry seems indeed not to respect the semantic innocence, spreading new meanings not only according (...) to the context, but even to the graphic and phonological form of the words. Mechanisms, such as quotation and conversational implicatures, have been used to respect semantic innocence and to show at the same time that poetic language is not deviant from the ordinary use of language. This article suggests an alternative route, “imagistic”, to account for the specific creativity of poetic language, without violating the principle of semantic innocence and without hypothesizing a discontinuity with ordinary language. Particularly referring to metaphor, it aims to show that poetic language does not convey as much further meanings, implicit in the use of literal terms, but rather images, evoked by and dependent on these terms, which could explain both poetry emergent properties and untranslatability. “Imageability” is not a feature of the “poetic word”, but rather of any word and, particularly, of concrete words. The creativity of poetic language lies in deepening the multimodal nature of concrete language, which is different from the abstract and conceptual nature of philosophical language. (shrink)

Over the last two decades, studies on visual metaphor processing have gained increasing attention. The present paper is a review of the book entitled Visual Metaphors and Aesthetics: A Formalist Th...