In the literature, the pragmatic dimension of metaphors has been clearly acknowledged. Metaphors are regarded as having different possible uses, and in particular, they are commonly viewed as instruments for pursuing persuasion. However, an analysis of the specific conversational purposes that they can be aimed at achieving in a dialogue and their adequacy thereto is still missing. In this paper, we will address this issue focusing on the distinction between the explanatory and persuasive goal. The difference between explanation and persuasion (...) is often blurred and controversial from a theoretical point of view. Building on the analysis of explanation in different theories and fields of study, we show how it can be conceived as characterized by a cognitive and a pragmatic dimension, where the transference of understanding is used pragmatically for different dialogical goals. This theoretical proposal will be applied to examples drawn from the medical context, to show how a pragmatic approach to explanation can account for the complexity of the cases that can be found in actual dialogical contexts. -/- . (shrink)

Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...) how interpretation and meaning function in poems that use words in highly non-standard ways. In such poems, there are associations and implicatures that one can reasonably expect a suitably backgrounded reader to grasp, rescuing interpretation from being a purely subjective and arbitrary activity. (shrink)

Epistemologists of testimony have focused almost exclusively on the epistemic dynamics of simple testimony. We do sometimes testify by ways of simple, single sentence assertions. But much of our testimony is narratively structured. I argue that narrative testimony gives rise to a form of epistemic dependence that is far richer and more far reaching than the epistemic dependence characteristic of simple testimony.

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

Many great authors claim that reading literature can expand your phenomenal imagination and allow you to imagine experiences you have never had. How is this possible? Your phenomenal imagination is constrained by your phenomenal concepts, which are in turn constrained by the phenomenology of your own actual past experiences. Literature could expand your phenomenal imagination, then, by giving you new phenomenal concepts. This paper explains how this can happen. Literature can direct your attention to previously unnoticed phenomenal properties of your (...) own past experiences, as brought to mind by involuntary memory. This process gives you the opportunity to notice those phenomenal properties for the first time, and so also to form phenomenal concepts of those properties. Forming a new phenomenal concept strictly expands the range of your phenomenal imagination. It gives you the capacity to imagine more than you could have before, including certain specific kinds of experience that you yourself have never enjoyed firsthand. Literature’s capacity to expand your phenomenal imagination in this way is central to its social, moral, and epistemic value. (shrink)

In Overlooking Conventions Michael Devitt argues in defence of the traditional approach to semantics. Devitt’s main line of argument is an inference to the best explanation: nearly all cases that linguistic pragmatists discuss in order to challenge the traditional approach to semantics are better explained by adding conventions into language, in the form of expanding the range of polysemy or the range of indexicality (in the broad sense of linguistically governed context sensitivity). In this paper, we discuss three aspects of (...) a draft of Devitt’s Overlooking Conventions, which was discussed at a conference in Dubrovnik in September 2018. First, we try to show that his rejection of Bach’s distinction between convention and standardization overlooks important features of standardization. Second, we elaborate on Devitt’s argument against linguistic pragmatism based on the normative aspect of meaning and show that a similar argument can be mounted against semantic minimalism. While Devitt and minimalists have a common enemy, they are not allies either. Third, we address a methodological difficulty in Devitt’s view concerning a threat of over-generation and propose a solution to it. Although this paper is the result of collaboration the authors have written different parts. Carlo Penco has written part 1, Massimiliano Vignolo has written part 2 and part 3. (shrink)

There is a long philosophical tradition of skepticism about the possibility of adequate paraphrases for metaphorical utterances. And even among those who favor paraphrasability, there is a tendency to think that paraphrases of metaphorical utterances may themselves have to be non-literal. I argue that even the most evocative and open-ended metaphorical utterances can be literally and adequately paraphrased, once we recognize that they are actually indirect speech acts—specifically, indirect directives that command the hearer to engage in an open-ended comparison. This (...) leads to an overall picture in which trite, unevocative metaphorical utterances admit of just straightforward, usually non-directive literal paraphrases, while the most evocative metaphorical utterances admit of only indirect directive paraphrases, and metaphorical utterances in a third category admit of two literal paraphrases, one of which is straightforward and usually non-directive, and the other of which takes the indirect directive form. This argument for literal paraphrasability is intended to demystify metaphor, but not to undercut metaphor’s tremendous value as a communicative device. (shrink)

In this paper, I take a critical look at the Davidsonian argument that metaphorical sentences do not express propositions because of the phenomenological experience—seeing one thing as another thing—involved in understanding them as metaphors. According to Davidson, seeing-as is not seeing-that. This verdict is aimed at dislodging metaphor from the position of being assessed with the semantic notions of propositions, meaning, and truth. I will argue that the phenomenological or perceptual experience associated with metaphors does not determine the propositional contentfulness (...) or truth-evaluability of metaphors. Truth-evaluability is not inconsistent but compatible with a perceptual model for metaphors. I argue for this partly by showing that seeing-as does not constitute understanding of metaphors when understanding is appropriately construed in terms of being able to use an expression. (shrink)

Davidson argues that metaphorical sentences express no propositional contents other than the explicit literal contents they express. He offers a causal account, on the one hand, as an explanation of the supposed additional content of a metaphor in terms of the effects metaphors have on hearers, and on the other hand, as a reason for the non-propositional nature of the “something more” that a metaphor is alleged to mean. Davidson’s account is meant to restrict the semantic notions of meaning, content, (...) and truth, to literal sentences. I argue that the Davidsonian causal account does not satisfactorily account for metaphor’s figurativeness, speakers’ assertion and hearers’ uptake of metaphor, and our discursive practices of using metaphors in disagreements and argumentation. I offer a non-compositional analysis of a semantic account of metaphor within which one can make sense of the applicability of the notions of meaning and content to metaphor. This analysis shows that metaphorical sentences have meanings other than, and in addition to, their literal meanings and what speakers can use them to mean. (shrink)

In this paper, I take a critical look at the Davidsonian argument that metaphorical sentences do not express propositions because of the phenomenological experience—seeing one thing as another thing—involved in understanding them as metaphors. According to Davidson, seeing-as is not seeing-that. This verdict is aimed at dislodging metaphor from the position of being assessed with the semantic notions of propositions, meaning, and truth. I will argue that the phenomenological or perceptual experience associated with metaphors does not determine the propositional contentfulness (...) or truth-evaluability of metaphors. Truth-evaluability is not inconsistent but compatible with a perceptual model for metaphors. I argue for this partly by showing that seeing-as does not constitute understanding of metaphors when understanding is appropriately construed in terms of being able to use an expression. (shrink)

Öz: Bu yazıda Elisabeth Camp'in metafor kuramını eleştireceğim. Bu kurama göre metaforik anlam metaforik olarak kullanılan terimin işaret ettiği şeyin karakterizasyonunun bir başka şeyin karakterizasyonu ile etkileşimi yoluyla ortaya çıkar. Bu etkileşim beraberinde metaforun önemli bilişsel özelliklerinden biri olan olarak-görme etkisini zorunlu olarak getirir. Ben bu kuramın açıklamaya çalıştığı dilsel olguyu gereksiz yere karmaşıklaştırdığını savunacağım. Söz konusu olgu etkileşime gerek olmadan da açıklanabilir. Camp'in tersine, olarak-görme etkisinin metafor için özsel olmadığını savunacağım. Bunların yanı sıra Camp'in metafor kuramının kimi değillenmiş metafor (...) kullanımlarını açıklayamadığını göstermeye çalışacağım. Abstract: In this paper, I will criticise Elisabeth Camp's theory of metaphor. According tothis theory, the metaphorical meaning arises from the interaction of the characterization of the thing which the metaphorically used term indicates with the characterization of another thing. The interaction forces outone of the most important cognitive features of metaphor, the seeing-as effect. I will argue that this theory unnecessarily complicates the linguistic phenomenon it tries to explain, and that the phenomenon in question couldbe explained without the need for interaction. Contrary toCamp, I will try to show that the seeing-as effect is not essential for metaphor. I will also try to demonstratethat Camp's theory of metaphor fails to explain some uses of negated metaphors. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

This paper offers both exegetical and systematic reconsiderations of Donald Davidson’s view on metaphor. In his essay What Metaphors Mean, Davidson argued against the idea that metaphors have any kind of propositional content beyond the literal meaning of the relevant sentence. Apart from this negative claim, Davidson also made a constructive proposal by suggesting that metaphor’s distinctive effect is to prompt a mental state of seeing-as. These two points seem connected insofar as Davidson makes the following assumptions. First, metaphors cause (...) their distinctive effects in an a-rational way. Second, seeing-as is a nonpropositional mental state. If we side with Davidson in thinking of meaning as rational and propositional, then it follows that metaphors’ distinctive effects cannot be an instance of meaning. They have the wrong format and are brought about in the wrong way. Against this background, I distinguish a strong reading and a modest reading of Davidson’s wrong-kind objection to metaphorical meaning. By taking into account some of Davidson’s later pronouncements on the matter, this paper aims to show that Davidson did not hold on to the strong version of the wrong-kind objection. This would open up the way to conceiving of metaphorical meaning in terms of speaker’s meaning, were it not for the fact that Davidson sticks to the wrong-way objection. The two concluding sections examine the cogency of the wrong-way objection as applied to metaphorical speaker’s meaning, and offer a model for thinking about the a-rational mental causation Davidson thought metaphors exhibit. (shrink)

Este artículo sostiene que Iris Murdoch se opone al no-cognitivismo porque este no tiene en cuenta los fenómenos morales dinámicos que son clave en cualquier exploración filosófica de la vida moral adecuada, es decir, la experiencia subjetiva de la moralidad, la diferencia y el cambio. El argumento de Murdoch pone en cuestión la dicotomía hecho/valor y cognitivo/emotivo, y propone un modelo de la mente complejo, sensible al tiempo y dinámico que se centra en el cambioy la transición. En este modelo (...) dinámico, la objetividad ética es un logro personal. (shrink)

What is it to have and act on a personal ideal? Someone who aspires to be a philosopher might imaginatively think “I am a philosopher” by way of motivating herself to think hard about a philosophical question. But doing so seems to require her to act on an inaccurate self-description, given that she isn’t yet what she regards herself as being. J. David Velleman develops the thought that action-by-ideal involves a kind of fictional self-conception. My aim is to expand our (...) thinking about personal ideals by developing another way of understanding them. On this view action-by-ideal involves a kind of metaphorical self-conception. I investigate some salient differences between these views with the aim of understanding the different perspectives they take on the rationality of action-by-ideal. Where the fiction view runs into problems of literary coherence, the metaphor view exploits the richness of poetic invention. But action-by-ideal is a complex phenomenon about which there may be no tidy story to be told. This paper is an attempt to clarify and understand more of this messy terrain. (shrink)

I propose that an account of metaphor understanding which covers the full range of cases has to allow for two routes or modes of processing. One is a process of rapid, local, on-line concept construction that applies quite generally to the recovery of word meaning in utterance comprehension. The other requires a greater focus on the literal meaning of sentences or texts, which is metarepresented as a whole and subjected to more global, reflective pragmatic inference. The questions whether metaphors convey (...) a propositional content and what role imagistic representation plays receive somewhat different answers depending on the processing route. (shrink)

Metaphor study is a promising trend in present-day academia. Scholars of antiquity are already profiting from it in their study of early texts. We have yet, however, to harness the potentials of metaphor in East-West comparison. The article discusses what literary metaphors are, in particular how they generate images and perspectives that call into play a broad range of extra-textual information about the speaker and his milieu. Shared metaphors are doubly advantageous: they serve as hermeneutic tools for reading early texts (...) and are fulcrums for comparing views of different traditions. Archery is an example of a shared metaphor in the Confucian Analects and Aristotle’s Nicomachean Ethics. It seems that while both texts employ images that are close together, their meanings are far apart. (shrink)

Mental fictionalism is the view that, even if mental states do not exist, it is useful to talk as if they do. Mental states are useful fictions. Recent philosophy of mind has seen a growing interest in mental fictionalism. To date, much of the discussion has concerned the general features of the approach. In this paper, I develop a specific form of mental fictionalism by drawing on Kendall Walton’s work on make-believe. According to the approach I propose, talk of mental (...) states is a useful pretence for describing people and their behaviour. I try to clarify and motivate this approach by comparing it to well-known alternatives, including behaviourism, instrumentalism and eliminativism. I also consider some of the challenges that it faces. (shrink)

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)

Inducing aspect-experiences – the sudden seeing of something anew, as when a face suddenly strikes us as familiar – can be used as a philosophical method. In seeing aspects, I argue, we let ourselves experience what it would be like to conceptualize something in a particular way, apart from any conceptual routine. We can use that experience to examine our ways of conceptualizing things, and re-evaluate the ways we make sense of them. I claim that we are not always passive (...) with regard to these experiences, and explain how we can actively induce them. I distinguish this method from other standard Wittgensteinian philosophical methods. (shrink)

This article characterizes aspect-perception as a distinct form of judgment in Kant's sense: a distinct way in which the mind contacts world and applies concepts. First, aspect-perception involves a mode of thinking about things apart from any established routine of conceptualizing them. It is thus a form of concept application that is essentially reflection about language. Second, this mode of reflection has an experiential, sometimes perceptual, element: in aspect-perception, that is, we experience meanings—bodies of norms. Third, aspect-perception can be “preparatory”: (...) it may help us to decide what linguistic norms to develop and how to conceptualize—make the world thinkable. Fourth, the article discusses the forms of justification for which aspect-perception allows—the necessity and normativity involved in employing this form of judgment. (shrink)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

Philosophers have alleged that paraphrases of metaphors are inadequate. They have presented this inadequacy as a datum predicted by, and thus a reason to accept, particular accounts of ‘metaphorical meanings.’ But to what, specifically, does this inadequacy claim amount? I argue that, if this assumption is to have any bearing on the metaphor debate, it must be construed as the comparative claim that paraphrases of metaphors are inadequate compared to paraphrases of literal utterances. But the evidence philosophers have offered does (...) not support the comparative inadequacy of paraphrases of metaphors. I offer my own empirical evidence against the inadequacy assumption. (shrink)

Traditionally, the dominant theory of metaphor has taken the form of saying that metaphor is a matter of using a word with a figurative meaning, that is, a meaning which deviates from standard, literal, meaning. The present article challenges the assumption on which such a characterization rests: that there are standard meanings for words fixed by conventions normative for our use of words. It argues that the most sophisticated defence of such a conception of meaning‐that of David Lewis‐gives an account (...) of convention that cannot be coherently applied to the case of language, and which misdescribes the phenomena of language. The fluidity and flexibility exhibited in our normal literal uses of words is such that to say that a meaning deviates from past meanings assigned to a word registers no contrast between the metaphorical use of words and the literal. Hence if we contrast the literal and the metaphorical, we must do it in some other way than by talking about what happens to the meanings of words. (shrink)

I take up three puzzles about our emotional and evaluative responses to fiction. First, how can we even have emotional responses to characters and events that we know not to exist, if emotions are as intimately connected to belief and action as they seem to be? One solution to this puzzle claims that we merely imagine having such emotional responses. But this raises the puzzle of why we would ever refuse to follow an author’s instructions to imagine such responses, since (...) we happily imagine many other implausible things. A natural response to this second puzzle is that our responses to fiction are real, and so can’t just be conjured up in response to an author’s demands. However, this simple response is inadequate, because we often respond differently to people and events in fiction than we would if we encountered them in real life. Solving these three puzzles in a consistent way requires the notion of a “perspective” on a fictional world. I sketch an account of this intuitive but frustratingly amorphous notion: perspectives are tools for organizing our thinking, which can in turn alter our emotional and evaluative responses. Cultivating a perspective can be illuminating, entertaining, or corrupting — or all three at once. (shrink)

Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don’t believe that (...) Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no “morality fiction,” analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one’s imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the “offline” simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue.. (shrink)

The commonplace view about metaphorical interpretation is that it can be characterized in traditional semantic and pragmatic terms, thereby assimilating metaphor to other familiar uses of language. We will reject this view, and propose in its place the view that, though metaphors can issue in distinctive cognitive and discourse effects, they do so without issuing in metaphorical meaning and truth, and so, without metaphorical communication. Our inspiration derives from Donald Davidson’s critical arguments against metaphorical meaning and Richard Rorty’s exploration of (...) the diverse uses of language. But unlike these authors we ground our discussion squarely in distinctions about causal mechanisms in cooperative activity developed by H.P. Grice and others. (shrink)

Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.

The current view of theoretical statements in science is that they should be literal and precise; ambiguous and metaphorical statements are useful only as pre-theoretical, exegetical, and heuristic devices and as pedagogical tools. In this paper we argue that this view is mistaken. Literal, precise statements apply to those experiential phenomena which can be defined either conventionally by criterial attribution or by internal atomic constitution. Experiential phenomena which are defined relationally and/or functionally, like nursing, in virtue of their nature, require (...) metaphorical description and explanation. In such cases, metaphor is theory-constitutive. Using insights from the philosophies of language and mind, and examples from nursing practice, education, and our own empirical research, we explore the nature of metaphor and its role in theory constitution. We argue that the apparent resistance of certain experiential phenomena to literal description and explanation is not necessarily indicative of pre-theoretic linguistic imprecision. We suggest, rather, that such resistance provides useful insights into the nature of such experiential phenomena. We also suggest that the aim of scientific theory should be methodological or epistemological precision and not merely linguistic precision. (shrink)

Fictionalism has recently returned as a standard response to ontologically problematic domains. This article assesses moral fictionalism. It argues (i) that a correct understanding of the dialectical situation in contemporary metaethics shows that fictionalism is only an interesting new alternative if it can provide a new account of normative content: what is it that I am thinking or saying when I think or say that I ought to do something; and (ii) that fictionalism, qua fictionalism, does not provide us with (...) any new resources for providing such an account. (shrink)

Philosophers have traditionally inclined toward one of two opposite extremes when it comes to metaphor. On the one hand, partisans of metaphor have tended to believe that metaphors do something different in kind from literal utterances; it is a ‘heresy’, they think, either to deny that what metaphors do is genuinely cognitive, or to assume that it can be translated into literal terms. On the other hand, analytic philosophers have typically denied just this: they tend to assume that if metaphors (...) express any genuine content at all, then that content can in principle be paraphrased into literal terms. They often conclude on this basis that metaphor is theoretically dispensable, and so that it poses no special challenges and affords no distinctive insights for the philosophy of language and mind. (shrink)

This article focuses on two largely ignored aspects of the understanding of strong metaphors: the visual dimension and the emotional factors. Particularly, I intend to offer answers to the following questions: 1) What does it mean to understand a visual metaphor? 2) Can Wittgenstein’s ideas about the vision of aspects help to better understand this understanding? 3) In what sense does his notion of secondary sense enrich the philosophical reflection on the understanding of metaphors? 4) In what sense may emotions (...) be an important factor in the understanding of certain metaphors? The article is framed in a methodological proposal: I defend a phenomenology of the metaphor, that is, an accurate description of our experiences with metaphors, and in this case, its understanding. (shrink)

This paper addresses two issues: what it is for a metaphor to be either alive or dead and what a metaphor must be in order to be either alive or dead. Both issues, in turn, bear on the contemporary debate whether metaphor is a pragmatic or semantic phenomenon and on the dispute between Contextualists and Literalists. In the first part of the paper, I survey examples of what I take to be live metaphors and dead metaphors in order to establish (...) that there is a phenomenon here to be explained. I then propose an explanation of metaphorical vitality in terms of the dependence of the interpretation of a metaphor on a family or network of expressions specific to its context of utterance. I then argue that only a Literalist account of metaphor — one that posits metaphorical expressions )—and not Contextualist and Gricean approaches can accommodate this explanation. Finally, I discuss some objections to my Literalist account and sketch an explanation of types to counter Platonistic objections to my metaphorical expression types. (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)

Philosophers and critics alike often contend that metaphors cannot or should not be paraphrased, ever. Yet a simple and decisive empirical argument — The Horse’s Mouth Argument—suffices to show that many metaphors can be paraphrased without violating the spirit in which they were put forward in the first place. This argument leaves us with urgent unanswered questions about the role of paraphrase in a more inclusive division of exegetical labor, about the tension between its notorious openendedness and its claim to (...) restate something already stated, and about the relation between the content of a paraphrase and the content (or contents) of the metaphor the paraphrase purports to explain. But it leaves us in a position to state such questions more clearly and hopefully than we could before. (shrink)

I first show why Davidson was wrong to maintain that there is no such thing as metaphorical meaning, that which paraphrases strive to capture. I then sketch a conception of metaphors as utterances in contexts, and suggest how such utterances can acquire metaphorical meanings despite there being no semantic rules for the projection of such meanings. I next urge the essentiality of a metaphor's verbal formulation to its being the metaphor it is, and I conclude with some reflections on common (...) and uncommon metaphors, and on the difficulty of finding strings of words resistant to metaphorical construal. (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)