L’objectif de cet article est d’examiner le fonctionnement morpho-syntaxique et sémantique de l’expression en passant par en français en synchronie et en diachronie. Une étude sur corpus fait ressortir d’importantes différences de fonctionnement entre les emplois du début de la période prise en compte et ceux du français moderne. Ces différences suggèrent une évolution assez nette qui aboutit à la coexistence, en français contemporain, d’emplois « libres » correspondant au gérondif du verbe passer suivi d’un syntagme prépositionnel en par et (...) de la forme figée en passant par, proche par son comportement des prépositions, statut qui ne lui est reconnu ni par les lexicographes ni par les linguistes. Pour expliquer ce double fonctionnement en français moderne, nous étudions l’hypothèse d’une grammaticalisation en cours, et la testons au moyen d’une étude sur corpus synchronique et diachronique. De manière plus générale, cette analyse met au jour les conséquences sémantiques et fonctionnelles du changement catégoriel que la forme gérondive du verbe de déplacement passer est en train de subir. (shrink)

Recent evidence from cognitive neuroscience suggests that certain cognitive processes employ perceptual representations. Inspired by this evidence, a few researchers have proposed that cognition is inherently perceptual. They have developed an innovative theoretical approach that rests on the notion of perceptual simulation and marshaled several general arguments supporting the centrality of perceptual representations to concepts. In this article, I identify a number of weaknesses in these arguments and defend a multiple semantic code approach that posits both perceptual and non-perceptual representations.

Mental imagery (varieties of which are sometimes colloquially refered to as “visualizing,” “seeing in the mind's eye,” “hearing in the head,” “imagining the feel of,” etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. It is also generally understood to bear intentionality (i.e., mental images are always images of something or other), and thereby to function as a form of mental representation. Traditionally, visual mental imagery, the most discussed variety, was thought (...) to be caused by the presence of picturelike representations (mental images) in the mind, soul, or brain, but this is no longer universally accepted. (shrink)

The aim of this paper is to reconsider certain assumptions about conceptual structure which have become influential in recent Cognitive Science and which are associated in particular with the Cognitive Linguistics research agenda. I will outline three areas within the Cognitive Linguistics theory of concepts which seem to create some difficulties in their present formulation: the 'embodied cognition' idea, the function of imagery and the role of metaphor in the structure of concepts.

A growing body of evidence suggests that cognition is embodied and grounded. Abstract concepts, though, remain a significant theoretical chal- lenge. A number of researchers have proposed that language makes an important contribution to our capacity to acquire and employ concepts, particularly abstract ones. In this essay, I critically examine this suggestion and ultimately defend a version of it. I argue that a successful account of how language augments cognition should emphasize its symbolic properties and incorporate a view of embodiment (...) that recognizes the flexible, multi- modal and task-related nature of action, emotion and perception systems. On this view, language is an ontogenetically disruptive cognitive technology that expands our conceptual reach. (shrink)

Music is often described in anthropomorphic terms. This paper suggests that if we think about music in certain ways we could think of it as conscious. Motional characteristics give music the impression of being alive, but musical motion is conventionally taken as metaphorical. The first part of this paper argues that metaphor may not be the exclusive means of understanding musical motion – there could also be literal ways. Discussing kinds of consciousness, particularly “access consciousness” (Block 1995), the second part (...) proposes ways in which music could (hypothetically) be conscious. The conclusion states that a greater understanding of the interactions of “phenomenal consciousness” and “access consciousness” is important in conceptualizing non-human consciousnesses, such as music might be conceived to be. (shrink)

In written and spoken communications, metaphors are often used as an aid to help convey abstract or less tangible concepts. However, the benefits of using visual metaphors in visualization have so far been inconclusive. In this work, we report an empirical study to evaluate hypotheses that visual metaphors may aid memorization, visual search and concept comprehension. One major departure from previous metaphor-related experiments in the literature is that we make use of a dual-task methodology in our experiment. This design offers (...) an abstraction of typical situations where viewers do not have their full attention focused on visualization (e.g., in meetings and classes). The use of the secondary task introduces “divided attention”, and makes the effects of visual metaphors more observable. In addition, it also serves as additional masking in memory-based trials. The results of this study show that visual metaphors can help participants better remember the information depicted in visualization. On the other hand, visual metaphors can have a negative impact on the speed of visual search. The results also show a complex pattern as to the benefits of visual metaphors in helping participants grasp key concepts from visualization. (shrink)