Metaphorical meaning can be analyzed as triggered by an apparent communicative breach, an incongruity that leads to a default of the presumptive interpretation of a vehicle. This breach can be solved through contextual renegotiations of meaning guided by the communicative intention, or rather the presumed purpose of the metaphorical utterance. This paper addresses the problem of analyzing the complex process of reasoning underlying the reconstruction of metaphorical meaning. This process will be described as a type of abductive argument, aimed at (...) explaining how the vehicle can best contribute to the purpose of the utterance. This type of reasoning involves the analysis of the possible predicates that can be and usually are attributed to the vehicle, and the selection of the one that can support the implicit conclusion constituting the communicative goal of the metaphorical utterance. Metaphorical meaning, in this perspective, becomes the outcome of a complex process of meaning reconstruction aimed at providing the best explanation of the function of the vehicle within a discourse move. (shrink)

The article develops and justifies, on the basis of the epistemological argumentation theory, two central pieces of the theory of evaluative argumentation interpretation: 1. criteria for recognizing argument types and 2. rules for adding reasons to create ideal arguments. Ad 1: The criteria for identifying argument types are a selection of essential elements from the definitions of the respective argument types. Ad 2: After presenting the general principles for adding reasons (benevolence, authenticity, immanence, optimization), heuristics are proposed for finding missing (...) reasons, for deductive arguments, e.g., semantic tableaux are suggested. (shrink)

While philosophy has been defined as a critical endeavour since Plato, the critical potential of rhetoric has been mostly overlooked. In recent years, critique itself – as a means of enlightenment and emancipation – has come under attack. While there have been various attempts to renew and strengthen critical theory and practice, rhetoric has not yet played a part in these attempts. Addressing this lacuna, the article argues that rhetoric can function as a critical force within philosophy. The rhetorical perspective (...) confronts the claim to rational discourse and universal knowledge with the contingency of philosophical languages, means of representation, and social practices. Moreover, it allows us to think of critique as an activity of a subject that is at the same time constituted and transformed by it. This opens up the possibility of a rhetorical philosophizing that meets its critical standards by taking into account both the conditions of its own speaking and what it must exclude as its ‘other’ in order to function. (shrink)

In philosophy of science, abstraction tends to be subsumed under representation, often being described as the omission of a target’s features when it is represented. This approach to abstraction sidesteps cognitive aspects of abstraction processes. However, cognitive aspects of abstraction are important in understanding the role of historically grounded epistemic criteria supporting modeling in science. Drawing on recent work on the relation between metaphor and abstraction, we introduce the concept of paths of abstraction, and use historical and contemporary examples to (...) point to their role in guiding the development of relevance criteria which support modeling strategies in science. (shrink)

Work on analogy has been done from a number of disciplinary perspectives throughout the history of Western thought. This work is a multidisciplinary guide to theorizing about analogy. It contains 1,406 references, primarily to journal articles and monographs, and primarily to English language material. classical through to contemporary sources are included. The work is classified into eight different sections (with a number of subsections). A brief introduction to each section is provided. Keywords and key expressions of importance to research on (...) analogy are discussed in the introductory material. Electronic resources for conducting research on analogy are listed as well. (shrink)

This article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures described (...) by the participants often diverge from those advanced by the researchers. These findings challenge the methods by which metaphor identification and analysis in pictorials is currently approached. As a matter of fact, most of the research in pictorial metaphors tends to reduce stimuli such as artistic paintings to unique metaphoric interpretations generally produced by a single researcher by means of introspection. By addressing this methodological problem in metaphor research, this article contributes to the development of a theoretical and operational participant-based framework that takes into account the role of metaphoric conceptualization within the domain of art and art cognition. (shrink)

The human being is an imitative animal. This statement, or description, resonates across time and cultures. Its familiarity derives from its repetition. It has, in terms appropriate to this discussion, a memetic quality. What Aristotle says is that "imitation is natural to man from childhood, one of his advantages over the lower animals being this, that he is the most imitative creature in the world, and learns first by imitation". The proof for this, Aristotle goes on to explain, lies in (...) the pleasure derived from imitation. And if pleasurable, it is natural; we are naturally imitative creatures.Among our imitative practices is the social practice of argumentation with all its rhetorical... (shrink)

This paper considers two conceptual expansions of Du Boisian double consciousness—white double consciousness (Alcoff 2015) and kaleidoscopic consciousness (Medina 2013)—both of which aim to articulate the moral-epistemic potential of cultivating double consciousness from racially dominant or other socially privileged positions. We analyze these concepts and challenge them on the grounds that they lack continuity with their Du Boisian predecessor and face problems of practical feasibility. As we show, these expansions obscure structural barriers that make white double consciousness and kaleidoscopic consciousness (...) unlikely antidotes to the kind of racial domination that double consciousness was introduced to illuminate. We conclude that while more intersectional and pluralistic accounts of double consciousness may be desirable, the project of expansion has moral limits. Identifying these limitations, we outline ways in which double consciousness—as a tool for conceptualizing the genealogy of structural anti-Blackness—remains valuable in the absence of ever-expanding revision. (shrink)

Conceptual Metaphor Theory makes some strong claims against so-called Classical Theory which spans the accounts of metaphors from Aristotle to Davidson. Most of these theories, because of their traditional literal-metaphorical distinction, fail to take into account the phenomenon of conceptual metaphor. I argue that the underlying mechanism for explaining metaphor bears some striking resemblances among all of these theories. A mapping between two structures is always expressed. Conceptual Metaphor Theory insists, however, that the literal-metaphorical distinction of Classical Theories is empirically (...) wrong. I claim that this criticism is based rather on terminological decisions than on empirical issues. Conceptual Metaphor Theory focusses primarily on conventional metaphors and struggles to extend its mechanism to novel metaphors, whereas Classical Theories focus on novel metaphors and struggle to extend their mechanisms to conventional metaphors. Since all of these theories study metaphors from the synchronic point of view, they are unable to take into account any semantic change. A diachronic perspective is what we need here, one which would allow us to explain the role of metaphor in semantic change and the development of language in general. (shrink)

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)

Women's activities and relations to men are persistent metaphors for man's projects. I query the prominence of these and the lack of equivalent metaphors where men are the metaphoric vehicle for women and women's activities. Women's role as metaphor results from her otherness and her relational and mediational importance in men's lives. Otherness, mediation, and relation characterize the role of metaphor in language and thought. This congruence between metaphor and women makes the metaphor of woman especially potent in man's conceptual (...) economy. (shrink)

The contribution that may come from the general science of signs, semiotics, to the planning and development of education and learning at all levels, from early schooling through to university education and learning should not be neglected. As Umberto Eco claims in the “Introduction” to the Italian edition of his book Semiotica and Philosophy of Language (1984: xii, my trans.), “[general semiotics] is philosophical in nature, because it does not study a particular system, but posits the general categories in light (...) of which different systems can be compared. And for general semiotics philosophical discourse is neither advisable nor urgent: it is simply constitutive.” To the title of their book Semiotic Theory of Learning, at the centre of our attention in the present text, Andrew Stables, Winfried Nöth, Alin Olteanu, Sébastien Pesce, and Eetu Pikkarainen, rightly add the subtitle New Perspectives in the Philosophy of Education. This multivoiced contribution to research in learning and education in a semiotic framework has a unifying reference in the semiotics of Charles S. Peirce, but without disregarding an array of other distinguished exponents of the teaching and education sciences from different disciplines, semioticians and philosophers alike. This book, a polyphonic effort, with its appeal to “act otherwise,” and to do so investing in learning and education, no doubt makes a significant contribution in such a direction: education for transformation, for humanizing social change. Beyond evidencing what to us are particularly interesting aspects of the topics under discussion in Semiotic Theory of Learning, we also propose to continue and amplify this multivoiced dialogue. While highlighting still other aspects and contributions made by the same semioticians and philosophers presented by the authors of this book, involving such figures as Charles Peirce, Charles Morris, Thomas Sebeok, John Deely, etc., we have further introduced other voices made to resound throughout, whether directly or indirectly, like that of Victoria Welby, Mikhail Bakhtin, Emmanuel Levinas, Adam Schaff, Ferruccio Rossi-Landi, Marcel Danesi, Augusto Ponzio, and Genevieve Vaughan. (shrink)

I introduce the two principal concepts of this special issue through a discussion of some of the main roles place and time play in argumentation and some of the meanings involved in those roles. Some of the definitions of kairos are explored leading to suggestions for how this concept and that of ‘place’ can operate in argumentation.

This article seeks to examine Ricœur's reflection on metaphor through an intertextual reading. This reading relates The Rule of Metaphor (1975) with lines of thought developed in a series of lectures held at the Centre de recherches phénoménologiques in Paris, from 1973–1974, on the theme From Language to Image, and an essay which appeared in 1978, “The Metaphorical Process as Cognition, Imagination and Feeling”. This work starts with an analysis of Ricœur's interpretation of the Aristotelian theory of metaphor, a theory (...) which the French philosopher principally develops in The Rule of Metaphor. In the other two papers, Ricœur develops his metaphorology through a dialogue with Kant and he reformulates in linguistic terms the doctrine of productive imagination and transcendental schematism, which become the ontological sphere on which metaphorical and narrative activity are founded. Through the long journey of language, Ricœur's hermeneutics builds a bridge between Aristotle and Kant. This article examines this link to understand and explain further, also at the epistemological level, the relationship between metaphor and narrative. (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)

Meaning in literary texts such as poetry and novel etc., is not determined on the basis of a literal understanding of the words in it, but through a total evaluation of the devices such as metaphors and similes. This paper deals with metaphor to show its significance, to make us aware that metaphoric expressions do give a different kind of knowledge, and to pave the way to disclose a different kind of truth which is perhaps, more valuable than what the (...) literal sense provides. Ordinarily metaphorical use is taken for rhetorical purposes. Literalists of the Western and Indian philosophical traditions believe that it is only the literal or primary meaning that can give us a precise account of language. Metaphors are viewed by them as fuzzy, lies, not corresponding to actual states of affairs, non-propositional in character, not having truth-conditions, and thus not providing us with any knowledge or truth. However, this paper tries to work out the fundamentality of metaphor, how metaphor widens our experience of the world, and how it has the power to take us to an alternative world to introduce with some new truth by exploring certain notions of the Indian aestheticians. (shrink)

This article discusses how the study of metaphoric and more generally, figurative language use contributes to critical discourse analysis. It shows how cognitive linguists’ recognition of metaphor as a fundamental means of concept- and argument-building can add to CDA's account of meaning constitution in the social context. It then discusses discrepancies between the early model of conceptual metaphor theory and empirical data and argues that discursive-pragmatic factors as well as sociolinguistic variation have to be taken into account in order to (...) make cognitive analyses more empirically and socially relevant. In conclusion, we sketch a modified cognitive approach informed by Relevance Theory within CDA. (shrink)

Philosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work'sinternalcontent, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by (...) itsexternalcontent, which is provided by the work's artistic properties such as its history. The artistic metaphor has been gestured at but not afforded a considered analysis; I aim to do this. Identifying the artistic metaphor has at least two benefits. It shows how curation plays a role in generating metaphors in artworks, which has been overlooked, and it illuminates a potentially powerful tool to interpret and understand ‘conceptual’ art. (shrink)

This paper aims at expanding theories of metaphorical reasoning to other tropes. Asking why figurative language tends to fall into a limited number of patterns, it first examines approaches that offer an answer – ranging from antique rhetoric theory, Hans Blumenberg, Harald Weinrich, Donald Davidson, and Roman Jakobson to George Lakoff and Mark Johnson. By then turning to Giambattista Vico, it puts forth the argument that a limited set of pre-structured ways of embodied reasoning is hard-wired in and enacted by (...) different aspects of children’s ways of playing – and provides the foundation for structures ofthinking inthe adult life. (shrink)

This article illustrates the main theoretical and practical problem of the study of the anagram in poetry, the still unknown entity of the anagrammatic combination, which requires specific software in order to perform a structural analysis of the text. This difficulty explains the failure of Saussure’s original hypotheses and the gradual decline, following the rediscovery of his work, of the interest of researchers in this subject. However, some poems (by Blake, Moore, Mallarmé, Valéry, Apollinaire, and Leopardi) illustrate the enormous potential (...) of the anagram for the structural analysis of poetic texts: the study of formal structure, of semantic-thematic nuclei and of metaphor, together with the main criteria for examining, with some simplification, the anagrammatic combination. An explanation is also offered for anagrammatic and grammatical-syntactic cooperation, involving the current theory of the lemma. At the time of the generation of a poetic text, the anagram acts as an associative intermediary between the combinatory matrix of the signifieds and the combinatory matrix of the signifiers, producing a lexical selection that gives anagrammatic coherence to the text. This associative intermediary enables us to understand the particular recursive function of semiosis in poetry that is given a distinct unity by the anagram. (shrink)

How is it that metaphors are meaningful, yet we have so much trouble saying exactly what they mean? I argue that metaphoric thought is an act of imagination, mediated by the contingent form of human embodiment. Metaphoric cognition is an example of the productive interplay between intentional imagery and the body scheme, a process of imaginal modeling. The case of metaphor marks the intersection of linguistic and psychological processes and demonstrates the need for a multi-disciplinary approach not only in philosophy (...) of language, but in cognitive science and consciousness studies as well. (shrink)

This chapter contains sections titled: Highlights of Past Literature Current Work Future Work.

This article explores a German philosophy of metaphor, which proposed a close link between the body and the mind as the basis for metaphor, debunked the view that metaphor is just a decorative rhetorical device and questioned the distinction between the literal and the figurative. This philosophy of metaphor developed at the intersection between a reflection on language and thought and a reflection on the nature of beauty in aesthetics. Thinkers such as Giambattista Vico, Johann Wolfgang von Goethe, Jean Paul (...) and others laid the foundations for this philosophy and it was successively refined by Gustav Gerber, Alfred Biese and Friedrich Nietzsche. It influenced in its turn in various ways the linguistic study of metaphor and the psychology of metaphor as elaborated, for instance, by a lesser-known American scholar, Gertrude Buck. All these thinkers contributed to a philosophy and psychology of the metaphoric according to which metaphors are not only nice, but necessary for the structure and growth of human thought and language. Obvious parallels between this 19th-century philosophy of metaphor and the 20th-century theory of metaphor developed by Lakoff and his followers are examined throughout. (shrink)

The aim of this paper is to explore the relationship between visual imagery and metaphor, highlighting the historical neglect of this relationship in philosophy and cognitive science and exploring the reasons behind this neglect in theoretical and empirical studies. After outlining influential philosophical theories on the relationship between metaphor and visual imagery, I provide a critical overview of empirical findings on this. Thus, I argue that experimental studies lack sufficient empirical evidence to make meaningful generalizations and fail to determine the (...) true role of visual imagery in metaphor comprehension. Nevertheless, they do not allow us to rule out the involvement of imagery in the comprehension of at least certain metaphors. The present paper proposes that visual imagery might play different roles depending on the semantic features of the vehicle and the kind of meaning conveyed by different types of metaphors. I conclude this discussion by sketching a roadmap for further exploration of this fascinating and challenging relationship. (shrink)

In this work, I argue that creative metaphors are formed when some persistent problem, caused by an inadequacy in preexisting knowledge, descends into the collective unconscious, is reconfigured unconsciously in novel ways, and then reemerges back into consciousness where the impasse is resolved by the metaphorical expression of new knowledge. To develop this position, I (1) review and critique some well-known language-based studies of metaphor, (2) summarize psychoanalytic and depth psychological approaches to the psyche as one way to overcome the (...) shortcomings of the language-based scholarship, (3) relate C. G. Jung's account of the psyche and his related notion of synchronicity to creative metaphors, (4) graft a quantum physics approach to material reality back onto Jung's work as a provisional structure of the collective unconscious, and finally, (5) offer some suggestions about how creative metaphors might work psychologically. (shrink)

My basic argument is that a computer cannot distinguish between metaphor and nonsense. This would be my new “Turing Test.” I was very fond of a particular Italian poem, but I was told by an Italian friend that it was a hackneyed poem of little worth. I then taught myself to experience the poem alternately, as real poetry and as the silly nonsense that my friend claimed it really was. Having done so, I realized that I could do the same (...) with any metaphor, such as “having a green thumb.” Thinking about the nature of this switch, from the literal to the metaphorical, I also realized that it was the sort of change that could not be prescribed or even described: this, the basic aesthetic gesture, remains beyond the boundary of logical definition. It then dawned on me that it might provide a test for the validity of a “Turing Test,” by any definition. Can a computer track a mind as it goes through this transformation? I could not envisage such a possibility. This would be a “Turing Test” based on the discipline of aesthetics rather than on technology. It may even be argued that the ability to experience metaphor is the very definition of the human. (shrink)

This article provides an analysis of theories of metaphor, tracing how far those which have dominated Western thought until the past few decades are reflective of the definitions within which writers from Classical Greece were working. It is shown how, during the Middle Ages and beyond, in particular since the seventeenth century, definitions of metaphor which emphasised ‘literal’ and ‘figurative’ levels of meaning have led to serious misconceptions concerning its nature and function in the attempts of human beings to conceptualise (...) and make sense of their experiences. A discussion of these misconceptions is provided in some detail and traditional definitions are shown to have distorted the deeper insights held by classical writers, such as Aristotle, Demetrius and Longinus. The article continues with descriptive analyses of the mistaken nature of definitions of metaphor which confine it to creative, poetic forms of discussion. It is shown that conventional speech utterances comprise simple metaphors to a large extent and how these provide an immensely important base from which education could help pupils extend and enrich both their thought and language. This could be done by teaching them ways of interpreting the novel, poetic metaphors of others and how to create their own. (shrink)

Metaphor and metonymy, on the mental level temporally rather than syntactically or semantically defined, show a close association to healthy and neurotic defense, respectively. When the mind functions optimally, reverberating issues of past and present domains inform each other bidirectionally like source and target of a metaphor. Neurotic defense, metonymically conflating past and present, is mental access barring (negative metonymy). Metaphor and positive metonymy, fundamental to how the mind works, are autopoietic devices organizing creative change. Trauma (lost metaphoricity) results in (...) negative metonymy. During psychoanalysis metonymic defenses and transferences get remetaphorized. Nested mentational configurations emerge sequentially as markers of increased awareness (clinical vignette): negative metonymy (target enigmatic); positive metonymy (accessing target); metaphor (domains seen in terms of each other). (shrink)

This essay notes a resurgence of interest in rhetorical studies on the appeal of form, grounded in the work of rhetorical theorist Kenneth Burke. The essay argues that form is not only a way to structure discourses, it is a way to structure experience. Form is foundational in creating perceptions and thus experiences. Form is also highly rhetorical, in that how we structure our world carries social and ideological implications. The essay thus argues that an understanding of form as foundational (...) and rhetorical should be central to the educational curriculum. This way of understanding form is then a way of making rhetoric central to education in ways surpassing even the efforts of the ancient Greeks and Romans. A rhetorically centered curriculum based on teaching students how to understand form in their lives is empowering and liberating for students at the same time that it instills in them a strong awareness of ethics. (shrink)

Concepts are traditionally pictured as discrete containers that bring together objects or qualities based on the possession of shared, uniform properties. This paper focuses on a contrasting notion of the concept which holds that concepts are defined by their capacity to reach out and connect with other concepts. Two theories in recent continental philosophy maintain this view: one from Ricoeur, the other from Deleuze and Guattari. Both are offered as attempts to bring art and philosophy into relation, but they differ (...) over how the process of connection is theorized. With Ricoeur, a concept is only a concept if it is inherently predisposed to connect with others, and open to being misapplied through metaphor, whereas, with Deleuze and Guattari, connection is left as the general notion of each and every concept being mutually consistent with other concepts, with the consistency attributed to the external action of “bridging.” The author demonstrates the impact of this difference on how the philosophers perceive the art–philosophy relation, and argues that Ricoeur is better placed to provide a theory of philosophical discourse that is open to the aesthetic. Ricoeur can show it through metaphor, while Deleuze and Guattari can only assert or state an art–philosophy relation through a series of technical claims. The significance of the showing–saying distinction is that it can demonstrate the depth with which conceptual connectivity is located within the philosophers’ respective ontologies, and can help to reveal the value of conceptual connectivity for that ontology. (shrink)

A criticism is offered of the chief argument employed by Davidson to debunk the notion of “metaphorical meaning”, which exploits the static nature of standard truth-conditional semantics. We argue, first, that Davidson's argument fails, and go on to suggest, secondly, that truth-conditional semantics would profit if the static feature were abandoned and were replaced by a processual, dynamic conception of meaning. We try to show that this processual aspect can be captured without making the ensuing semantic theory open to the (...) charge of psychologism. (shrink)

Pocos términos existen tan mudables en la cultura occidental como el de retórica. Se le define como arte de la persuasión, como teoría de la argumentación o incluso como ciencia literaria. Todas estas perspectivas tienen un denominador común: entienden los tropos y figuras retóricas como instrumentos comunicativos y literarios. Sin obviar estos desarrollos de la retórica, los autores de este trabajo tratan de discernir los aspectos cognitivos rastreables en la retórica clásica y, al tiempo, ofrecer un acercamiento a lo que (...) sería una retórica cognitiva, basada en el presupuesto de que tropos y figuras son redes conceptuales que estructuran el pensamiento humano.…. (shrink)