Cognitive research on Ego-Reference-Point models of time in English traditionally shows that “FUTURE IS IN FRONT OF EGO” and “PAST IS IN BACK OF EGO.” Recently, however, this view has been challenged by other results, showing that there exists a major static model of time wherein “FUTURE IS IN BACK OF EGO” and “PAST IS IN FRONT OF EGO.” However, evidence for both conceptual systems comes predominantly from linguistic and gestural forms of expression. For instance, convincing empirical evidence coming from (...) the manifestation mode of cinema is still lacking. This article attempts to fill this gap by bringing the discussion of temporal metaphors to the foreground of character subjectivity in film. Using concise case-studies taken from various films, this study provides evidence that a majority of flashback scenes seem to base their conceptions of time on a static Ego-Reference-Point model in which the past appears to be in front of the character’s eyes on screen. (shrink)

We investigate the role of perceptual similarity in visual metaphor comprehension process. In visual metaphors, perceptual features of the source and the target are objectively present as images. Moreover, to determine perceptual similarity, we use an image-based search system that computes similarity based on low-level perceptual features. We hypothesize that perceptual similarity at the level of color, shape, texture, orientation, and the like, between the source and the target image facilitates metaphorical comprehension and aids creative interpretation. We present three experiments, (...) two of which are eye-movement studies, to demonstrate that in the interpretation and generation of visual metaphors, perceptual similarity between the two images is recognized at a subconscious level, and facilitates the search for creative conceptual associations in terms of emergent features. We argue that the capacity to recognize perceptual similarity—considered to be a hallmark of creativity—plays a major role in the creative understanding of metaphors. (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)

“Image metaphor” is defined in Conceptual Metaphor Theory as a mapping of visual structure from one entity onto another based on the mental images they evoke. It is considered an exceptional, one-off phenomenon that can be distinguished clearly from prototypical conceptual metaphors. However, according to Perceptual Simulation Theory, all language, both literal and nonliteral, is understood partially by simulating in our minds what it would be like to actually perceive the things that are being described, which suggests that visualization is (...) not unique to image metaphor. As I argue in this article, the mental imagery invited by image metaphors is nevertheless likely to be particularly vivid, detailed, and complex, as well as involving more conscious and deliberate thought processes. Since it is hard to consider visualization in abstract terms, pictorial equivalents of image metaphors are used to support my claims. (shrink)

This article analyzes how the conceptualization LIFE IS A JOURNEY is conveyed within a series of paintings ranging from the fifteenth century to the twentieth century. While the previous research on visual metaphor generally aims to describe how the domains of metaphorical conceptualization interact or discusses the rhetorical effect that visual metaphor is able to induce, this article takes a historical perspective in order to identify the main conceptual aspects shared by the paintings under consideration. It is proposed that the (...) concept of a JOURNEY is associated with a PURPOSIVE ACTIVITY that involves the start of the journey and its termination as two qualitatively different moments that are faced as a collective/shared experience and that are inspired by some human wish. This article also shows how the conceptual potential of metaphor tends to maintain a coherent representation although the paintings represent different historical sensitivities and artistic approaches. (shrink)