In this article I study the genesis of metaphors from an evolutionary perspective. Analyzing 414 cartoons published after the death of the cartoonists of the French satirical magazine Charlie Hebdo, I propose a metaphoric founder effect with the metaphors “PENCIL IS A WEAPON,” “PENCIL IS A CARTOONIST,” and “PENCIL IS FREEDOM,” and a subsequent metaphor drift that creates many related metaphors. Additionally, the success of these metaphors turns the pencil meme into a very efficient and fast-spreading item representing not only (...) the work of cartoonists, but also the fundamental values of Western culture, such as freedom of expression. (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)

This study proposes a multimodal fusion model to account for the cognitive mechanisms involving 56 political cartoons with regard to U.S. beef import issues as reported in two dominant Taiwanese newspapers, the Liberty Times and United Daily News. Specifically, this study claims that multimodal fusion model evolves from two metonymic-metaphoric networks, i.e., related metonymic network and diversified metaphoric network, and combines the conceptual, visual, and verbal modes. Our analysis demonstrates that multimodal fusion is a significant and recurrent representation technique in (...) the genre of political cartoon and has the cognitive function of encapsulating the abstract complex political debates efficiently with irony and humorous effect. Furthermore, our analysis shows the important role of metonymy and demonstrates how metonymies and metaphors are interwoven in the process of multimodal fusion, which underlies the metaphorical mappings of conceptual scenarios related to “POLITICS IS.. (shrink)

This article examines the structure and processing of editorial cartoons appropriating Joe Rosenthal's famous Iwo Jima photograph in view of the theory of conceptual blending (Fauconnier & Turner, 2002 Fauconnier, G. and Turner, M. 2002. The way we think: Conceptual blending and the mind's hidden complexities, New York,, NY: Basic Books. [Google Scholar]). The main claim argued is that Blending theory accounts for complex processes of meaning constructing provoked by editorial cartoons that invoke several conceptual domains to define and evaluate (...) their topic, Iwo Jima cartoons being cases in point. The second section introduces the relevant aspects of Blending theory: mental spaces and types of blending networks. The third section addresses the Iwo Jima image as one particular input space; a moral criterion to which the selected sociopolitical topic of the cartoon is compared and judged. The fourth section isolates four types of graphic operations blending the Iwo Jima image with topical entities. The fifth section demonstrates how various kinds of blends give rise to either positive or negative evaluations. The final section argues that the study's scope of application extends to any kind of multi-domain cartoon, not just those addressed in this article. (shrink)

Firstly, this paper aims to analyze how verbal and visual modes contribute to build two basic components of cartoons: the referenced situation and the fictional situation. Secondly, it aims to unravel the semiotics of this discursive genre by offering a fine-grained picture of modal variations and continuities of the rhetorical resources deployed, by means of which the fictional situation is displayed. The corpus is composed of 50 multimodal cartoons chosen by cartoonists of 22 nationalities as the most representative of their (...) work in the frame of a wide questionnaire. Category analysis and non-parametric statistics were applied. We identified and fleshed out four different types of modal functioning of resources: visual preference, verbal preference, modal flexibility, and genuine multimodal functioning. Even if visual and multimodal metaphor were often in charge of transferring meaning from fiction to the referenced situation, results show that other resources such as antithesis, irony, and syllepsis can become the key resources of cartoons. Findings highlight the multilayered functioning of cartoons, among which plastic features can play a significant role, and provide further evidence in favor of the hyperdetermination of humor hypothesis proposed by Attardo. (shrink)