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 analyzes discourse, narrative, and video editing to introduce the concept of ‘historical coherence’. This concept is an expansion of Alessandro Duranti’s notion of ‘existential coherence’ – the construction of an embodied narrative connecting a candidate’s past with his or her decision to run for office – from his 2006 study of a candidate’s campaign speeches. This study examines how language and communication are linked with historical narratives through the use of multimodal stories in which US political commercials link (...) candidates’ present actions with historical events, dynamics, artifacts, and/or figures. This ‘historical coherence’ is constructed through the following strategies: constructing a narrative in which popular historical figures or archetypal figures are in agreement with the candidate; preempting charges of lack of historical coherence; and presenting historical restrictions to freedom and casting the candidate, or the candidate’s party, in general, as a preventative from future calamities and transgressions to freedom. (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)