The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning . This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words. . . . My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

The Generative Lexicon presents a novel and exciting theory of lexical semantics that addresses the problem of the "multiplicity of word meaning" - that is, how ...

When somebody speaks metaphorically, the primary meanings of their words cannot get semantically connected. Still metaphorical uses succeed in conveying the message of the speaker, since lakṣaṇā, a meaning-generating faculty of language, yields the suitable secondary meanings. Gaṅgeśa claims that lakṣaṇā is a faculty of words themselves. One may argue: “Words have no such faculty. In these cases, the hearer uses observation-based inference. They have observed that sometimes competent speakers use the word w in order to mean s, when p, (...) the primary meaning of w does not make any semantic sense. In all such cases, s is actually related to p. After having observed this, when the hearer hears the utterance of w, and realizes that w’s primary meaning p is semantically unfit for the sentence-meaning, they infer on the basis of their prior observation that ‘the competent speaker must mean s by uttering w’. Thus lakṣaṇā becomes a success.” This apparently well-argued reduction does not stand the critical examination; neither in Gaṅgeśa’s framework, nor even in the general theory of language. For one can compose and interpret potentially infinite novel sentences based on lakṣaṇā while the observational inferences one can make are finite. Gaṅgeśa says very clearly that as far as the secondary meaning is concerned, no prior observation is required. This paper will argue that not only does language yield secondary meanings through lakṣaṇā, but it also restricts the use of secondary meanings; for one cannot mean just anything by saying something. Lakṣaṇā is a creative function with infinite potential within the limits set up by the language faculty. (shrink)

For nearly a thousand years the brilliant analysis of aesthetic experience set forth in the Locana of Abhinavagupta, India's founding literary critic, has dominated traditional Indian theory on poetics and aesthetics. The Locana, presented here in English translation for the first time, is a commentary on the ninth-century Dhvanyaloka of Anandavardhana, which is itself the pivotal work in the history of Indian poetics. The Dhvanyaloka revolutionized Sanskrit literary theory by proposing that the main goal of good poetry is the evocation (...) of a mood or "flavor" (rasa) and that this process can be explained only by recognizing a semantic power beyond denotation and metaphor, namely, the power of suggestion. On the basis of this analysis the Locana develops a theory of the psychology of aesthetic response. This edition is the first to make the two most influential works of traditional Sanskrit literary and aesthetic theory fully accessible to readers who want to know more about Sanskrit literature. The editorial annotations furnish the most complete exposition available of the history and content of these works. In addition, the verses presented as examples by both authors (offered here in verse translation) form an anthology of some of the finest Sanskrit and Prakrit poetry. (shrink)

(Statement of Responsibility) by Lewis Carroll ; with ninety-two illustrations by John Tenniel.