This essay is an attempt to understand how technological metaphors, particularly computer metaphors, are relevant to moral education. After discussing various types of technological metaphors, it is argued that technological metaphors enter moral thought through their functional descriptions. The computer metaphor is then explored by turning to the hacker ethic. Analysis of this ethic reveals parallels between the experience of computer programming and the moral standards of those who are enmeshed in computer technology. This parallel suggests that the hacker ethic (...) is being pushed by a computer metaphor and its functional descriptions in a direction of individualism and systems thinking. After examining some possible implications of the computer metaphor, this essay offers suggestions concerning how technological metaphors may be critiqued. (shrink)

Transparency has evolved from an individual, dangerous power in Plato to a desirable, collective property in the contemporary world. This paper intends to give a brief account of this long and somehow surprising path and extract some interesting consequences for economic and political activities, as well as for information technologies. Six literary masterpieces are used to highlight the contradictions and dangers entailed by the abuse of the fascinating metaphor of transparency. In the end, what is usually intended when demanding transparency (...) from a corporation, a firm or a state is more (or more accessible) information about it, i.e., understandable and abundant black and white data. This means reporting, picturing, producing material, becoming apparent, which is precisely the contrary of being transparent. We don’t want to look through , but to look directly at . The question, then, is not transparency, but opacity: what do we need and want to see, and how is this going to be produced? (shrink)

This paper is a cognitive semantic analysis of a CCTV educational commercial, which is one of a series designed and produced in preparation for, and in celebration of, the Beijing 2008 Olympic Games. Called the “Beijing Opera Episode”, this TV commercial converges on the theme: “To mount the stage of the world, and to put on a show of China”. That is, China sees her hosting of the 2008 Olympics by Beijing as a great opportunity for her to step onto (...) the international stage to perform a show of China. This theme, which alludes to China's globalization and retention of cultural identity, is conceptualized and expressed in terms of a central metaphor of theatrical performance: hosting the beijing olympics is performing beijing opera on an international stage. This study first analyzes in detail how this central metaphor is manifested multimodally through visual and aural as well as verbal discourse, thus examining it as a multimodal metaphor. The study then applies a decompositional approach, based on the distinction between primary and complex metaphors, to analyzing the central metaphor as a metaphorical compound with its internal structures and components, which is nevertheless built on a more general cognitive foundation. The study also offers a linguistic perspective on a cultural model underlying the central metaphor, which is arguably a Chinese cultural model for understanding various aspects and events of life in general. At the core of this cultural model is the widespread life is a stage metaphor, which however has a specific manifestation within the Chinese cultural context. (shrink)

This article examines the role of culture in the metaphorical/metonymic conceptualizations of fear, a primary emotion, in two languages—Akan (a West African, Kwa language) and English. The article adopts the general framework of conceptual metaphor theory (CMT) to compare and contrast the differences and/or similarities in the conceptualizations as well as the language-specific construals or elaborations of shared conceptual metaphors of fear in the two languages. The analysis of the language-specific realizations of the shared metaphorical/metonymic conceptualizations of the emotion concept (...) reveals both similarities and differences in the two languages, showing support for the cultural embodied cognition thesis, namely, the similarities in the conceptualization of emotions across cultures may be explained in terms of universal embodied cognition from which general metaphorical principles derive. However, the differences in language-specific elaborations may be explained in terms of cultural filtering of the general universal conceptualizations to reflect human experiences that are more salient to a particular sociocultural group. This analysis also shows a metaphor–metonymy interaction in the conceptualization of emotions across cultures. (shrink)