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)

Metaphorical meaning can be analyzed as triggered by an apparent communicative breach, an incongruity that leads to a default of the presumptive interpretation of a vehicle. This breach can be solved through contextual renegotiations of meaning guided by the communicative intention, or rather the presumed purpose of the metaphorical utterance. This paper addresses the problem of analyzing the complex process of reasoning underlying the reconstruction of metaphorical meaning. This process will be described as a type of abductive (...) argument, aimed at explaining how the vehicle can best contribute to the purpose of the utterance. This type of reasoning involves the analysis of the possible predicates that can be and usually are attributed to the vehicle, and the selection of the one that can support the implicit conclusion constituting the communicative goal of the metaphorical utterance. Metaphorical meaning, in this perspective, becomes the outcome of a complex process of meaning reconstruction aimed at providing the best explanation of the function of the vehicle within a discourse move. (shrink)

Since the publication of Donald Davidson's essay “What Metaphors Mean” (1978) – in which he famously asserts that metaphor has no meaning – the views expressed in it have mostly met with criticism: prominently from Mary Hesse and Max Black. This article attempts to explain Davidson's surprise-move regarding metaphor by relating it to elements in the rest of his work in semantics, such as the principle of compositionality, radical interpretation and the principle of charity. I conclude that Davidson's views (...) on metaphor are not only consistent with his semantic theory generally, but that his semantics also depend on these insights. Eventually, the debate regarding Davidson's views on metaphor should be conducted on the level of his views on the nature of semantics, the relationship between language and the world and the possibility that there is some thing like conceptual schemes. S. Afr. J. Philos. Vol.20(4) 2001: 55-72. (shrink)

This article arises indirectly out of the development of a particular approach, called ATT-Meta, to the understanding of some types of metaphorical utterance. However, the specifics of the approach are not the focus of the present article, which concentrates on some general issues that have informed, or arisen from, the development of the approach. The article connects those issues to the questions of metaphorical meaning and truth. -/- A large part of the exploration of metaphor in fields such as (...) Cognitive Linguistics and natural language Pragmatics takes metaphor to rest on complex mappings between a target subject matter and a source subject matter (see, e.g., Lakoff 1993, 2008). This is one main way in which some aspects of the source, generally including some structural aspects, can have parallels in the target. It is typical for much, and perhaps the whole, of the meaning of a metaphorical expression to be explained by means of these parallels. We will talk about “parallelism” rather than “isomorphism,” or even “analogy,” because “isomorphism” implies a strict one-to-one correspondence between items in the source scenario and items in the target scenario, and analogy theorists often hold that analogy rests on isomorphism. We wish not to prejudge the question of whether looser, messier forms of parallelism are sometimes needed. Also, we will talk about parallels rather than mappings, because our discussion will embrace the question of parallelism that may be discernible, albeit implicitly, in accounts of metaphor that are not presented as being based on mappings. Three main cases of such accounts are Relevance Theory (RT: e.g., Sperber & Wilson 2008, Wilson & Carston 2006), the categorization-based or "class-inclusion“ approach (Glucksberg 2008), and Ritchie’s (2006) CLST account (Context-Limited Simulation Theory). -/- One main issue we will address is that of substantial non-parallelism that can exist between source and target subject-matters in metaphor: more precisely, the issue that there may be source aspects that are exploited by the utterance and have a deep effect on metaphorical interpretation but that do not themselves have a natural parallel in the target subject-matter (although we will point out that artificial parallels can generally be created). This is part of a broader point that the content of metaphorical discourse should often be seen as being derived in a rather holistic way from several metaphorical bits of the discourse, which conspire to describe some source-domain scenario, rather than being derived by putting together metaphorical meanings of each metaphorical bit (even if each bit could in principle be assigned its own separate metaphorical meaning). As a result, we suggest that it is misguided to think of the propositions making up the content (or, if you like, "meaning“) about the target scenario that is being described is a matter of metaphorical meaning of specific grammatical units such as sentences, clauses or other constituents that a traditional semantic theory would assign propositional meaning to. Rather, grammatical units (that are to be taken metaphorically) have meanings in source-domain terms; content in target-domain terms is derived from the source-domain scenario depicted by those units and fleshed out through inference; and the target-domain content is only (in general) fuzzily relatable to particular grammatical units. This view is on a spectrum at whose extreme point we could place Davidson’s (1984) view that metaphors only have literal (i.e., source-domain) meanings, with other effects on the understander not being a matter of propositional content. However, on our view it is proper to take metaphorical discourse as having non-literal meaning, couched as a collection of propositions, among other things possibly; it is just that the propositions are not to be thought of (in general) as meaning of specific sentences, clauses or other grammatical units rather than of a possibly only fuzzily delineated piece of discourse. -/- A second main concern of the article is the question of how much, and what types of, inference are involved in the derivation of metaphorical meaning. While our own ATT-Meta approach accords with, amongst other accounts, Relevance Theory (RT) as to the centrality of inference in metaphor interpretation, we disagree with RT on its claim that metaphor interpretation is a matter of (a relatively high degree of) concept "broadening“ and (often) "narrowing“. We argue that almost all inference can in fact be theoretically re-described as concept broadening and/or narrowing, and what is left over should be included in the metaphor interpretation process anyway. Thus, the RT claim about broadening and narrowing really just says that inference, of unrestricted type, is involved in metaphor understanding, in accord with what ATT-Meta claims. (shrink)

Cross-linguistic strategies for mapping lexical and spatial relations from body partonym systems to external object meronymies (as in English ‘table leg’, ‘mountain face’) have attracted substantial research and debate over the past three decades. Due to the systematic mappings, lexical productivity and geometric complexities of body-based meronymies found in many Mesoamerican languages, the region has become focal for these discussions, prominently including contrastive accounts of the phenomenon in Zapotec and Tzeltal, leading researchers to question whether such systems should be explained (...) as global metaphorical mappings from bodily source to target holonym or as vector mappings of shape and axis generated “algorithmically”. I propose a synthesis of these accounts in this paper by drawing on the species-specific cognitive affordances of human upright posture grounded in the reorganization of the anatomical planes, with a special emphasis on antisymmetrical relations that emerge between arm-leg and face-groin antinomies cross-culturally. Whereas Levinson argues that the internal geometry of objects “stripped of their bodily associations” (1994: 821) is sufficient to account for Tzeltal meronymy, making metaphorical explanations entirely unnecessary, I propose a more powerful, elegant explanation of Tzeltal meronymic mapping that affirms both the geometric-analytic and the global-metaphorical nature of Tzeltal meaning construal. I do this by demonstrating that the “algorithm” in question arises from the phenomenology of movement and correlative body memories—an experiential ground which generates a culturally selected pair of inverse contrastive paradigm sets with marked and unmarked membership emerging antithetically relative to the transverse anatomical plane. These relations are then selected diagrammatically for the classification of object orientations according to systematic geometric iconicities. Results not only serve to clarify the case in question but also point to the relatively untapped potential that upright posture holds for theorizing the emergence of human cognition, highlighting in the process the nature, origins and theoretical validity of markedness and double scope conceptual integration. (shrink)

Metaphorical statements surprise us as literal falsehoods, but the interpretation reveals a special motive for the figurative use of the language. Donald Davidson objects to nonliteral meaning: “to suppose a metaphor can be effective only by conveying a coded message is like thinking a joke or a dream makes some statement which a clever interpreter can restate in plain prose.” Taking this remark as my starting point I analyze interpretative strategies for metaphors, jokes, riddles and counterfactual conditionals – all (...) of them involve an initial incongruity and most of them require a certain blending of two different domains. I suggest that the ability to interpret metaphors is based on our ability to apprehend a special cognitive content associated with metaphors. (shrink)

This paper examines the mechanisms involved in the interpretation of utterances that are both metaphorical and ironical. For example, when uttering 'He's a real number-cruncher' about a total illiterate in maths, the speaker uses a metaphor with an ironic intent. I argue that in such cases both logically and psychologically, the metaphor is prior to irony. I hold that the phenomenon is then one of ironic metaphor, which puts a metaphorical meaning to ironic use, rather than an irony used (...) metaphorically (§1). This result is then used to argue for the claim that in metaphor, it is metaphorical, not literal, meaning that determines the utterance‘s truth conditions. Gricean accounts, which exclude metaphorical meaning from truth conditional content and rely entirely on conversational implicature, are seen to be unsatisfactory. Five contextualist arguments are briefly discussed to the conclusion that metaphorical content is part of truth-conditional content, rather than implicated (§2). (shrink)

Not every metaphor can be literally paraphrased by a corresponding simile – the metaphorical meaning of ‘Juliet is the sun’, for example, is not the literal meaning of ‘Juliet is like the sun’. But every metaphor can be literally paraphrased, since if ‘metaphorically’ is prefixed to a metaphor, the result says literally what the metaphor says figuratively – the metaphorical meaning of ‘Juliet is the sun’, for example, is the literal meaning of ‘metaphorically, Juliet is the (...) sun’. (shrink)

A "good" arguer is like an architect with a penchant for civil and civic engineering. Such an arguer can design and present their reasons artfully about a variety of topics, as good architects do with a plenitude of structures and in various environments. Failures in this are rarely hidden for long, as poor constructions reveal themselves, often spectacularly, so collaboration among civical engineers can be seen as a virtue. Our logical virtues should be analogous. When our arguments fail due to (...) being uncivil and demagogic, since we inhabit the arguments we build, we are all crushed beneath our flawed reasoning. This mixed metaphor takes us to a self-referential analysis of argumentation, analogy, and humor. I argue that good argumentation strives to collaboratively convince rather than belligerently persuade. A convincing means toward this end is through humorous analogical arguments, whether the matter at hand is ethical, logical, theological, phenomenological, epistemological, metaphysical, political, or about baseball. (shrink)

Metaphor plays a central role in changing the architectural process. In order to better appreciate the nature of architectural creativity, generating more positive forms and volumes is required. Exists many conclusions which demonstrate that metaphors plays an important role shaping the design creativity. The aim of this paper is about understanding the exact role of the metaphor in architecture design from the concept of Aristotle to nowadays. Essentially it is the process by which most of the ideas come into being. (...) Metaphors structure our understanding and perceptions. They make our thoughts more interesting and more vivid. There are similar distinct uses of metaphor in architectural criticism, which is often heavily reliant on metaphor both as a form of expression and a tool of analysis. There is a dimension of meanings attached to the various uses of metaphor, ranging from the ornamental view at one hand to the rational view at the other [1].Metaphors role in the ecological design is essential and necessary. Architects use a variety of methods and techniques to enrich the architectural language. This process is accomplished with the infiltration of metaphors as a literary figure. By adopting the models of nature, there is a chance to work more sustainably and produce more sustainable products. Is this the paradigm shift we have been looking for? Maybe biomimicry and nature could be super metaphors in order to develop sustainable design. This paper should take in consideration also the metaphor as a tool implemented into design reflecting either positive or negative reactions. This theory should be explained by concrete examples. The working metaphor in the design process is another important issue to be judged. The aim of this paper is to demonstrate that architectural metaphors corporate in coherent ways with architectonic language shaping its functionality. Metaphor helps to perceive things from a different perspective that is new to us, changing and bringing new ideas. Architectural metaphors can be found everywhere also in the Albanian case. It is very evident how metaphor stretches architectural functionality. (shrink)

In this paper, I argue that there are indispensable and irreducible metaphors in religious language and that this does not threaten a realist interpretation of religion. I first sketch a realist theory of religious language and argue that we cannot avoid addressing the problems metaphor poses to semantics. I then give a brief account of what it means for a metaphorical sentence to be true and how metaphors can refer to something even if what they mean is not expressible in (...) literal terms. Finally, I discuss how this realist theory of metaphor influences our understanding of negative theology and gives a new perspective on religious pluralism. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...) metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

Metaphor straddles both epistemology and metaphysics. What makes metaphor elusive is intimately bound up in its dual character, a "thing" of the imagination covering both knowledge and reality. Due to its unique position, metaphor is often only understood up to a certain point: we frame it solely as a concern of knowledge or only as a matter of what is. In order to appreciate the impact metaphor has for both of these realms, this paper takes up three constitutive concepts of (...) metaphor (truth, meaning, and reference), and attempts to understand what the content is of each on both sides of the epistemology/metaphysics fence. (shrink)

Do metaphorical sentences express facts or represent states of affairs in the world? Can a metaphorical statement tell us ‘what there is’? These questions raise the issue of whether metaphors can be used to make truth-claims; that is, whether metaphors can be regarded as assertions that can be evaluated as true or false. Some theorists on metaphor have argued for a negative answer to the above-mentioned questions. They have claimed, among others, that metaphorical utterances are non-descriptive uses of language (Blackburn (...) 1998); truth is not the constitutive aim of metaphors (Lamarque and Olsen 1994); metaphorical sentences do not have propositional contents (Davidson 1979; Cooper 1986; Rorty 1987, 1989; Lepore and Stone 2010, 2015); metaphorical utterances are neither assertions nor expressions of beliefs (Loewenberg 1973, 1975; Davies 1982; Davies 1984; Blackburn, 1984). I discuss a particular view, Metaphorical Expressivism, which exploits the relationship between truth, belief and assertion, and argues for the irrelevancy of truth to metaphors on the premise that metaphorical utterances do not count as assertions and that they do not count as the expression of beliefs. The denial of the truth-evaluability of metaphors on this view, I argue, is a product of an unmotivated tendency to see truth and meaning in terms of the portrayal of facts and a commitment to two untenable principles: literalism and representationalism. (shrink)

A discussion of the way the visual artists represented in Adelaide’s 2012 Biennale draw attention to new conceptions of place, time and self which highlight the contingent nature of the narratives that underlie our day to day existence. Disenchantment or re-enchantment are increasingly redundant conceptions. Such narratives are always fluid. Among the ebbs and flows, new conceptions emerge, providing in effect new ways of being in the world, and in turn prompting a reshuffling of what we thought we knew.

A formal model of metaphor is introduced. It models metaphor, first, as an interaction of “frames” according to the frame semantics, and then, as a wave function in Hilbert space. The practical way for a probability distribution and a corresponding wave function to be assigned to a given metaphor in a given language is considered. A series of formal definitions is deduced from this for: “representation”, “reality”, “language”, “ontology”, etc. All are based on Hilbert space. A few statements about a (...) quantum computer are implied: The sodefined reality is inherent and internal to it. It can report a result only “metaphorically”. It will demolish transmitting the result “literally”, i.e. absolutely exactly. A new and different formal definition of metaphor is introduced as a few entangled wave functions corresponding to different “signs” in different language formally defined as above. The change of frames as the change from the one to the other formal definition of metaphor is interpreted as a formal definition of thought. Four areas of cognition are unified as different but isomorphic interpretations of the mathematical model based on Hilbert space. These are: quantum mechanics, frame semantics, formal semantics by means of quantum computer, and the theory of metaphor in linguistics. (shrink)

The purpose of this paper is to contextualize the study of metaphors within constructivist-informed research, in the hope that this process will orient cognitive scientists to the usefulness of implementing qualitative research methodologies, especially to using the person of the researcher as the primary research instrument. First, I explore some of the differences between Johnson and Lakoff’s Contemporary Metaphor Theory (CMT) and approaches evolving from it on one hand, and the clinical approach to metaphor based on a constructivist therapy model, (...) on the other. CMT has been one of the most significant forces that helped shift cognitive science toward an embodied approach to cognition. While it has succeeded to place physical experience back where it belongs in reason and meaning, CMT has, however, also fallen into some positivist traps which lead to problems such as a dualism, a split between the knower and the known, and with that, to a distrust of introspective, first-person accounts. In the process of finding conceptual metaphors — generalizations that govern metaphorical expressions — CMT often deletes the idiosyncratic characteristics and presuppositions implicit in linguistic metaphors; it divorces them from people’s sensory experiences, the “here and now” and the intent of their communications. The constructivist approach to metaphor that I present here accepts as a priori assumptions much of what workers of CMT are out to prove. In particular, it takes the correlation of conceptual metaphors and physical experience, as well as the unity of language and thought as pragmatic givens. Emulating the constructivist therapist’s approach to metaphors, I show how it is possible to deconstruct conceptual metaphors into minute sensory distinctions, using one’s own person as the main tool, for the purpose of helping people change their experiences in desired ways, at will. I illustrate this process by numerous examples from a wide field of applications, including mathematics education and psychotherapy. (shrink)

This research uses semiotic of metaphor to unmask the underlying meaning beneath the semiotic of consumerism on television advertisements. This research attempts to explain how advertised products are being used, through the means of semiotic of metaphor by scrutinizing the dynamic relationship between sign and signifier. Semiotic of metaphor makes the products ‘alive’ within human society hence, this implies that the very existence of human beings is no longer determined by the presence of another human being, instead the very (...) existence is now determined by the presence of certain commercial products in possession. The society, in term of consumerism, views the products as animate or living entities within the sphere of living. Commercial advertisements use metaphorical expressions to relate and exchange in two major concepts: products are humans, and humans are products’ users. Thus, nowadays, humans tend to seek their purpose of living and existence through consumerism. The result of this research shows that television commercial advertisements mainly work by means of certain metaphorical symbolism: it shapes society’s perspective into believing that the very existence of human beings, the actualization of self, and differentiations among them are achieved by using or purchasing certain advertised products therefore, the products serve as the symbols of those achievements. (shrink)

The structural theory of metaphor (STM) uses techniques from possible worlds semantics to generate and interpret metaphors. STM is presented in detail in The Logic of Metaphor: Analogous Parts of Possible Worlds (Steinhart, 2001). STM is based on Kittay’s semantic field theory of metaphor (1987) and ultimately on Black’s interactionist theory (1962, 1979). STM uses an intensional calculus to specify truth-conditions for many grammatical forms of metaphor. The truth-conditional analysis in STM is inspired in part by Miller (1979) and Hintikka (...) & Sandu (1994). STM is by no means a toy theory. It has been successfully tested on dozens of large texts taken from real authors. Its methods can be applied in very large linguistic databases like WordNet or MindNet. (shrink)

According to Larry Hickman, John Dewey’s general philosophical project of analyzing and critiquing human experience may be understood in terms of technological inquiry (Hickman 1990, 1). Following this, I contend that technology provides a model for Dewey’s analysis of language and meaning, and this analysis suggests a treatment of linguistic metaphor as a way of meeting new demands of experience with old tools of a known and understood language. An account of metaphor consistent with Dewey’s views on language and (...) meaning avoids a strict dualism of literal meaning and metaphorical meaning as well as the explanatory shortcomings of a nondualistic theory like that found in Donald Davidson’s well-known paper ”What Metaphors Mean” (1978).2 A Deweyan explanation of. (shrink)

In 1998, Robert Boostrom wrote that ‘safe-space’ was an emerging metaphor in educational discourse but was not yet a ‘topic of educational inquiry’ (p.398). Whilst there has been a great amount of work since then exploring the topic (for example, Holley and Steiner; Stengel; The Roestone Collective and Callan), a lack of clarity still clouds the debate around the place of safe spaces in the classroom. In this paper, I address this lack of clarity by addressing the fundamental question: what (...) does it mean for a classroom to be safe? I do so by considering the variety of meanings which have been ascribed to ’safety’ in educational contexts in light of the purpose for which the concept is used. I’ll defend a particular refinement of the concept – what I call an ’objective approach to safety’ - on the grounds that it most effectively captures the conditions we value, and can appropriately describe as safety, in the classroom. (shrink)

It is traditionally thought that metaphorical utterances constitute a special— nonliteral—kind of departure from lexical constraints on meaning. Dan Sperber and Deirdre Wilson have been forcefully arguing against this: according to them, relevance theory’s comprehension/interpretation procedure for metaphorical utterances does not require details specifi c to metaphor (or nonliteral discourse); instead, the same type of comprehension procedure as that in place for literal utterances covers metaphors as well. One of Sperber and Wilson’s central reasons for holding this is that (...) metaphorical utterances occupy one end of a continuum that includes literal, loose and hyperbolic utterances with no sharp boundaries in between them. Call this the continuum argument about interpreting metaphors. My aim is to show that this continuum argument doesn’t work. For if it were to work, it would have an unwanted consequence: it could be converted into a continuum argument about interpreting linguistic errors, including slips of the tongue, of which malaprops are a special case. In particular, based on the premise that the literal–loose–metaphorical continuum extends to malaprops also, we could conclude that the relevance-theoretic comprehension procedure for malaprops does not require details specifi c to linguistic errors, that is, details beyond those already in place for interpreting literal utterances. Given that we have good reason to reject this conclusion, we also have good reason to rethink the conclusion of the continuum argument about interpreting metaphors and consider what additional (metaphor-specifi c) details—about the role of constraints due to what is lexically encoded by the words used—might be added to relevance-theoretic comprehension procedures. (shrink)

In this essay I argue that Shelley's "A Defense of Poetry" is best understood as a defense of poetic language, which is in turn best understood as a defense of metaphorical language. According to Shelley, the metaphors of the poets reveal (extra-linguistic) reality, and have a truth value – they are true insofar as they capture reality. The literal language of "mere reasoners" of science and philosophy, by contrast, only reveals relations between ideas already known, and their statements are true (...) in virtue of the meanings of the words. Shelley's essays has been misunderstood because writers on metaphor such as David Cooper and Richard Rorty have assumed that metaphors are neither true nor false, and that defenders of metaphorical language such as Shelley are defending non-truth-apt language. Even those writers on metaphor who believe that metaphors are truth-apt, such as Raymond Gibbs, fail to understand that Shelley should be included in their number. (shrink)

This article compares the use of Romantic metaphor with the Chinese literary device xiang 象 (which I translate as “thing-metaphor”) in regard to how they embody different metaphysical relations between humans and things. Whereas Romantic metaphor transports a physical thing to the immaterial realm of imagination, xiang is a literary device in which the material qualities of the thing, while creatively interpreted to generate human meaning, retain ontologically a strong physical presence. Xiang therefore epitomizes a theory of creation that (...) challenges the Western dualistic paradigm: that the poet creates not virtual copies of the thing, but meanings of the thing, and therefore our relationships with things. The article concludes with Heidegger’s discourses on metaphor to suggest that my discussion of thing-metaphor has universal applicability. (shrink)

ABSTRACT. In this paper, I defend a strong version of actual intentionalism. First, I argue against meaning subjectivism, conventionalism and contextualism. Second, I discuss what I take to be the most important rival to actual intentionalism, namely hypothetical intentionalism. I argue that, although hypothetical intentionalism might be acceptable as a definition of the concept of utterance meaning, it does not provide an acceptable answer to the question of what determines an utterance’s meaning. Third, I deal with the (...) most serious objection against actual intentionalism, namely the failure objection. I argue that the failure objection can be overcome within a framework of full-blown actual intentionalism if one distinguishes between categorial and semantic intentions. Moreover, I show how this version of actual intentionalism accounts for the possibility of innovative metaphors and other implicatures. Finally, I demonstrate that actual intentionalism – thus construed – makes it possible to distinguish between communicative failures and the intentional breaking of conventions. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of (...) embodiment. Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

The metaphor of “gene editing” has been employed widely in popular discussions of CRISPR technology. The editing metaphor obscures the physical mechanism of action in CRISPR techniques, and understates the present frequency of off-target effects. However, the editing metaphor may be a useful means to think about approaches to regulating the future use of CRISPR. Conceiving of CRISPR as an information technology recalls the highly computational, information-oriented context of genomic research in which CRISPR has emerged. More importantly, the editing metaphor, (...) while currently inaccurate, anticipates a future moment when CRISPR technology will be ubiquitous and extremely reliable. Contemporary deliberations about the regulation of CRISPR should keep in mind that the technology may become more powerful—and more susceptible to misuse—as the overall state of genomic science advances and applications of CRISPR become less expensive and more refined. (shrink)

In her book, Illness as Metaphor, Susan Sontag focuses on metaphors and myths on diseases such as cancer and tuberculosis, which occur in different historical periods. Sontag argues that the metaphors produced related to illness overhaul illness and the things that define illness now have become metaphors produced related to them rather than their concrete and physical aspects. Illness becomes not just an illness, but a phenomenon defined by evil, mystery, fear, evil, madness, passions, wealth and poverty, temporal loginess or (...) speed, and a set of metaphors or myths that are spatially identified with the space. Metaphors and myths turn into means of socially stigmatizing the illness itself rather than giving a meaning to illness. The disease literally turns into a situation that needs to be hidden in order to avoid social stigma. The explanation of mass diseases through metaphors and myths has been seen since ancient times and this understanding of mass diseases continues to exist today. As a matter of fact, the Covid-19 pandemic has also ceased to be the subject of only medical science since it first emerged, and it has turned into an issue that concerns many areas from politics to economics, from sociology to psychology. The metaphors generated on the Covid-19 disease, which we have witnessed its reflections in many areas from the discourses of daily life to the discourse of politicians, from art to literature, have a similar function with the metaphors attributed to diseases like cancer and tuberculosis that Sontag discussed. Covid-19 is not only seen as a disease, but as a disease defined by a series of metaphors such as mysterious, evil, invisible enemy, insidious danger, and democratic virus. The metaphors generated on the disease cause the struggle against the disease itself to be explained with various metaphors. The metaphors derived from Covid-19 such as "invisible enemy" and "biological war" cause the struggle against it to be turned into a military terminology, and the metaphor of "Chinese virus" is a means of social stigmatization / marginalization by racializing the virus directly. This study tackles the issue of how Covid-19, which is the subject of medical science, has become the subject of unscientific myths and metaphors attributed to the disease, and that the disease is perceived through metaphors rather than itself in the context of Susan Sontag's thought. In the study, answers for the questions of what kind of effects appeared due to the stigmatizing power of metaphors derived from the Covid-19 and whether the metaphors are the outcomes of the strategy for coping with the pandemic will be sought. (shrink)

William Whewell’s 19th century philosophy of science is sometimes glossed over as a footnote to Kant. There is however a key feature of Whewell’s account worth noting. This is his appeal to Aristotle’s form/matter hylomorphism as a metaphor to explain how mind and world merge in successful scientific inquiry. Whewell’s hylomorphism suggests a middle way between rationalism and empiricism reminiscent of experience pragmatists like Steven Levine’s view that mind and world are entwined in experience. I argue however that Levine does (...) not adequately explain exactly how mind and world entwine. He could nonetheless do so if he appealed to Whewell’s hylomorphic metaphor. We may prefer a reductive metaphysical explanation, but I suggest that pragmatists only have recourse to metaphor in this case. Both reductive and metaphorical explanations can enjoy great explanatory power if they exhibit a suitable measure of what I will call sematic distance. Semantic distance measures how close or how far apart explanandum and explanans are from each other in meaning. Metaphorical explanation - as evident in Whewell’s hylomorphism and as detailed via the notion of semantic distance - presents a valuable new explanatory tool to those who hold that mind and world are entwined sans recourse to metaphysics. (shrink)

Scientific Texts are generally concentrated on highly technical terms, and they are troublesome to understand due to their complexity in forms and meanings. Grammatical metaphor is divided into two broad areas: ideational and interpersonal. This paper focuses on the first type i.e. Ideational Grammatical Metaphor, which includes process types and nominalization. This paper adopts Hallidayan Systemic Functional Grammar to pinpoint and analyze nominalization and the role played by it. With a corpus of 10 authentic scientific texts drawn from very influential (...) magazines, the analysis is conducted based on nominalization, its frequency and process types. The analysis displays that Ideational Grammatical Metaphor has permeated scientific texts and the prevailing process types are material and relational types. Consequently, the tone of the writing is more abstract, technical and formal. Instances of IGM In scientific writing enable technicality and rationality. Based on the findings of this study, some implications can be drawn for academic and scientific writing and reading as well as translators, students and instructors involved in writing and reading pedagogy. (shrink)

As part of a trend in modern cognitive science, cognitive linguist, George Lakoff, and philosopher, Mark Johnson claim to provide a biologically-based account of subsymbolic meaningful experiences. They argue that human beings understand objects by extrapolating from their sensory motor activities and primary perceptions. Lakoff and Johnson’s writings have generated a good deal of interest among scholars of Early China because they maintain that “our common embodiment allows for common stable truths.” Although there are many grounds on which Lakoff and (...) Johnson’s theories have been criticized, this essay focuses in particular on problems related to their schema of Self as Container. Lakoff and Johnson contend that there are no pure experiences outside of culture, while nevertheless arguing that the experience of being a closed-off container is “direct.” “The concepts OBJECT, SUBSTANCE and CONTAINER emerge directly,” they write. “We experience ourselves as entities, separate from the rest of the world—as containers with an inside and an outside.” By “emerge directly,” they do not mean emerging free of culture, but rather that some experiences within culture, specifically physical experiences, are more directly given than others. My study explores the pitfalls of presuming the “direct” experience of containment makes good sense of texts from Early China (ca. 500–100 B.C.E). (shrink)

‘What is said’ by an utterance, from a traditional truth-conditional view of language, is the uttered sentence’s conventionally encoded semantic meaning, and is distinguished from ‘what is implicated’, such as metaphor, which is understood as a type of speech in which a speaker says one thing but means another. Contextualists challenge this view of metaphor by offering three reasons to maintain that metaphor is classified within ‘what is said’: first, metaphor involves loose use; second, metaphor is assertoric; and, third, (...) metaphor is at the level of the primary interpretation rather than the secondary one. However, Elizabeth Camp argues against these reasons. The aim of this paper is to examine her arguments and show that they are unsuccessful. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

The expressions ‘form’, ‘structure’, ‘schema’, ‘shape’, ‘pattern’, ‘figure’, ‘mold’, and related locutions are used in logic both as technical terms and in metaphors. This paper juxtaposes, distinguishes, and analyses uses of [FOR these PUT such] expressions by logicians. No [FOR such PUT similar] project has been attempted previously. After establishing general terminology, we present a variant of traditional usage of the expression ‘logical form’ followed by a discussion of the usage found in the two-volume Chateaubriand book Logical Forms (2001 and (...) 2005)—the most comprehensive work on the subject ever written and in many ways the focus of this paper. Key Words: morphology, character, sense, sentence, proposition, form, structure, schema, alternative constituent, type, token . (shrink)

There is a deep-seated neopositivist view which regards the language of science as a neutral medium of communication, radically different from indirect symbolic forms of discourse characteristic of arts and humanities. But naturalists, like poets and social scientists, also draw on the dominant images in their culture to organize their thoughts and simplify complex concepts. By conceptualizing one thing in terms of another, metaphors in science not only aid mutual communication between researchers but also structure their understanding of experience and (...) reality. Too transparent to be noticed and critically analyzed within the framework of science itself, metaphors act as lenses, making selected aspects of complex phenomena visible to study and investigation (Reynolds 2018). By linking two seemingly unrelated ideas, for example, those of a machine and DNA replication, metaphors establish new interactions of meaning evoking shared associated connotations between these interacting concepts (Black 1962). This, in turn, may not only transform the perception of a target domain but also open up new prospects for experimental and interpretative avenues. Understanding Metaphors by Andrew Reynolds draws on this vision of metaphors as indispensable tools of scientific thinking to elucidate their role in the life sciences. (shrink)

This thesis is a sceptical investigation into the notion that the metaphorical wave-particle binary of Virginia Woolf's To the Lighthouse is related to quantum physics. Indeed, the field of literature and science has employed conceptual similarities as the main means of connecting quantum concepts to novels, however, this has led to a host of scholarly difficulties, prompting the need for a re-examination of analogical linkages. Woolf is the model candidate for such a re-examination, given her historical and philosophical proximity with (...) the developments of quantum mechanics. To the Lighthouse, in particular, was written between 1925 and 1927: precisely when quantum physicists were attempting to resolve the wave-particle duality, leading to Niels Bohr's complementarity. This parallel has been noted by researchers as relevant to the novel, as it too displays a general binary that can be read as wave-particle-like, which the author also attempts to resolve along similar philosophical lines. Nevertheless, other than proximity and similarity, there are no reasons to affirm that the science is related to the novel; hence, it is an ideal case study to examine in order to ascertain the value of conceptual similarities in literature and science. To do so, To the Lighthouse's binary and its resolution are interpreted in a thesis-long close reading, in order to compare aspects of it firstly to Woolf's personal thought, and secondly to various non-quantum intellectual contexts that preceded and surrounded her. In doing so, it becomes clear not only that invoking quantum physics serves no clear purpose in better understanding the novel, but also that the notion of resolving wave- particle-like binaries was a widespread philosophical procedure at the turn of the century, decades before Bohr's concept. This negative conclusion interrogates what the scholarly value of interpreting similarities is, though a hypothetical solution can be found in conceptual metaphor theory. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

Contextualist theorists have recently defended the views (a) that metaphor-processing can be treated on a par with other meaning changes, such as narrowing or transfer, and (b) that metaphorical contents enter into “what is said” by an utterance. We do not dispute claim (a) but consider that claim (b) is problematic. Contextualist theorists seem to leave in the hands of context the explanation about why it is that some meaning changes are directly processed, and thus plausibly form part (...) of “what is said”, while some others are not. While granting the role of context in this respect, we contend that there are that there are elements that play an instrumental role in providing direct access to the metaphorical content, namely, the conventionality of the expressions and the salience of the concepts involved. We will start by criticizing Recanati’s and Relevance Theory’s accounts of metaphor. Then we examine the claims of Carston’s and Giora’s two-process accounts that set the stage for a revision of the main elements involved, namely, the properties of conventionality and salience. Finally we examine a number of representative examples, explaining why some cases involve a direct access to the metaphorical content and others require an intermediate non-figurative interpretation. (shrink)

Current approaches in psychology have replaced the idea of a centralized, self-present identity with that of a diffuse system of contextually changing states distributed ecologically as psychologically embodied and socially embedded. However, the failure of contemporary perspectives to banish the lingering notion of a literal, if fleeting, status residing within the parts of a psycho-bio-social organization may result in the covering over of a rich, profoundly intricate process of change within the assumed frozen space of each part. In this paper (...) I show how thinking from this more intimate process may transform current views of metaphor, the unconscious, and the relation between affect and cognition. (shrink)

Fictional and non-fictional texts rely on the same language to express their meaning; yet many philosophers in the analytic tradition would say, with reason, that fictional texts literally make no truth claims, or more modestly that the rhetorical and literary devices to which fiction and non-fiction writers alike have recourse are unconnected to truth or have no propositional content. These related views are associated with a doctrine in the philosophy of language, most notably advanced by the late Donald Davidson, (...) which holds that we understand the semantic structure of a language by applying to it a theory of truth, which involves discovering the truth conditions of its sentences. This approach to semantic theory raises several seemingly intractable problems, such as the problem of stating the meaning of non-declarative sentences, e.g. questions and imperatives. The chief aim of this paper will be to try to dispel these problems by suggesting an adjustment in Davidson’s account of the relation of truth to meaning, one which will also allow us to picture such troublesome linguistic items as metaphor within a semantic theory, and to expand the range of objects which can be brought into a general theory of meaning. (shrink)

Traditional views concerning musical meaning, in the field of philosophy, quite often oscillate around the discussion of whether music can transfer meaning (and if so if it happens by a means similar to language). Philosophers have provided a wide range of views – according to some, music has no meaning whatsoever, or if there is any meaning involved, it is only of a formal/structural significance. According to the opposing views, music can contain meaning similarly to (...) language and what is more, sometimes it can be even richer than language, as in music we are – arguably – able to encode “emotional meanings”. In recent years, several approaches – also speculative – to the old philosophical question have been proposed by evolutionary psychologists, one of the most controversial views being that of Stephen Pinker’s famous metaphor for music as “auditory cheesecake”. This anti-adaptationist view has been challenged f. ex. by Geoffrey Miller or Ian Cross. In this chapter, I enlist some main philosophical views on the titular problem and investigate some evolutionary-paradigm-based propositions for its solution, to examine whether – both from explanatory and methodological standpoints – the philosophy of music could gain something from recent developments in evolutionary psychology. (shrink)

The question of what human consciousness “is,” how it “works,” and what it “does” is currently being approached by myriad fields of study, each with their own particular goals and research techniques. But despite the undeniably complex nature of this enigmatic phenomenon, the prevailing scientific and institutional paradigm seems to imply that only quantitative, experimentally focused approaches are a worthy means of illuminating “truth” about human consciousness. -/- In this paper, I begin by borrowing Popper’s metaphor of “clock systems” versus (...) “cloud systems,” applying each to quantitative and qualitative inquiry respectively. I make the case that, as Popper urged when articulating his ideas about physical determinism, the field of consciousness research must re-consider the possibility that rejecting the “cloud” or qualitative aspects of consciousness will lead to a stunted, incomplete picture of the phenomenon. Taking examples from my own work as an anthropologist and from the work of my colleagues within the field, I offer examples of and reflections on what qualitative research has to offer all of us who wish to gain insight into human consciousness; in particular, its nature, function, and potential. In response to the one-sidedness within the field, I urge researchers of all types to consider its “double nature” as a positive quality, and offer the reminder that no matter what differences in our particular goals and research styles, our meta-mission remains the same: to illuminate the great mystery that lies in the center of our personhood. (shrink)

Hermeneutic fictionalism about mathematics maintains that mathematics is not committed to the existence of abstract objects such as numbers. Mathematical sentences are true, but they should not be construed literally. Numbers are just fictions in terms of which we can conveniently describe things which exist. The paper defends Stephen Yablo’s hermeneutic fictionalism against an objection proposed by John Burgess and Gideon Rosen. The objection, directed against all forms of nominalism, goes as follows. Nominalism can take either a hermeneutic form and (...) claim that mathematics, when rightly understood, is not committed to the existence of abstract objects, or a revolutionary form and claim that mathematics is to be understood literally but is false. The hermeneutic version is said to be untenable because there is no philosophically unbiased linguistic argument to show that mathematics should not be understood literally. Against this I argue that it is wrong to demand that hermeneutic fictionalism should be established solely on the basis of linguistic evidence. In addition, there are reasons to think that hermeneutic fictionalism cannot even be defeated by linguistic arguments alone. (shrink)

Racial epithets are terms used to characterize people on the basis of their race, and are often used to harm the people that they target. But what do racial epithets mean, and how do they work to harm in the way that they do? In this essay I set out to answer these questions by offering a pragmatic view of racial epithets, while contrasting my position with Christopher Hom's semantic view.

The scope of the essay is limited by the ideas behind the mechanisation of desire as conceptualised in The Large Glass by Marcel Duchamp. This glass-based installation depicts a convoluted mechanism, as the full-title of the work suggests, representing The Bride Stripped Bare by her Bachelors, Even. Using tropes and figures from his earlier studies, the artist designed a machine for the production of desire, rendering the unconscious mechanical and dynamic. The paper aims to present selected aspects of the installation, (...) including mechanical reproduction (1), technological fetishism (2), transparency (3), as well as to discuss its significance with reference to Deleuze and Guattari’s concept of the Body without Organs (4). The interpretive force of the machine metaphor in the work of Duchamp is analysed in the context of integrative and non-integrative attitudes to technology. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and (...) interplay in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

The hermeneutic pragmatism explored in this article timely examines how “post-truth” claims over-estimate semantic freedoms while at the same time underestimating semantic and pre-semantic restraints. Such pragmatism also timely examines how formalists err by committing the reverse errors. Drawing on insights from James, Peirce, Putnam, Rorty, Gadamer, Derrida, and others, such hermeneutic pragmatism explores (1) the necessary role of both internal and objective experience in meaning, (2) the resulting instrumental nature of concepts required to deal with such experience, (3) (...) the related need for workability to apply to the “the collectivity of experience’s demands, nothing being omitted,” (4) the inherent role of morality and other norms in measuring such workability, (5) the semantic as well as experiential nature of our workable realities, (6) the semantic freedoms involved in constructing, framing, and retaining our workable realities and concepts, and (7) the semantic, pre-semantic, and other restraints on constructing, framing, and retaining our workable realities and concepts. -/- Such hermeneutic pragmatism also introduces Eunomia, a real-world alternative to Dworkin’s superhuman judge Hercules. Named after the Greek goddess of good order, the human Eunomia represents the reasonable judge excellently versed in (among other things) legal theory, legal practice, linguistics, and philosophy of language. Additionally, in its appendices, this article surveys the pragmatic restraints of “implementives” and provides a detailed overview of pragmatic “workability” restraints for both law and fact. -/- (By “sense” the title of this article means not only “meaning conveyed or intended” but also “capacity for effective application of the powers of the mind as a basis for action or response.” See Sense, MERRIAM-WEBSTER’S COLLEGIATE DICTIONARY (11th ed. 2014) “Workable” has the broad meaning discussed in Sections II, IV, and Appendix C of the Article, and "good" is further explored in the section on Eunomia, namesake of the Greek goddess of good order.) -/- Keywords: Pragmatism, Hermeneutic, Truth, Rule of Law, William James, C.S. Peirce, Hilary Putnam, Richard Rorty, Gadamer, Habermas, Derrida, Lon Fuller, H.L.A. Hart, Post-truth, Postmodernism, Trump, Rhetoric, Meaning, Interpretation, Metaphor, Category, Lifeworld, Formalism, Framing, Deconstruction. (shrink)

Zusammenfassung: Gegenstand der Arbeit ist das Konzept der metaphorischen Be-deutung, soweit dessen Ursprung in der analytischen Philosophie zu finden ist. In der Ein-leitung der Untersuchung werden jedoch auch ältere Theorien der Metapher vorgestellt, die aus der Perspektive der metaphorischen Bedeutung relevant sind oder als relevant be-trachtet werden können. Allen diesen Theorien liegt die Definition zugrunde, dass in der Metapher etwas als etwas anderes gesehen wird. Daher kann von einer Wahrnehmungs-metaphorik die Rede sein. Das erste Kapitel meiner Arbeit behandelt die Frage, (...) wie Metaphern in der Sprache zu erkennen sind. Es wird die Schlussfolgerung gezogen, dass eine Metapher, anstatt erkannt zu werden, vielmehr als solche akzeptiert werden muss. Im zweiten Kapitel werden zwei der bedeutsamsten zeitgenössischen Theorien der Metapher, nämlich von Max Black und Donald Davidson, erörtert und kritisch ausgewertet. Der Argumentation Davidsons zufolge muss die metaphorische Bedeutung als etwas All-gemeines verstanden werden, das nicht einer bestimmten Metapher, sondern der Metapher überhaupt zukommt. Dabei bleibt Davidson aber der Wahrnehmungs-metaphorik verhaftet, die bei ihm wie bei Black keine Erläuterung findet. Gegen Ende des zweiten Kapitels und hauptsächlich im dritten Kapitel werden drei Arten des Herangehens an die Wahrnehmungsmetaphorik vorgeschlagen: Sie kann entweder verworfen oder interpretiert oder aufgehoben werden. Die zwei letztgenannten Zugänge werden anhand der Schriften von Ludwig Wittgenstein, José Ortega y Gasset und Wallace Stevens weiter ausgearbeitet. -/- Abstract: This thesis investigates the concept of the metaphorical meaning originating in analytical philosophy. Also, in the Introduction are considered older theories of the meta-phor, which can be seen from the perspective of the metaphorical meaning. All these ac-counts are based on a definition that in the metaphor is something seen as something else. Therefore, all our understanding of the metaphor issues from a visual perception. But that’s a metaphor, too. Chapter I. examines the question, how to detect metaphors in lan-guage. It is concluded that metaphors must be accepted instead of detected. The chapter II. aims at introducing and criticizing the two nowadays prominent analytical theories of metaphor given by Max Black and Donald Davidson. The consequence of the argumenta-tion by Davidson is that the concept of the metaphorical meaning has to be applied to the metaphor as such, not to any particular one. In their theories, Davidson and Black are still likening the metaphor to the visual perception but this simile or rather metaphor remains unexplained. The final chapter III. presents three approaches how to deal with the visual perception metaphor in explanations of the metaphor: it can be rejected, interpreted or sublated. The last approaches are elaborated on the basis of writings by Ludwig Wittgen-stein, José Ortega y Gasset and Wallace Stevens. (shrink)

In this article, I show the semantic connection between one pictorial detail of the traditional Annunciation iconography in Christianity and an apocryphal detail of the Virgin Mary biography, dating back to the antique metaphor of the body as clothing or cloth. In the Annunciation scene, the archangel Gabriel and the Mother of God are present, while the Virgin is often depicted with a spindle and a purple yarn in her hands. This detail sends the viewer to the metaphor of birth (...) as the creation of flesh and blood, as the spinning of the body in the womb of the mother, and also symbolically means the entry of God into the corporeal world through the Virgin and the blood sacrifice offered for the salvation of the world. The described “apocryphal” detail of the Annunciation scene can be understood as a visualization of the metaphor, known in antiquity, of the body creation as spinning or weaving. (shrink)