scholarly journals Man-tree metaphor in British linguoculture

2021 ◽  
Vol 284 ◽  
pp. 08009
Author(s):  
Elena Abramova ◽  
Elena Pavlycheva ◽  
Olga Tarasova ◽  
Lubov’ Tsilenko
Keyword(s):  
Human Body ◽  
Visual Image ◽  
Family Tree ◽  
Human Relations ◽  
Generic Concept ◽  
Personal Names ◽  
The Family ◽  
The World ◽  
Individual Trees ◽  
Cultural Concept

The tree has long been incorporated into human culture and is interpreted as compatible with a human being as a result of the man’ cognizing the world. Thus, the tree (and its elements) is used as a source of metaphor for describing all the spheres and domains of human activity. The prerequisites for the man-tree metaphor are the qualities of man and tree which can be matched: the physical configuration of the tree and the human body, which is vertically directed; local relations between trees and human relations; the visual image of the tree and the family tree concept. The cultural concept of the tree is implicit in personal names and idioms as lexical units. It manifests itself in the context of folklore texts (rhymes, ballads, verbalized superstitions, incantations, riddles) and classical works of fiction. The man-tree metaphor reflects the ancient ideas about man-tree kinship and man-tree isomorphism. The metaphorical transfer is reciprocal: the man can be endowed with the qualities of the tree, the tree can be endowed with the qualities of the man. The man-tree / tree-man metaphor is based both on the generic concept of the tree and its elements and on the concept of individual trees. The man-tree metaphors are verbalized through nouns (functions and status), verbs (activities), adjectives (qualities).

Francis Bird, Sculptor, 1667–1731

1972 ◽  
Vol 11 (4) ◽  
pp. 206-209
Author(s):  
Rosemary Rendel
Keyword(s):  
Eighteenth Century ◽  
Family Tree ◽  
Family Tradition ◽  
Biographical Dictionary ◽  
The Family ◽  
The World ◽  
Written Sources

It has not, I think, been generally realised up till now, that Francis Bird was a Catholic. Joseph Gillow includes him in his Biographical Dictionary of the English Catholics but this is a source hardly known to historians of Art and one which recusant historians are hesitant about using because Gillow is sometimes inaccurate. In this case, Gillow may have been able to check his written sources against an accurate family tradition, since Francis Bird was a distant ancestor of his through the marriage of a great-great-grandson, George Thomas Ferrers, to Mary Gillow of Hammersmith. Francis Bird was the leading sculptor whose career bridges the gap between the age of Gibbons and the age of Rysbrack. It is clear that he had a large practice and must have made free use of assistants. He appears to have had a good continental training, though its details are somewhat obscure.The main source for Francis Bird's life is one of the manuscript notebooks of George Vertue, the eighteenth-century engraver, himself a Catholic. He recorded in these the chief events in the world of London artists from September 1722 to August 1754. Vertue's notes were not intended for publication, and his information came either at first hand or from those who knew the artists personally. He states that when Francis Bird died, he left six children, one of them being a son who was aged fifteen at his father's death. C.R.S. sources have now enabled us to identify most of the children and grandchildren. I am most grateful to Sister Francis Agnes Onslow, O.S.F., of Goodings, for allowing me to take over the relevant part of her Bird and Chapman family tree, when we found that we were working in parallel, and it is reproduced here as a first draft so that others may fill in the gaps and make the necessary corrections. I hope to give the Chapman part of the family tree in a subsequent note.

THE Theology of the Body

2018 ◽  
pp. 862-876
Author(s):  
José Granados
Keyword(s):  
Human Body ◽  
Family Relationships ◽  
The Body ◽  
Human Existence ◽  
The Core ◽  
John Paul Ii ◽  
Theology Of The Body ◽  
The Family ◽  
The World ◽  
Vision Of God

This chapter outlines and defends the theology of the body that has been developed following the famous series of Wednesday catecheses offered by Pope St John Paul II. The chapter emphasizes three themes at the heart of the Theology of the Body. First, a vision, following Gaudium et Spes 22 that places Christ and the Incarnation at the core of the interpretation of humanity and society. Second, a vision of the human body that makes it possible to describe human existence in the light of love and to recover the theological significance of the notion of ‘experience’. Third, a corresponding anthropology of love that offers the key to the Christian vision of God, humanity, and the world; this anthropology of love is centred in the family relationships, as the privileged place where God reveals himself.

Eight Drives and the Family Tree

1967 ◽  
Vol 12 (1) ◽  
pp. 6-8
Author(s):  
SUSAN DERI
Keyword(s):  
Family Tree ◽  
The Family

The family tree

1997 ◽  
Author(s):  
Frank Landy
Keyword(s):  
Family Tree ◽  
The Family

THE ROLE OF CHILDREN'S ARTISTIC LITERATUR IN THE ASSIMILATION OF PHILOSOPHICAL CATEGORIES BY PRESCHOOL CHILDREN

2020 ◽  
Vol 22 (11) ◽  
pp. 20-24
Author(s):  
Ponomareva L.I. ◽  
Gan N.Yu. ◽  
Obukhova K.A.
Keyword(s):  
Preschool Children ◽  
Educational System ◽  
Role Models ◽  
Educational Process ◽  
Human Relations ◽  
The World ◽  
Culture And Health ◽  
Nature And Society ◽  
Good And Evil

In the presented study, the authors raise the question of the need to include in the educational process of a preschool institution to familiarize children with some philosophical categories. The educational system in which the child is included, starting from preschool childhood, provides him with the opportunity to gradually and continuously enter the knowledge of the world around him. It is in preschool childhood that the child is exposed to various relationships, values of culture and health, diverse patterns in the field of different knowledge. This contributes to a broader interaction of the preschooler with the world around him, which, in turn, ensures the assimilation not of disparate ideas about objects and phenomena, but their natural integration and interpenetration, which means understanding the integrity of the picture of the world. The authors prove the idea that the assimilation of philosophical categories by children contributes to the understanding of the structure of the surrounding world. The analysis of research is presented, proving that children's fiction in an understandable and accessible language, life examples and vivid images is able to explain to children the laws of the functioning of nature and society, as well as to reveal the world of human relations and feelings. Fiction surrounds the child from the first years of his life. It is she who contributes to the development of thinking and imagination, enriches the sensory world, provides role models and teaches you to find a way out in different situations. Philosophical categories such as "love and friendship", "beautiful and ugly", "good and evil" are represented in children's literature very widely, and the efficiency of mastering philosophical categories depends on the skill of an adult in conveying the content of a work, on correctly placed accents.

"MOTHER, SHOWING NO SPECIAL AFFECTION FOR YOU, WRITES TO YOU VERY FRIENDLY". COUNT V.A. MUSIN-PUSHKIN'S PRE-WEDDING LETTERS TO HIS BRIDE

2020 ◽  
pp. 59-75
Author(s):  
Yuliya V. Kim ◽  
Keyword(s):  
Everyday Life ◽  
Family Life ◽  
Married Couple ◽  
State Archive ◽  
Human Relations ◽  
Russian State ◽  
The Family ◽  
The Status ◽  
Traditional Patterns ◽  
Power Hierarchy

The article presents two letters from V.A. Musin-Pushkin which he wrote to his bride shortly before the wedding in 1828 (the letters are kept in the Russian State Archive of Ancient Acts). The text of the letters reflects the context of the time and everyday life, the system of views and the peculiarities of the worldview of a young aristocrat, the specific features of intra-family interaction in the field of feelings, marriage, human relations which inevitably turn out to be associated with the concepts of the family honor, family duty, the need to preserve the status of a noble family. The author traces how the power hierarchy is manifested at the level of relations within a close circle of relatives, as well as how traditional patterns are combined with new elements. Vladimir Alekseevich Musin-Pushkin, the youngest son of the archaeographer Count A.I. Musin-Pushkin, was arrested in connection with the case of the Decembrists, transferred from the Guards to the army and exiled to serve in Finland, where he met his future wife, Emilia Karlovna Shernval von Wallen. The article provides details of the family life of this married couple, as well as private facts from the biography of some other members of the Musin-Pushkin family.

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

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