scholarly journals Metafora jako prubířský kámen teorií významu

2017 ◽  
Vol 8 (2) ◽  
pp. 37-57
Author(s):  
Josef Zeman
Keyword(s):  
Figurative Language ◽  
Linguistic Meaning ◽  
Figurative Meaning ◽  
Starting Point ◽  
Theories Of Meaning

Cílem této studie je prozkoumat postavení metafory na poli zkoumání významu a následně představit potenciál metafory, a obrazných vyjádření obecně, zastávat pozici kritéria hodnocení teorií významu. Jako výchozí bod si práce bere několik vlivných pojetí metafory, na nichž ukazuje šíři bádání o metafoře a obraznosti a zároveň různorodost možných přístupů k vysvětlení těchto jazykových fenoménů. Dále je věnována pozornost několika sporným bodům opakovaně se objevujícím v různých teoriích metafory. Na základě analýzy těchto sporných bodů jsou předloženy argumenty zpochybňující předpokládanou odlišnost mechanismů konstituování významu u obrazných a doslovných vyjádření. Následkem toho je pak vznesen návrh, zda by metafora, pro své kvalitativní a kvantitativní rysy, nemohla být chápána jako prubířský kámen teorií významu, tj. byla nástrojem k hodnocení těchto teorií, k jejich falsifikování, modifikování či přímo k jejich vytváření.The main aim of this study is to examine the role that metaphor plays in investigation of linguistic meaning and to present the potential of metaphor and figurative language in general to maintain a position of an evaluating criterion for theories of meaning. Several influential theories of metaphor are used as a starting point for this inquiry, to show how vast the field of investigation of metaphors and figurative language might be and how various approaches attempt to explain these language phenomena. I then focus on a number of problematic points repeatedly resurfacing in various theories of metaphor. My analysis of these problems issues in arguments questioning supposed difference between constituting mechanisms of literal and figurative meaning. Having this in place, I propose that, on account of its quantitative and qualitative features, metaphor could be understood as a touchstone of theories of meaning, i.e. the tool for their evaluating, refuting, modifying and even for creating new ones.

Showing, Expressing, and Figuratively Meaning

2018 ◽  
Author(s):  
Mitchell Green
Keyword(s):  
Perspective Taking ◽  
Figurative Language ◽  
Common Ground ◽  
Linguistic Meaning ◽  
Psychological State ◽  
Proper Understanding ◽  
Speaker Meaning

We first correct some errors in Lepore and Stone’s discussion of speaker meaning and its relation to linguistic meaning. With a proper understanding of those notions and their relation, we may then motivate a liberalization of speaker meaning that includes overtly showing one’s psychological state. I then distinguish this notion from that of expression, which, although communicative, is less cognitively demanding than speaker meaning since it need not be overt. This perspective in turn enables us to address Lepore and Stone’s broadly Davidsonian view of figurative language, which rightly emphasizes the role of imagination and perspective-taking associated with such language, but mistakenly suggests it is sui generis relative to other types of pragmatic process, and beyond the realm of communication. Figurative utterances may influence conversational common ground, and may be assessed for their aptness; they also have a characteristically expressive role that a Davidsonian view lacks the resources to explain.

scholarly journals “In a Sea of Wonders:” Eastern Europe and Transylvania in the Irish-Language Translation of Dracula

2020 ◽  
Vol 12 (1) ◽  
pp. 70-83
Author(s):  
Sorcha De Brún
Keyword(s):  
Original Work ◽  
Figurative Language ◽  
Language Translation ◽  
Point Of View ◽  
Eastern European ◽  
The Novel ◽  
European Language ◽  
Irish Language ◽  
Starting Point ◽  
History Of

Abstract The publication of the Irish-language translation of Dracula in 1933 by Seán Ó Cuirrín was a landmark moment in the history of Irish-language letters. This article takes as its starting point the idea that language is a central theme in Dracula. However, the representation of Transylvania in the translation marked a departure from Bram Stoker’s original. A masterful translation, one of its most salient features is Ó Cuirrín’s complex use of the Irish language, particularly in relation to Eastern European language, character, and landscapes. The article examines Ó Cuirrín’s prose and will explore how his approaches to concrete and abstract elements of the novel affect plot, character, and narration. The first section explores how Dracula is treated by Ó Cuirrín in the Irish translation and how this impacts the Count’s persona and his identity as Transylvanian. Through Ó Cuirrín’s use of idiom, alliteration, and proverb, it will be shown how Dracula’s character is reimagined, creating a more nuanced narrative than the original. The second section shows how Ó Cuirrín translates Jonathan Harker’s point of view in relation to Dracula. It shows that, through the use of figurative language, Ó Cuirrín develops the gothic element to Dracula’s character. The article then examines Ó Cuirrín’s translations of Transylvanian landscapes and soundscapes. It will show how Ó Cuirrín’s translation matched Stoker’s original work to near perfection, but with additional poetic techniques, and how Ó Cuirrín created a soundscape of horror throughout the entirety of the translation.

Reading Signs and Symbols with Abdelkébir Khatibi

2020 ◽  
pp. 237-260
Author(s):  
Rim Feriani ◽  
Jasmina Bolfek-Radovani ◽  
Debra Kelly
Keyword(s):  
Urban Space ◽  
The Body ◽  
Radical Theory ◽  
Abdelkebir Khatibi ◽  
Making Sense ◽  
Sign Systems ◽  
Starting Point ◽  
The Social ◽  
The Individual ◽  
Theories Of Meaning

This chapter considers the ways in which Khatibi’s practices of reading contribute to theories of meaning through his thinking on the deciphering of signs and symbols and of making sense of the world, and of the worlds of the text, in their multifaceted forms. It takes as its starting point what Khatibi terms, in his introductory essay ‘Le Cristal du Texte’ in La Bessure du Nom propre, ‘l’intersémiotique’, migrant signs which move between one sign system and another. Khatibi takes as his own project examples from semiotic systems found within Arabic and Islamic cultures, from both popular culture, such as the tattoo, to calligraphy and the language of the Koran, from the body to the text and beyond – including storytelling, mosaics, urban space, textiles. His readings reveal the intersemiotic and polysemic meanings created in the movements of these migrant signs between their sign systems. For Khatibi, this ‘infinity’ of the ‘text’ is linked also to a mobile and migrant identity refracted in the multifaceted surfaces of the crystal (hence the title of the essay – ‘Le Cristal du Texte’) rather than in one reflection as in a mirror. Moving from these concerns of Khatibi with which he develops his radical theory of the sign, of the word and of writing, the chapter goes on to propose new readings of a selection of other writers with a shared, but varied, relationship to their Islamic heritage. These are writers working with and through that heritage – and importantly, as for Khatibi, including the Sufi heritage – and whose writing is also resonant with Khatibi’s intersemiotic theoretical and cultural project concerned with the individual and the collective, the historical and the contemporary, the political, the social and the linguistic.

Conventional Figurative Language Theory and idiom motivation

2018 ◽  
Vol 9 (1) ◽  
pp. 5-30
Author(s):  
Dmitrij Dobrovol’skij ◽  
Elisabeth Piirainen
Keyword(s):  
Figurative Language ◽  
Cognitive Theory ◽  
Construction Grammar ◽  
Central Point ◽  
Language Theory ◽  
Semantic Structure ◽  
Conceptual Basis ◽  
Figurative Meaning ◽  
Actual Meaning

AbstractThe central point of discussion is how idiom motivation is reflected in the Conventional Figurative Language Theory. Most lexical units are motivated to a certain extent, i.e. they point to their actual meaning via the meanings of their parts, either parts of their structure or of their conceptual basis. Several types of motivation can be distinguished in the field of phraseology. Apart from the quite small number of idioms where no comprehensible link can be found between the literal reading and the figurative meaning that would allow for a meaningful interpretation of a given expression, all other idioms have to be considered transparent or motivated. Idioms form a very heterogeneous domain in terms of motivation. There are levels of motivation and semantic predictability both from the perspective of a speaker and from the perspective of the semantic structure of a given unit. In this paper, we present a typology of motivation that captures all types of transparent idioms. The typology of idiom motivation connects our theory to the Cognitive Theory of Metaphor and to the Construction Grammar approaches.

scholarly journals Das Verb „brauen“ im Helgoländischen: mit Beibehaltung der starken Flexion und reich entwickelter Semantik

Us Wurk ◽  
2020 ◽  
Vol 69 (3-4) ◽  
pp. 105-114
Author(s):  
N. Århammar
Keyword(s):  
20Th Century ◽  
North Sea ◽  
Dictionary Entry ◽  
Figurative Meaning ◽  
Beer Brewing ◽  
The North ◽  
Starting Point ◽  
The North Sea ◽  
The Senses ◽  
Germanic Languages

The verb „brew“ in the North Frisian dialect of the North Sea island of Heligoland is in two respects remarkable: first it has retained its original strong inflection (section 1) and secondly it developed a number of special meanings during the 19/20th century (section 2). I have tried to demonstrate how this great diversity came about: The starting point for thesemantic development was probably the analogy ʽbrew kettleʼ (for beer brewing) ~ ʽsteam boilerʼ (of steam-boats). In a small seafaring nation a shift of meaning from ʽbrew (beer)ʼ → ʽdrive (a ship)ʼ may seem rather natural; less so the further steps via *ʽmove in generalʼ → ʽwalk briskly, runʼ and so on (→ ʽlive, keep house, manage to get on well (as a single)ʼand ʽbe busy, workʼ etc.). Sense 8. of the dictionary entry, a figurative meaning, stands apart, namely ʽconcoct, contrive, prepare, bring about, causeʼ: spec. evil, mischief, trouble, woe (OED). It is noted that this sense was developed in most Germanic languages and it probably represents a much older sprout on the helig. brau-tree than do the senses 2. to 7. Insection 3, I deal with the helig. idiom Bin brau ʽto bring into disorderʼ and the helig.-wfris. parallel uun Bin ~ yn ʼe/ʼt bûn ʽin disorderʼ. – In the appendix the revised and enlarged word article brau with its prefix compounds is presented

scholarly journals The Disciplinary Issues in Malay Figurative Language and Its Similarities with Majaz Concept of the Arabic Rhetoric

2016 ◽  
Vol 4 (1) ◽  
pp. 47
Author(s):  
Abu Hassan Abdul ◽  
Wahibah Twahir
Keyword(s):  
Figurative Language ◽  
Literature Study ◽  
Starting Point ◽  
Arabic Rhetoric

The article discusses main issues in Malay figurative language and its potential in developing into a new discipline. One of the main issues, the concept of Malay rhetoric knowledge or discipline is not systematically and accurately organized for hundred years. There is a major misunderstanding in the knowledge and overlapping concepts in terms of stylistic, semiotic, esthetic, discourse and poetic. The Malay rhetoric knowledge seems small and lifeless in modern Malay linguistics and literature study because it lacks innovation which enables in enriching its concepts and structures within the perspective of Malay world and its sociocultural view. This research attempts to enlighten the figurative language values from rhetorical view and to figure out the similarities between Malay figurative languages with the concept of majaz in Arabic rhetoric. This uniqueness points out the potential of figurative language to be strengthened and combined with other branches of knowledge in Malay rhetoric arts. The success of strengthening the figurative language can act as a starting point to a more holistic innovation of the discipline towards the great unity of Malay rhetoric knowledge, which is influential and stronger in carrying meaning in understanding Malay thinking pattern and their socio cultural in communicating through multiple language genres.

URGENITAS PEMAHAMAN BAHASA FIGURATIF DALAM PENINGKATAN KEMAMPUAN APRESIASI PUISI SISWA

1970 ◽  
Vol 2 (1) ◽  
pp. 185-206
Author(s):  
Supriyono Supriyono
Keyword(s):  
Critical Thinking ◽  
Figurative Language ◽  
Physical Structure ◽  
Good Sensitivity ◽  
Figurative Meaning

The ability of appreciation of poetry is a person's ability and skill in recognizing and understanding poetry seriously, both the physical structure and the inner structure , so that the resulting understanding, appreciation, sensitivity of critical thinking, and feeling good sensitivity to enjoy the beauty of poetry including existing aesthetic in it. Many factors affect the ability of appreciation of poetry, including the understanding of figurative language. The ability to understand figurative language is one skill in understanding the language used by the poet to say anything unusual way, ie, it does not directly reveal the meaning of words or language are metaphors or meaningful emblem. The ability to understand figurative language has an important role in enhancing the ability of the student 's appreciation of poetry, because poetry is inseparable from figurative language. Figurative language (figurative language) causing poetry becomes attracted attention , causing freshness, life, and especially lead wishful picture clarity. Thus, in order to have the ability to better appreciation of poetry required considerable understanding figurative language because it includes figurative meaning or symbolism. Kemampuan apresiasi puisi merupakan kesanggupan dan kecakapan seseorang dalam mengenal dan memahami puisi secara sungguh–sungguh, baik struktur fisik maupun struktur batinnya, sehingga timbul pengertian, penghargaan, kepekaan pikiran kritis, serta kepekaan perasaan yang baik terhadap puisi termasuk menikmati keindahan estetik yang ada di dalamnya. Banyak faktor yang mempengaruhi kemampuan apresiasi puisi, diantaranya adalah pemahaman terhadap bahasa figuratif. Kemampuan memahami bahasa figuratif merupakan kecakapan seseorang dalam memahami bahasa yang digunakan penyair untuk mengatakan sesuatu dengan cara yang tidak biasa,yakni secara tidak langsung mengungkapkan makna kata atau bahasa bermakna kias atau bermakna lambang. Kemampuan memahami bahasa figuratif mempunyai peran penting dalam meningkatkan kemampuan apresiasi puisi siswa, dikarenakan puisi tidak terlepas dari bahasa figuratif. Bahasa kiasan (figurative language) menyebabkan puisi menjadi menarik perhatian, menimbulkan kesegaran, hidup, dan terutama menimbulkan kejelasan gambaran angan. Dengan demikian agar memiliki kemampuan apresiasi puisi dengan baik diperlukan pemahaman bahasa figuratif yang cukup karena mencakup makna kias atau makna lambang.

“What An Ugly Child”: Abaelard on Translation, Figurative Language, and Logic

Vivarium ◽  
2011 ◽  
Vol 49 (1-3) ◽  
pp. 26-49
Author(s):  
Christopher J. Martin
Keyword(s):  
Figurative Language ◽  
Figurative Meaning ◽  
Scriptural Interpretation ◽  
General Finding

AbstractAn examination the development of Peter Abaelard’s views on translation and figurative meaning. Mediaeval philosophers curiously do not connect the theory of translation implied by Aristotelian semantics with the multiplicity of tongues consequent upon the fall of Babel and do not seem to have much to offer to help in solving the problems of scriptural interpretation noted by Augustine. Indeed, on the Aristotelian account of meaning such problems do not arise. This paper shows that Abaelard is like others in this respect in not in general finding translation problematic. Two particular cases, oppositio in adiecto and accidental predication, however, present problems for him and the paper examines and tries to explain the differences between the account given in the Dialectica and that given in the Logica ‘Ingredientibus’.

scholarly journals On my mind: thoughts about salience, context and figurative language from a second language perspective

2006 ◽  
Vol 22 (2) ◽  
pp. 219-237 ◽  
Author(s):  
Istvan Kecskes
Keyword(s):  
Second Language ◽  
Language Processing ◽  
Figurative Language ◽  
Word Meaning ◽  
Literal Meaning ◽  
Figurative Meaning ◽  
Language Research ◽  
The Way ◽  
Graded Salience

This article discusses three claims of the Graded Salience Hypothesis presented in Rachel Giora’s book On our mind. It is argued that these claims may give second language researchers the chance to revise the way they think about word meaning, the literal meaning-figurative meaning dichotomy and the role of context in language processing. Giora’s arguments are related to recent second language research and their relevance is explained through examples. There are also several suggestions made for further research.

On terminological figurativeness

Terminology ◽  
2015 ◽  
Vol 21 (1) ◽  
pp. 102-125 ◽  
Author(s):  
Larissa Timofeeva-Timofeev ◽  
Chelo Vargas-Sierra
Keyword(s):  
Figurative Language ◽  
Language Theory ◽  
Figurative Meaning ◽  
Luxury Marketing ◽  
Term Analysis

Terminologists’ interest in studying the role of metaphor and metaphorical terms in specialized communication has proliferated since the first papers addressing this issue appeared in the 1990s. However, we believe that some facets of terminological meaning still remain overlooked or merit further analysis. This paper attempts to contribute to the study of one of these facets: the figurative meaning of some compound terms used in the domain of luxury marketing and business. In order to present a systematized view of this phenomenon we will adopt some theoretical tools from the Conventional Figurative Language Theory, in order to confirm the validity of some of its postulates for compound term analysis. Next, a contrastive approach between English, Spanish and Russian compound terms will put the theoretical ideas into practice with the aim of illustrating their applied and metalinguistic potential. Some basic conclusions will be offered at the end of the paper.

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