scholarly journals „CNOTLIWA” ŻYDÓWKA ZUZANNA. O empatii w opowiadaniu Antoniego Czechowa Grzęzawisko

2017 ◽  
Vol 27 ◽  
pp. 59-70
Author(s):  
Witold Kowalczyk
Keyword(s):  
Short Story ◽  
Conceptual Metaphor ◽  
Jewish Woman ◽  
Cognitive Empathy ◽  
Conceptual Metaphor Theory ◽  
Negative Perception ◽  
The Third ◽  
Metaphor Theory ◽  
Third Person ◽  
The Third Person

This article examines Anton Chekhov’s short story (Quag)mire (Тина, 1886), which gave rise to a great deal of controversy among contemporaneous critics and authors. Some of their commentaries were pejorative, in spite of the fact that Chekhov himself regarded the story as successful. Since the critics frequently referred to the reader’s thoughts and feelings, the article proposes to analyse the story by virtue of cognitively-inspired literary methodology, with emphasis laid on (cognitive) empathy. Particularly useful is also the Deictic Shift Theory, which involves the reader’s engagement in the tracing of “relocated” deictic centres, as well as the Conceptual Metaphor Theory. Accordingly, Kowalczyk argues, debauchery is a mire can be considered the story’s central conceptual metaphor, while the story’s title, Тина (Tina), literally a (quag)mire, provides a key to its interpretation. In the story, told by the third-person narrator, the reader empathically identifies her/himself with Alexandr Sokolsky, a Russian officer, as if “entering” the deictic field created  "around" him. Together the protagonist, the reader —via a sequence of consecutive deictic shifts — is empathetically familiarized with Susanna, a Russified Jewish woman. Through several actions and utterances, Susanna attempts to question the negative stereotype of a Jew, commonplace in Russia, but fails. Arguably, the reader’s evoking the biblical story of the genuinely virtuous Susanna, implied in Chekhov’s text, entails her/his negative perception of Chekhov’s fictional female. This cultural undercurrent may be deemed responsible for the story’s unfavourable reception by Jewish readers, who interpreted Тина (Tina) in terms of a literary attack on their society. In light of the cognitive-literary approach delineated above, Chekhov’s story in question indeed proves to be anti-semitic.

Migrants, Metaphors and Manipulation: a Multimodal Case Study of Trump’s Speeches on Immigration (2015-2017)

2020 ◽  
Author(s):  
Bérengère Lafiandra
Keyword(s):  
Presidential Election ◽  
Conceptual Metaphor ◽  
Theoretical Framework ◽  
Conceptual Metaphor Theory ◽  
Corpus Study ◽  
The Third ◽  
Metaphor Theory ◽  
The Creation ◽  
Linguistic Aspect

This article intends to analyze the use of metaphors in a corpus of Donald Trump’s speeches on immigration; its main goal is to determine how migrants were depicted in the 2016 American presidential election, and how metaphor manipulated voters in the creation of this image. This study is multimodal since not only the linguistic aspect of speeches but also gestures are considered. The first part consists in presenting an overview of the theories on metaphor. It provides the theoretical framework and develops the main tenets of the ‘Conceptual Metaphor Theory’ (CMT). The second part deals with multimodality and presents what modes and gestures are. The third part provides the corpus and methodology. The last part consists in the corpus study and provides the main source domains as well as other rhetorical tools that are used by Trump to depict migrants and manipulate voters.

scholarly journals Inconsistencies in Temporal Metaphors: Is Time a Phenomenon of the Third Kind?

2020 ◽  
Vol 61 (1) ◽  
pp. 163-181
Author(s):  
Jacek Tadeusz Waliński
Keyword(s):  
Conceptual Metaphor ◽  
Human Cognition ◽  
Conceptual Metaphor Theory ◽  
The Third ◽  
Separate Category ◽  
Metaphor Theory ◽  
Approach Time

AbstractThis paper discusses the problem of inconsistencies in the metaphorical conceptualizations of time that involve motion within the framework of conceptual metaphor theory (CMT). It demonstrates that the TIME AS A PURSUER metaphor contrasts with the reverse variant TIME AS AN OBJECT OF PURSUIT, just as the MOVING TIME metaphor contrasts with the MOVING OBSERVER variant. Such metaphorical conceptualizations of time functioning as pairs of minimally differing variants based on Figure-Ground reversal are, strictly speaking, inconsistent with one another. Looking at these inconsistencies from a wider perspective suggests that time may belong to a separate category of conceptual phenomena. This paper puts forward a proposal to approach time from the perspective of “phenomena of the third kind”, which according to Keller’s thesis include conceptual establishments resulting from human cognition, but not of human design.

scholarly journals “Chike’s School Days”: An Autrebiography Verbalizing Chinua Achebe’s Early Schooling

2020 ◽  
Vol 8 (6) ◽  
pp. 103
Author(s):  
Komenan Casimir
Keyword(s):  
Short Story ◽  
Literary Text ◽  
The Self ◽  
First Person ◽  
The Third ◽  
Early Schooling ◽  
Third Person ◽  
The Third Person

Todorov’s syntactic, verbal and semantic aspects of the literary text, onomastics and Mauron’s psychocriticism, underlie this paper whose goal is to show that Chinua Achebe’s “Chike’s School Days” is an autrebiography verbalizing Achebe’s early schooling. As two major thematic Ariadne’s threads, the religious, familial and onomastic connections between Chike and Achebe, as well as Achebe’s untimely love for Shakespeare’s language, have been used to compose an autrebiograhical short story, a shortened fiction about the self, which is narrated not in the first-person (“I”), but rather in the third-person (“He”). It is with such a detachment device that Achebe writes about Chike, a character who is nobody else but his double.

scholarly journals How to Represent Abstract Concepts? From the Perspective of Conceptual Metaphor Theory

2020 ◽  
Vol 1 (2) ◽  
pp. 27-37
Author(s):  
Yanli Huang
Keyword(s):  
Conceptual Metaphor ◽  
Abstract Concepts ◽  
Comprehensive Understanding ◽  
Target Domain ◽  
Conceptual Metaphor Theory ◽  
Image Schemas ◽  
The Third ◽  
Metaphor Theory ◽  
Concrete Concepts ◽  
Core Issues

How human understand and represent concepts is always a hot topic in cognitive psychology. According to the conceptual metaphor theory 1, 2, understanding and representing abstract concepts rely on concrete concepts via metaphoric mappings. In this review, we discussed three core issues with the aim to have a comprehensive understanding of conceptual metaphors. First, I describe the underlying process of metaphoric mappings. Lakoff and Johnson (1999) 2 put forward that the source domain (concrete concepts) can be used to represent the target domain (abstract concepts). The metaphoric mappings from source domains to target domains are characterized as image schemas, which structure and provide sensory-motor grounding for abstract concepts. Then, I concerned on the directionality (the second issue) and automaticity (the third issue) of metaphoric mappings. According to conceptual metaphor theory, metaphoric mappings have the directionality from the concrete domain to the abstract domain, which is an automatic and obligatory process with neither effort nor awareness. However, directionality and automaticity were debated by recent research. In this article, by focusing on the three important issues I provided a comprehensive review which would help deepen our understanding about the nature of metaphoric mappings.

scholarly journals Analisis Cerita Pendek “Der Tänzer Malige” Karya Johannes Bobrowski

2021 ◽  
Vol 2 (2) ◽  
pp. 117
Author(s):  
Rosnaini Rosnaini ◽  
Ambo Dalle ◽  
Syamsu Rijal
Keyword(s):  
Data Collection ◽  
Short Story ◽  
Point Of View ◽  
The Third ◽  
Space And Time ◽  
Third Person ◽  
The Third Person ◽  
Descriptive Qualitative

The type of this research is descriptive qualitative. The purpose of this research is to describing theme, characters, plor, setting, message, and point of view in the short story “Der Tänzer Malige” by Johannes Bobrowski. The data in this study were obtained from reading the short story “Der Tänzer Malige” by Johannes Bobrowski. Data collection using library techniques, which are in the from of reading and notes technique on the object of research. The results of this study are as follws, a description of the theme elements: soldiers, character elements: main characters and extras, plot elements: mixed plot, background elements: place setting (village and army barracks) and time setting (August 1939 at the end of the season. Heat), the element of mandate: a high social  spirit, the element of perspective: the third person point of view (Er).the interrelationship between the intrinsic elements of the short story, where the theme, character, plot, space and time setting, mandate, and point of view, shows a structure that influences one another. These elements cannot be separated from one another.

scholarly journals “To the Man and the Horse – Perdition”: The Semiotics of Corporeali- ty in Vasily Belov’s Short Story “For Carriage”

2020 ◽  
Vol 38 (2) ◽  
pp. 380-387
Author(s):  
A. I. Kulyapin
Keyword(s):  
Gender Identity ◽  
Short Story ◽  
Sense Of Self ◽  
Main Character ◽  
Small Child ◽  
The Third ◽  
Male Characters ◽  
Stage Of Development ◽  
Third Person ◽  
The Third Person

The article analyzes the semiotics of bodily deformations of the heroes of the story by Vasily Belov “For Carriage”. All male characters of the story are endowed with physical inferiority. The main character of the story, Senka Gruzdev, lost his right hand fingers in the war, and once in his youth, he licked an ax brought from the cold and left a half-tongue on that ax. Senka’s irreconcilable enemy – the brigadier Ilyukha – is one-eyed. As a result, a triad conceptually significant for the author arises: armless – tongueless – eyeless. The defective corporeality of the heroes is correlated with their defective spirituality, semi-faith. Belov very persistently and consistently draws parallels between people and animals in the text. In the story there are two representatives of the animal world with an indefinite gender identity: a rooster that has lost its crest and a horse Sparrow – half stallion half gelding. The masculine dignity of the main character of the story Senka Gruzdev is also metaphorically halved. Senka Gruzdev fails when he tries to demonstrate one hundred percent manifestation of masculinity. Senka usually speaks about himself in the third person. Psychologists and linguists noted that self-name from a third person is peculiar primarily to the speech of young children, as well as to adults who enter into communication with them. Senka was clearly stuck at the infantile stage of development; he does not have a sense of self as a full-fledged personality. The figure of Senka Gruzdeva is typical of the artistic world of Vasily Belov. The most famous hero of the writer is Ivan Afrikanovich from the story “A Habitual Affair” “himself sometimes as a small child”.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

Causal determinism and a totally global fatalism from the third-person perspective

2020 ◽  
Author(s):  
Xiaoyang Yu
Keyword(s):  
Human Brain ◽  
Human Language ◽  
Causal Determinism ◽  
The Third ◽  
Person Perspective ◽  
Neural Substrate ◽  
Third Person ◽  
Third Person Perspective ◽  
Physical Laws ◽  
The Third Person

The human brain and the human language are precisely constructed together by evolution/genes, so that in the objective world, a human brain can tell a story to another brain in human language which describes an imagined multiplayer game; in this story, one player of the game represents the human brain itself. It’s possible that the human kind doesn’t really have a subjective world (doesn’t really have conscious experience). An individual has no control even over her choices. Her choices are controlled by the neural substrate. The neural substrate is controlled by the physical laws. So, her choices are controlled by the physical laws. So, she is powerless to do anything other than what she actually does. This is the view of fatalism. Specifically, this is the view of a totally global fatalism, where people have no control even over their choices, from the third-person perspective. And I just argued for fatalism by appeal to causal determinism. Psychologically, a third-person perspective and a new, dedicated personality state are required to bear the totally global fatalism, to avoid severe cognitive dissonance with our default first-person perspective and our original personality state.

Metaphor, Cognition, Culture

2018 ◽  
Author(s):  
Zoltán Kövecses
Keyword(s):  
Conceptual Metaphor ◽  
The Other ◽  
Conceptual Metaphor Theory ◽  
Conceptual Metaphors ◽  
Culture And Cognition ◽  
Metaphor Theory ◽  
The One ◽  
Cultural Reality ◽  
Metaphor And Metonymy

The chapter reports on work concerned with the issue of how conceptual metaphor theory (CMT) functions as a link between culture and cognition. Three large areas are investigated to this effect. First, work on the interaction between conceptual metaphors, on the one hand, and folk and expert theories of emotion, on the other, is surveyed. Second, the issue of metaphorical universality and variation is addressed, together with that of the function of embodiment in metaphor. Third, a contextualist view of conceptual metaphors is proposed. The discussion of these issues leads to a new and integrated understanding of the role of metaphor and metonymy in creating cultural reality and that of metaphorical variation across and within cultures, as well as individuals.

scholarly journals Conceptualizations of the Heart in Jordanian Arabic: A Cognitive Perspective

2020 ◽  
Vol 12 (4) ◽  
pp. 65
Author(s):  
Omar Bani Mofarrej ◽  
Ghaleb Rabab'ah
Keyword(s):  
Human Body ◽  
Human Heart ◽  
Conceptual Metaphor ◽  
Cognitive Mechanisms ◽  
Conceptual Metaphor Theory ◽  
Cognitive Perspective ◽  
Jordanian Arabic ◽  
Metaphor Theory ◽  
Idiomatic Expressions ◽  
Levantine Arabic

The present paper examines the metaphorical and metonymical conceptualizations of the heart in Jordanian Arabic (JA) within the framework of Conceptual Metaphor Theory developed by Lakoff and Johnson (1980). The main aim is to explore how the human heart is conceptualized in JA, and to test the applicability of the different general cognitive mechanisms proposed by Niemeier (2003 and 2008) to those found in JA. The data were extracted from Idioms and Idiomatic Expressions in Levantine Arabic: Jordanian Dialect (Alzoubi, 2020), and other resources including articles, dissertations and books of Arabic proverbs. The findings revealed that all the four general cognitive mechanisms suggested by Niemeier (2003 and 2008) are applicable to JA. The findings also showed that the similarity derives from the universal aspects of the human body, which lends tremendous support to the embodiment hypothesis proposed by cognitive linguists. 

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