Relationship Between Strategies and Maxims Combination Pattern With Malay Politeness in Radio Talk Show

This chapter proposes a systems-theoretic adjustment to conceptual blending theory with respect to the so-called generic space. In creative conceptualization, the generic space is not an optional by-product of conceptual mappings across previously and otherwise constituted input spaces, but rather their effective cause, and not by selecting for them but by massively constraining against anything not them. As a first approximation of the blend’s targeted or intended meaning, the generic space functions as an indispensable “proto-blend” that sets the parameters and satisfaction conditions for the resulting conceptual network. This underappreciated point is elaborated through case studies of three well-known and increasingly complex creative blends: a sentence-level metaphor (“This surgeon is a butcher!”), an extemporaneous discourse exchange (from the live radio talk show “Loveline”), and a highly iconic lyric poem (Richard Wilbur’s “Piazza di Spagna, Early Morning”).

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Pat's Prologues: Introductions to the First Two Airings of Math Medley, A Radio Talk Show

Humanistic Mathematics Network Journal ◽

10.5642/hmnj.200201.26.08 ◽

2002 ◽

Vol 1 (26) ◽

pp. 25-27

Author(s):

Patricia Kenschaft

Keyword(s):

Talk Show ◽

Radio Talk

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A school psychologist has a radio talk show

PsycEXTRA Dataset ◽

10.1037/e588512009-008 ◽

1984 ◽

Keyword(s):

School Psychologist ◽

Talk Show ◽

Radio Talk

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The Handmaid's Tale and Oryx and Crake in Context

PMLA ◽

10.1632/003081204x20578 ◽

2004 ◽

Vol 119 (3) ◽

pp. 513-517 ◽

Cited By ~ 15

Author(s):

Margaret Atwood

Keyword(s):

Science Fiction ◽

Hot Water ◽

Talk Show ◽

Oryx And Crake ◽

Radio Talk

I'm not a science fiction expert. Nor am i an academic, although i used to be one, sort of. Although I'm a writer, I'm not primarily a writer of science fiction. In this genre I'm a dilettante and a dabbler, an amateur—which last word, rightly translated, means “lover.” I got into hot water recently on a radio talk show in Britain: the radio person said she'd just been to a sci-fi conference there, and some people were really, really mad at me. Why? said I, mystified. For being mean to science fiction, said she. In what way had I been mean? I asked. For saying you didn't write it, she replied. And I having had the nerve to win the Arthur C. Clarke Award for Science Fiction.

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