Conduit

The third of three chapters exploring spatial imagery, Chapter 9 presents the conduit, a distinctively Reformed motif, which portrays Jesus Christ as located in heaven and connected to believers on earth by means of the Holy Spirit. The conduit is a SOURCE-PATH-GOAL image schema by which the body and blood of Christ reach from heaven to the recipient. Typically, this is understood as taking place by faith rather than through physical eating. On occasion, however, Reformed writers use prepositions like par or per, which convey a sense that the body and blood might be received “through” the consecrated bread and wine. More frequently, they use these prepositions in connection with the idea that Christ might be seen through the elements. The chapter proposes that this might create possibilities for Reformed theologians today to experiment with conduit imagery as a component of an ecumenical repertoire of motifs for eucharistic presence.

Containment

The second of three chapters exploring spatial imagery, Chapter 8 explores the motif of containment—the idea that Christ’s body and blood are “in” or “under” the bread and wine. The CONTAINER image schema has two significant entailments for eucharistic presence: transitivity (if A is in B and B is in C, A is in C) and concealment (something inside an opaque container cannot be seen). Transitivity enables Christians who take the eucharistic elements into their bodies to understand Jesus in turn to be inside them. Concealment facilitates reflection on the fact that the body and blood of Christ are not accessible to the senses. Roman Catholic and Lutheran traditions make significant use of containment imagery; Reformed and Eastern Orthodox traditions have been reticent but have been willing to use it on occasion. The chapter also gives specific attention to transubstantiation as a special combination of change and containment motifs.

Change

This is the first of three chapters exploring motifs based on spatial imagery. It argues that much Christian language about eucharistic presence is based on the primary metaphor CHANGE IS MOTION (and, to lesser extents, CHANGING IS BEING MADE and CHANGING IS BEING BORN). Roman Catholic and Eastern Orthodox traditions rely heavily on change imagery, while Lutheran and Reformed traditions have been cautious about its use partly because of an insistence that the eucharistic elements remain bread and wine. The chapter argues that the change motif should form part of a multiply metaphorical ecumenical theology of eucharistic presence and that there are resources in Lutheran and Reformed traditions that can facilitate its acceptance. It also argues that high-sacramental traditions in turn should be willing to affirm that the consecrated elements are bread and wine—though not ordinary bread and wine.

EMPIRICAL STUDY OF THE INFLUENCE OF SECONDARY OBJECT AND SPATIAL IMAGERY ON A LITERARY TEXT TRANSLATION

Статья посвящена исследованию влияния вторичных образов различного типа на перевод художественного текста. Результаты эксперимента подтверждают ведущую роль предметных образов для нахождения адекватных решений. Также показано наличие умеренной обратной корреляции между уровнем образного мышления в целом и количеством неадекватных трансформаций в переводе. Выявлено негативное влияние на результаты перевода низкого пространственного воображения. The article aims to investigate the influence of different types of secondary mental images on literary text translation. Our experimental data confirm a stone role of object imagery for finding adequate translation solutions, as well as suggest a moderate negative correlation between individual imagery scores and the number of inadequate translation solutions. A low level of spatial imagery may negatively affect the translator’s choices.

Penalaran Aljabar Siswa SMP dalam Menyelesaikan Masalah SPLDV Ditinjau dari Gaya Kognitif Visualizer dan Verbalizer

Penelitian ini bertujuan untuk mendeskripsikan penalaran aljabar siswa SMP dalam menyelesaikan masalah SPLDV ditinjau dari gaya kognitif visualizer (object imagery dan spatial imagery) dan verbalizer. Penelitian ini merupakan penelitian deskriptif kualitatif. Subjek penelitian ini terdiri dari tiga subjek kelas IX C SMP N 5 Ponorogo dengan jenis kelamin perempuan, kemampuan matematika berkategori tinggi, dan masing-masing bergaya kognitif object imagery (OI), spatial imagery (SI), dan verbalizer (V). Instrumen penelitian yang digunakan yaitu tes gaya kognitif OSIVQ, tes kemampuan matematika (TKM), tes pemecahan masalah (TPM), dan pedoman wawancara. Hasil penelitian ini, semua subjek menunjukkan penalaran aljabarnya pada tahap specializing, dengan menentukan informasi yang diketahui dan hal yang ditanyakan secara lengkap. Namun, OI tidak memahami maksud dari salah satu pertanyaan dalam TPM yaitu tentang cara mengecek kembali penyelesaian dengan metode penyelesaian SPLDV yang berbeda. Pada tahap conjecturing, semua subjek menentukan permisalan variabel dari apa yang diketahui. Namun, hanya SI dan V yang dapat menentukan rencana penggunaan metode eliminasi-substitusi untuk menyelesaikan masalah SPLDV. Pada tahap generalizing, hanya SI dan V pula yang menentukan penyelesaian SPLDV dengan metode eliminasi-substitusi. Meskipun demikian, seluruh subjek mampu menyusun model matematika dari soal yang diberikan dan melakukan substitusi dari nilai yang diperoleh ke model matematika yang ditanyakan. Pada tahap justifiying, hanya SI yang menentukan penyelesaian masalah SPLDV dengan metode yang berbeda yaitu metode substitusi, namun terdapat kesalahan perhitungan yang disebabkan oleh faktor ketidaktelitian, sehingga menyebabkan perbedaan hasil. Selain itu, semua subjek dapat menyimpulkan hasil dari empat pertanyaan saja dalam TPM tentang penentuan harga paket dengan kalimat yang runtut. Kata Kunci: penalaran aljabar, SPLDV, object imagery, spatial imagery, verbalizer.

The Imprisoned Queen

This paper reconsiders how and why the representation of landscape became an increasingly central component of Pure Land art in the Tang dynasty. Focusing on the seventh-century Cave 209, I examine the first set of mountain panels at Dunhuang, arguing that those polychrome landscapes represent Vulture Peak, the sacred abode of Śākyamuni Buddha. Cave 209 shows how Lady Vaidehī—the protagonist of the Meditation Sutra—emerges as the first female viewer of landscape in Chinese art. Departing from the Meditation Sutra, painters at Dunhuang resituate Lady Vaidehī, the formerly imprisoned royal consort and model Pure Land adept, within mountain ranges where she converses with the Buddha. I argue that Lady Vaidehī's encounter with the Buddha is mapped onto the space of a Dunhuang cave to enable the viewer to assume her position when facing the icon of Śākyamuni surrounded by Vulture Peak. By grappling with Vaidehī's imprisonment, painters use landscape to develop a new spatial imagery of salvation. I maintain that the striking innovations in landscape representation at Dunhuang—achievements that have been seen to anticipate later Tang “blue and green” landscapes—are in actuality based on an effort to visualize Buddhist soteriology in the early seventh century.

The Two Eyes of the Blind Mind: Object vs. Spatial Aphantasia?

Individual variability in imagery experiences has long attracted the interest of philosophers, educators, and psychologists. Since Aristotle’s time, it was assumed that imagery is a universal ability, so everyone possesses it. Galton first measured the vividness of subjective imagery experiences, and discovered that some individuals reported zero imagination. Recent research has coined the term “aphantasia” — an inability to form mental imagery, or having a “blind mind’s eye” (Zeman, Dewar, & Della Sala, 2015). We argue that there may be more than one type of aphantasia. Substantial behavioral and neuropsychological evidence has demonstrated a distinction between visual-object imagery (mental visualization of pictorial properties such as color, shape, brightness, and texture) and visual-spatial imagery (mental visualization of spatial locations, relations, and transformations). Notably, visual imagery is not a unitary ability, so individuals who excel in object imagery do not necessarily excel in spatial imagery, and vice versa. Here we argue that the commonly described “aphantasia” is not a general imagery deficit but rather a visual-object deficit of imagery (as aphantasic people are often identified by low scores on the Vividness of Visual Imagery Questionnaire, which assesses object imagery only). We hypothesize that “spatial aphantasia” (the inability to imagine spatial properties and relationships) can be a separate type of imagery deficit. Individuals with spatial aphantasia may not necessarily have a deficit in object imagery. We discuss future research directions examining how spatial aphantasia may manifest behaviorally and neurologically, and how object and spatial aphantasia may be related

The moderating role of culture in social media-based spatial imagery, consumer xenocentrism, and word-of-mouth for global virtual teams

This study investigates how culture moderates the interrelationships among social spatial imagery (SSI), consumer xenocentrism (C-XEN), electronic word-of-mouth (eWoM), and overall project performance for global virtual teams (GVTs) in social media networked environments. In a sample of 1240 participants from developed economies (the United States and Italy) versus 1176 from emerging economies (China, India, Colombia, Brazil, and Malaysia), partial least squares structural equation modeling and multigroup analyses were conducted to examine the above social media-based interrelationships. The results indicate that low power distance (PD), individualist, and masculine cultures exert strong and positive relationships between C-XEN and negative eWoM; while high PD, collectivist, and less masculine (or feminine) cultures strengthen positive relationships between xenocentrism and positive eWoM. Further, negative eWoM aids project success for GVTs, while positive eWoM has no impact on project performance for developed and emerging economies. Theoretical and managerial implications for understanding cross-cultural aspects of SSI, C-XEN, eWoM, and GVT project performance in online social networks are discussed.