CAN FIGURES PERSUADE? ZEUGMA AS A FIGURE OF PERSUASION IN LATIN

Use of rhetorical figures has been an element of persuasive speech at least since Gorgias of Leontini, for whom such deliberate deviations from ordinary literal language were a defining feature of what he called the ‘psychagogic art’. But must we consider figures of speech limited to an ornamental and merely stylistic function, as some ancient and still many modern theorists suggest? Not according to contemporary cognitive rhetoric, which proposes that figures of speech can play a fundamentally argumentative role in speech by evoking a level of shared meaning between speaker and listener, and simultaneously by affording the possibility of reorganizing this common ground. This paper argues that, in Latin literature, zeugma—the ‘linking together’ of two elements (usually nouns or prepositional phrases) with a third (usually a verb) that is semantically compatible with only one of them—can and very often does operate argumentatively, and that it does so by surfacing figurative relationships that normally remain below the conscious awareness of Latin speakers and by imparting a certain structure to these relationships. What very often motivates the selection of elements within zeugma—and what makes zeugma more than simply a stylistic device—are in fact metaphorical structures that are highly conventionalized in Latin's semantic system. In tapping into symbolic associations that are deeply entrenched in the language and thought of Latin speakers, zeugma therefore provided a ready-made device for constructing arguments in context.

Metaphorical Structures Involving Deverbal Nouns Characteristic of the Akathist Text

Orthodox hymnography comprises a wide variety of musical-poetic structures. Among them, the akathist stands out both in terms of size and aesthetic features or in terms of frequency of use in the practice of prayer. From the point of view of linguistic interest, we notice the abundance of deverbal nouns in the structure of the akathists, present at all levels of text structure. The multifunctionality of the deverbal nouns within this type of text also includes the aesthetic dimension of the hymn. In the current article we will focus on the dominant metaphorical structures, formed on the basis of deverbal nouns, which highlight fundamental concepts of Christianity.

STRUCTURAL AND SEMANTIC ASPECTS OF METAPHOR IN THE POETIC DISCOURSE OF PETRO SOROKA

The article investigates the metaphorical space of poems collection «Frankincense of Autumn» by Ternopil artist, writer and literary critic Petro Soroka. The research subject is structural and semantic aspects of metaphorical constructions. The aim of the article is to determine structural and semantic features of metaphors in Petro Soroka’s poetic discourse. To achieve this, the author defines and specifies semantic and stylistic types of poetic metaphors; identifies image units structural features in the writer’s work. The analysis is based on descriptive method (selection and systematization of relevant material, observation of linguistic facts, their interpretation and generalization), semantic and stylistic method, contextual-interpretive method and also quantitative technique (to establish a frequency of different groups of metaphors). The study of Petro Soroka’s poetic discourse demonstrates complexity of associations that underlay individual authorial metaphors, and functioning of complex, extended metaphorical structures with authorial intellectualism. Poems present all of the semantic and stylistic types of metaphors. However, the factual material analysis indicates rareness of objectifiment and synesthetic metaphors. 87% of all metaphors are personifications, among which the most frequent are anthropomethaphors (79 %). Other personifications are zoometaphors (7 %), botanometaphors (13.5 %) and chimerometaphors (approximately 0.5 %). High number of anthropometaphors is caused by a person as a central image in Petro Soroka’s artistic world and focusing on feelings, emotions, experiences and inner state in general. Other lexical and phraseological features in the artist’s language world demand further research.

One Class of Predicates Reflecting Conceptualization of Time as a Resource

The research presented in the article was carried out within the framework of the conceptual and metaphorical theory of J. Lakoff and M. Johnson. One of the conceptual metaphors related to the conceptual metaphors of European culture is the metaphor TIME IS A LIMITED RE-SOURCE, TIME IS A VALUE. The meaning ‘to waste time’ is noted in the Russian verb to lose, French perdre, gaspiller, Spanish perder, Italian perdere, English lose, waste, misspend, squander, German verlieren, etc. Using the example of the Russian verb to lose, the classes of use of these predicates in the indicated meaning are presented in the article, as well as some features of the French and English units reflecting the specific features of the worldview of these languages are not-ed. The research is based on a large corpus of explanatory and bilingual dictionaries, data from linguistic corpuses. The relevance of the study is determined by the fact that, as it has been noted by the authors of the conceptual theory of metaphor, the basic values of culture are consistent with the metaphorical structures of its basic concepts. The relevance of the study is also determined by the fact that the study of metaphorical concepts is one of the ways to reconstruct the linguistic picture of the world.

Imago Dei: Metaphorical conceptualization of pictorial artworks within a participant-based framework

This article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures described by the participants often diverge from those advanced by the researchers. These findings challenge the methods by which metaphor identification and analysis in pictorials is currently approached. As a matter of fact, most of the research in pictorial metaphors tends to reduce stimuli such as artistic paintings to unique metaphoric interpretations generally produced by a single researcher by means of introspection. By addressing this methodological problem in metaphor research, this article contributes to the development of a theoretical and operational participant-based framework that takes into account the role of metaphoric conceptualization within the domain of art and art cognition.

Instruction on Metaphors During a Study-Abroad Program: Students' Perceptions and Understandings

It has been observed that language learners struggle to gain access to the metaphorical structures that are part of the target language and culture. In this study, six Spanish L2 learners and nine Spanish heritage speakers from the United States completed a study abroad program in Spain in which language instruction was supplemented with a module on the subject of metaphors. This article seeks to describe this module and present learners’ perceptions of its implementation and of the learnings resulting from it, as reflected in learners’ weekly reflections and exit questionnaire. The analysis of these data indicated that most participants became aware of metaphors in every-day language. However, they were not fully able to produce metaphors themselves. Pedagogical implications of this experience include differentiated metaphor instruction for heritage speakers and L2 learners, and fostering not just metaphor awareness but competence.

Conceptual metaphor of “thread” in Vietnamese idioms and folk songs

From the in-depth study of the concept of “thread” in Vietnamese idioms and folk songs, the article has established metaphorical structures of the concept of human\body part as “thread”; The predestined object is the “thread”; love\affection means “thread”; human activities\perceptions are activities with “threads”; human mood is considered as “thread”; talent\quality is a “thread”; The situation is the “thread” and thereby, this paper may contribute to further conceptual metaphor of cognitive linguistics illustration; and show a unique part of Vietnamese language - thinking - culture.

A STONE AND THE STUMBLING - II. The house, the temple, the curtain, the flesh - metaphors of exegetic constructivism

После того как был прослежен опыт строительства, созидания и разрушения в Первом Завете, стало возможно обратиться уже к Новому Завету, построенному как текстуальный канон вокруг единого христологического центра - исповедания Иисуса как Мессии и более того - как воплощенного Божественного Слова. Так как имеются в виду реалии текстуального свойства, то важно себе представлять все эпистемологические особенности рецепции некоторых семантических пространств-топосов, задаваемых в первую очередь керигмой, т. е. личным возвещением опыта встречи с Иисусом, принимаемым Христом - пасхально и евхаристически. Эти новые отношения с Богом, отличные от опыта Первого Завета, оформляются в качестве некоторых метафорических конструкций, которые выглядят как те или иные текстуально-символические действия, обращенные на конкретные пространственные отношения - в виде домов, синагог и, главное, Храма. Судьба Храма в Новом Завете - трагическая: он подвергается уже на уровне текста разрушению и упразднению. Но за этим - опыт телесности: она и замещающая реальность (плоть заменяет тело здания как скиния Небесная - земную), и реальность трансформируемая (тело, завеса, плоть, пелена, община как слагаемые камни Царства). В результате же - опыт метафорической и риторической конструкции Откровения Иоанна, о котором наша следующая попытка «архитектонической экзегезы», призванная финализировать опыт разрушения и созидания, ложного и подлинного, оскверненного и очищенного, проклятого и оправданного - спасенного. Having examined the experience of building and destruction in the First Testament, it is possible to focus on the New Testament, built as a textual canon around the one christological center - professing Christ as the Messiah and the embodied Word of God. As we focus on textual properties, it is essential to understand the epistemological element of the perception of certain semantic spaces/topoi, based, first and foremost, on kerigma - personal proclamation of meeting Jesus, who is recognized as the Christ of Easter and the Eucharist. These new relationships with God, different from those of the First Testament, are built as metaphorical structures that look like certain textual-symbolic actions referring to specific spatial relations shaped as houses, synagogues and the Temple. The fate of the Temple in the New Testament is tragic: it is destroyed and abolished even at the textual level. Behind it is the experience of corporeality as a replacement reality: flesh replaces the body of the building, and similarly, the Heavenly tabernacle replaces the earthly one. This reality is being transformed: the body, the flesh, the community - altogether become stones of the Kingdom. And as a result - St. John's Revelation, his metaphorical and rhetorical construction, which is the subject of our following attempt at 'architectonic exegesis', invoked to finalize the experience of the destruction and structuring, of the false and true, of the desecrated and cleansed, of the condemned and saved.

The Physics and Metaphysics of Metaphor

This section argues that Lyly’s and Shakespeare’s characters process and experience eros through the primary metaphor of motion. These introductory pages explore the philosophical and conceptual underpinnings of this metaphor through the example of Shakespeare’s Angelo in Measure for Measure. Drawing from the work of cognitive linguistics George Lakoff, Mark Johnson, and Zoltan Kövecses, this section explores the broad metaphorical structures that shape Angelo’s erotic experience as both a passion and an action. Things happen within Angelo well before he ‘acts out’ his sexual pursuit of the novitiate Isabella. The remainder of this section investigates the relationship between erotic potentiality and actuality, or entelechy, in Aristotle’s Physics and Metaphysics. In Aristotle’s writings, as in Shakespeare’s play, the boundary between potency and actuality is fluid rather than fixed. As a result, Angelo’s metaphors dramatize the capacity of erotic potentiality to create drama. For him, as for so many of Lyly’s and Shakespeare’s characters, desire is itself a frenzied action.

THE METAPHORICAL MODEL OF THE HUMAN INNER IN ARTISTIC TEXTS OF I. S. NECHUY-LEVYTSKY

In the article, based on the linguistic and stylistic analysis of the artistic texts of I. S. Nechuy-Levytsky, the metaphorical model of the human inner world is explored. Typical metaphorical structures are found, in which the thoughts, dreams, feelings, feelings conceptual for linguistic thinking are grouped around dynamic signs with the seeds of 'movement', 'moving'. Such structures reflect the principle of anthropomorphism, which is indicative to the writer’s idiom, that is, the animation, the attribution of the beings’ properties of abstract names – attributes of the intellectual sphere of human life. The fixed types of metaphorical structures are most often based on the interaction of the semantic complex "the human inner world" with the names of the semantic complexes "nature", "concrete objects". The dominant basic models that underlie the metaphorization of concepts to denote the inner world of a person are distinguished: bird→thought, water→thought, bird→dream, specific objects → thought. The study of the metaphorization conceptual for linguistic thinking of I. S. Nechuy-Levytsky points to the entry of these lexemes into the associative lexical-semantic field "thought", which names the human thinking activity. The common vocabulary focuses on the figurative use of dynamic features that metaphorize words-images of thought, dream, feeling. In the texts under study, common metaphors acquire additional connotations through the spread of spatial and temporal concepts. The fixed metaphors show a tendency to complicate their subordinate comparative sentences, to refine the semantics of the verb-predicate by a comparative reverse.