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Is It True that “If You Run Ahead of Yourself, You Cannot Go Very Far”? Image Schemata and Aphorisms The author uses a cognitive tool called image schemata to analyse aphorisms. The schemata originate from early bodily experience and are enable to ground the phenomenon of linguistic meaning there. The aphorism is defined not only as a linguistic fact but as a conceptual structure based on an axiological clash. The clash results from profiling opposite values in the used schemata. Considering the language-values relationship, the article adopts a cognitive linguistics approach which claims that valuation is an immanent part of symbolic language units and it mustn’t be relegated to the area of pragmatics. Following Krzeszowski’s concept, the author assumes that preconceptual schemata interact with the SCALE schema. The hearer/reader of the self-contradictory expression must reinterpret it using metaphorical meanings. These are easily available thanks to conceptual metaphors which include image schemata in their source domains.

A Cognitive Linguistic Study of Image Schemata in Selected English Proverbs

This study intends to examine image schemata in English proverbs based on the Johnson's image schemata types in a cognitive semantic approach. Thus, the present study considers firstly some theories concerning cognitive linguistics, cognitive semantics, image schemata and its types. Then it examines the three categories of the Johnson's (1987) image schemata, namely, container, force, and path image schemata. The fundamental aim of the study is to answer a set of questions such as (1) what are the main types of Johnson's image schemata in English proverbs? (2) How do image schemata play a dynamic role in structuring human physical experiences even before learning a language? (3) In which way does the use of certain linguistic items redound on deciding the type of image schemata? However, the consequences of the current study show that (1) Some of English proverbs contain Johnson's types of image schemata, namely, container, force, and path schemata, (2) image schemata have an experiential basis, and (3) the meaning of most of image schemata in English proverbs is associated with using certain linguistic items.

CONCEPTUAL METAPHORS USING ENGLISH NAUTICAL EXPRESSIONS

This study was conducted to investigate metaphors relating to nautical expressions. Among a number of approaches, cognitive semantics introduced by Saeed (2005) is adopted in this study. Besides, the insight into metaphor in terms of image schemata mainly has its foundation from the theory of conceptual metaphors established by Lakoff and Johnson (1980).The sentences containing nautical expressions with their metaphorical meanings were collected from maritime newspapers, magazines, books, websites, etc. and analyzed in terms of image schemata by the quantitative, qualitative, analytic, and descriptive methods. The findings reveal that the image schemata in nautical expression based metaphors are much diversediverse but uneven.

Film Novelization as Multimodal Translation

Novelization, i.e. a literary adaptation of a film, despite its widespread presence on the book market, was treated as a merely commercial phenomenon, and until the late 1990s, it did not inspire any academics research. The main objective of this paper is to show that the phenomenon of novelization can offer new opportunities for linguistics and to reconsider the place of novelization in adaptation and translation studies. It is claimed that the process of film-to-book transformation can be called a translation process. The term multimodal translation is adopted since transforming a multimodal text film into a monomodal one book involves a change of modalities and their density. What follows is an attempt to propose tools that can be used for the effective analysis of multimodal translation, which involve the classical Aristotelian view of the three-part plot of verbal texts and Elżbieta Tabakowska’s theory of cognitive translation. In order to illustrate the film–book translation process, an Interstellar film segment and its book counterpart are analyzed and the conclusion has been drawn that both the film and the book units use the same orientational image schemata. These findings prove that the extension of Tabakowska’s theory to multimodal texts is an adequate framework for the comparison of a film and its novelization.

Uncovering historical semantic connections with the help of image schemata

Standard etymological dictionaries agree that Modern English some, same and their Old English cognate sam- ‘half’ descend from the same etymon. However, while explaining their phonological development from the same proto-form is unproblematic, their divergent meanings make the reconstruction of their semantic evolution more challenging. The paper examines the historical semantic connection between these three morphemes from a cognitive perspective and attempts to provide an explanation of how they are conceptually linked to each other. Based on a cognitive semantic analysis of the meanings of these forms, we propose that all three concepts are understood on the basis of and embedded in one and the same image schematic domain – comprised by the general unity/multiplicity schema – and derive from entailments of its subschemata. Such an image schematic account of the conceptual connections between these meanings provides an explanation for the various paths of semantic development from the original etymon leading to the established later meanings. This approach will also facilitate the semantic reconstruction of the ancestral Proto-Indo-European form and help identify the exact cognate relationships between some, same and sam-.

Using Spatial Image Schemata in the characterization of spatial relations

<p><strong>Abstract.</strong> Spatially describing objects or environments is a natural and everyday task present in the daily lives of individuals. To portray the existing relationships between present elements of the scene described, it is necessary to use terms known as spatial relations. Frequently, such descriptions are performed using Natural Language (NL), both spoken and written. The existence of a constant interaction of human with the environment makes NL rich in terms that characterize space, resulting in a diversity of such words. The variety of terms used as spatial relations makes it difficult to implement spatial localization systems that use NL. Therefore, to understand how spatial relations are used, the present article aimed to detect and categorize such spatial relations. For this, an experiment of a spatial description of environments unknown by users was performed. The volunteers were native speakers of Brazilian Portuguese language and from the spatial descriptions were obtained locative expressions that allowed the definition and categorization of spatial relations using the Spatial Image Schemata. The results obtained demonstrated an attempt to understand the spatial relations used in spatial descriptions. In the future, we aim to define a set of spatial relations representative of the words used in a spatial description task.</p>

Bridging Heterodox Views on Language and Symbols: Gilbert Durand’s Imaginaire and Mark Johnson’s Image Schemata

Summary This paper aims to bridge anthropological and cognitivist research undertaken by Gilbert Durand and Mark Johnson, who studied the phenomenon of meaning making in a similar way, although they had to use different terminology as their disciplines demanded. Durand established systematization for analyzing symbolism by taking into account the position of the body and the perceptions determining the underlying schemata of symbols. Two decades later, Mark Johnson described image schemata as gestalts having an internal structure derived from bodily perceptions. Owing to these similarities, a comparison between Durand and Johnson’s theories is offered first. In the second place, I reviewed the cognitive value of the anthropological regimes of imaginaire described by Durand. During the analysis, the terminology used by these theorists (like ‘image schemata’ or ‘axiomatic schemata’) was comparatively analyzed to find common ground between their positions. In conclusion, the need for recovering theories of imagination proposed by heterodox scholars like Durand is highlighted, since they anticipate the role of images and imagination not only in language, as Johnson demonstrated, but also in the formation of anthropologically relevant symbols, which are of interest for the analysis of literature and other arts.

Peirce’s universal categories: On their potential for gesture theory and multimodal analysis

This paper presents an account of how Peirce’s Universal Categories (UCs) of perception and experience may, as heuristic principles, inform gesture theory and multimodal analysis. Peirce’s UCs – Firstness (possibility), Secondness (actuality), and Thirdness (law, habit) – constitute the core of his phenomenology and thus also the foundation of his triadic semiotics. I argue that compared to the basic sign-object relations icon, index, symbol mainly used in previous gesture research, the more fundamental UCs allow one to discern additional facets of how coverbal gestures act as signs. This notably pertains to the phenomenology, multidimensionality, and multifunctionality of gesture. The guiding assumption is that compared to Thirdness-laden linguistic symbols constituting written, spoken or signed discourses, gestures may exhibit the UCs to more strongly varying degrees and in different, modality-specific ways. The multimodal analyses discussed in the paper show how Firstness tends to draw attention to the articulatory qualities of gestural signs, including aesthetic and affective strata, Secondness to their experiential grounding and contextualized meaning, and Thirdness to embodied habits of perceiving, feeling, (inter-)acting, thinking, and communicating with others. I further suggest that particularly through interacting with embodied image schemata and force dynamics, such habits may give rise to flexible regularities and schematicity in gesture.

Seeing in the Mind’s Eye

This chapter considers the psychological mechanism known as visual imagery. Visual imagery is defined as a process whereby an emotion is evoked in the listener because he or she conjures up inner images while listening to the music. Images might come about in three ways. First, mental imagery may occur when listeners conceptualize the musical structure through a nonverbal mapping between the metaphorical ‘affordances’ of the music and image-schemata grounded in bodily experience. A second type of imagery might occur when a listener brings to a listening experience certain types of knowledge or myths about the circumstances surrounding the creation of the piece or about the artist in question. Thirdly, a music listener can create images based on how certain aspects of the music mirror aspects of the listener's current life experience.

A Different Beginning

In preparing the ground for a different practice of theoretical imagination, Chapter 1 paves the way for moving beyond its most frequent object—not the people as such, but rather the six specific propositions of peoplehood. This chapter does so by outlining the imaginative choices that inhere in the six overlapping and mutually interconnected registers of constituent imagination: purposive, visual, quasi-narrative, affective, ambiental, and conceptual. In setting the stage for the exercise of imagination that is neither polemically quietist nor visually indifferent, it also draws attention to its practical, polemical, scopic, scenic, diagnostic, prognostic, disciplinary, and rhetorical dimensions, which together offer the speculative morphology of constituent imagination in action—the practice of theoretical imagining which remains attuned to the diversity of ways in which image schemata, scripts, stage-sets, ways of seeing, plotting devices, and audience design shape the theoretical understandings of popular sovereignty beyond traditional disciplinary divides.