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I read witness poetry as a model of response to suffering. Compassion is feeling together with another. Compassion is, then, opposed to empathy’s feeling as another. Compassion can be better understood through the witness poetry that privileges metonymical relationships in which readers are contiguously positioned in relationship to a speaker. This emphasis on relationship can be contrasted to the collapse of relationship in identification in which a reader reads as though he or she is the lyric I, the poetic voice, rather than a listener. I discuss this reader-as-listener in contrast to the trauma studies-influenced discourse surrounding witness poetry, a discourse which focuses on indexical poetic evidence of a poet’s wounds and the transferability of the poet’s trauma to readers. Compassionate response, as demonstrated by this poetry, is premised on a recognition of one’s intimacy with or distance from that which one witnesses. Distance is not synonymous with disengagement, but rather with the space of relationship through which connection and consideration is possible. All intimacy involves some distance; the two are not opposites, but a continuum. Witness involves waiting: response derives from the time of relation through which it might form. This waiting has reflection as its retrospective partner. Together, they form commemoration, which brings reflection into future and communal celebration and remembrance. Com-memoration is linked to com-passion in this communal element. My project engages witness poetry as a communal form inviting feeling in community, response to widespread suffering, and the establishment of relationship and connection. / Thesis (Ph.D, English) -- Queen's University, 2013-06-18 10:21:39.793

Abstract Title: How to translate cultural references Language: French Author: Helena Forsell University/Department/Year: Linnaeus University/School of Language and Literature/2014 The main focus of this paper has been to find out which difficulties the translator comes across when trying to find cultural references that will apply in the target text. Since the original text treats a cultural aspect concerning the French gastronomic meal, the aim has also been to find out whether a deeply human trait, such as eating a meal in the company of others, produces translation problems despite a fairly common ground between French and Swedish culture. The source text used in this study is Convention pour la Sauvegarde du Patrimoine culturel immatériel, Dossier de Candidature n◦00437, which was published in 2010 and translated into Swedish in 2014. The main translation strategies used are adaptation, equivalence, addition and omission. Keywords: Cultural adaptation, translation strategies, reference, metonymy.

In this work I propose that the rhetoric of technology is a kind of machinery of meaning-making that creates symbolic technologies that exist parallel with, but are distinct from, the material technologies they represent. The creation of symbolic technologies is dynamic and influenced by multiple and disparate communicative and ideological operations ranging from the writing and reading of technical manuals to processes of cultural indoctrination. As such, I use Barry Brummett's Rhetorical Dimensions of Popular Culture to demonstrate that technology is a coercive cultural force I call techno-culture. Under the influence of techno-culture, technical manufacture must be viewed as technology production and technical use must be viewed as technology utilization. This reformulation of terms emphasizes the fact that technology is manufactured and used according to the preferred significations of techno-culture. Fortunately, as the rhetoric of technology uncovers the processes by which techno-culture propagates hegemonic structures, the rhetoric of technology also provides users and manufacturers with the means to intervene. Metaphor and metonymy, as modes of meaning-making, are those means.

La figure du migrant est centrale dans l’œuvre de Salman Rushdie. Noyau d’un dispositif narratif, rhétorique, philosophique et métaphysique, elle organise une vision du monde orientée par ce qu’Edouard Glissant nomme le « nomadisme circulaire ». Dans ce monde baroque, instable et chancelant, le vacillement est maintenu par la convergence du centre et de la périphérie, qui deviennent deux formes du bord. Le transport est le nom que le grec donne à la métaphore : chez Salman Rushdie, c’est aussi le migrant. Figure de rhétorique, la métaphore relève d’un mode fondé sur la substitution et la rupture, d’après David Lodge, avec Jakobson. Inséparable de la métonymie, dont le mode est associé à la combinaison et la contiguïté, elle donne forme verbale et énergie à la puissance évocatrice et imaginatrice qui se manifeste dans les romans de Salman Rushdie. Cette énergie se fait véhicule d’un conatus centrifuge qui attire l’écriture vers les marges. Le bord s’inscrit dans la dialectique de la continuité et de la discontinuité en tant qu’il est commencement et fin. Il s’incarne dans le corps, dans divers lieux métaphoriques et poétiques, et dans des personnages appartenant tous à un entre-deux, à une réalité hybride qui favorise le basculement et le désordre. Cette thèse analysera dans quelle mesure les avatars du bord géographique, rhétorique et sémantique font prospérer une écriture génératrice d’une prolifération de sens et d’une poétique au cœur de laquelle la recherche de la « métaphore vive » [chère à Paul Ricoeur] participe d’un vertige des marges]. / The figure of the migrant is central in the work of Salman Rushdie. It is the fulcrum of a narratological, rhetorical, philosophical and metaphysical compound articulating a Weltanschauung oriented by what Edouard Glissant calls « circular nomadism ». In this unstable and unpoised baroque world, oscillation is maintained thanks to the convergence of the centre and the periphery, which become two versions of the edge. Transport is the name that the Greek language gives to metaphor: for Salman Rushdie, it is also the migrant. Metaphor, a rhetorical figure, derives from a mode founded upon substitution and rupture, according to David Lodge, after Jakobson. It is inseparable from metonymy, whose mode is associated with combination and contiguity, and it gives verbal shape and energy to the conjuring and evoking power which manifests itself in Salman Rushdie’s novels. This energy becomes the vehicle of a centrifugal conatus which draws the wr! iting towards the edge. The limit inscribes itself in the dialectics of continuity and discontinuity in so far as it is the beginning and the end. It is embedded in the body, in various metaphorical and poetic places, and in characters belonging to an intermediate space, to a hybrid reality where desequilibrium and disorder are rife. This thesis will analyse to what extent the avatars of the limit, be it geographical, rhetorical or semantic, create a bedrock in which this style can prosper. Generating a proliferation of meaning and forwarded by a poetics at the heart of which is the search for the « living power of metaphoricity », as suggested by Ricœur, it participates in a vertigo in the margins.

The anxiety produced by the Celtic Tiger collapse created a cultural demand for cognitive frames that made the dramatically altered social circumstances and processes leading to the new economic conditions relatable. To understand the 2008 financial collapse's impact on Ireland, the nation's leading newspaper, the Irish Times, predictably employed tropes in service since the Great Depression, including human body and geological metaphors for the economic system, while rarely using metaphors such as the casino economy or the networked economy that more aptly described the level of speculation in an economic system structured by the realities of the information age. Ireland’s post-Celtic Tiger poets exemplify the reciprocity between journalistic discourse incorporating economic tropes and Irish and Northern Irish poets’ use of this discourse as a method of social critique invested in the political policy direction of their nation. Irish poetry, absorbed in a more intensive version of linguistic expression and experimentation than journalistic discourse and economic rhetoric, provides insight into the effect of economic metaphors on the socio-cultural circumstances of the nation.

Having spent over 20 years under house arrest fighting for democracy in Myanmar, Aung San Suu Kyi has been a bastion for peace for decades. She has received many international awards, including the Nobel Peace Prize in 1991, which she accepted in person in 2012. The plight of the Rohingya, a Muslim minority in Myanmar, has marred Suu Kyi’s reputation as a bastion of peace, leading to calls for her to lose her Peace Prize. Why is it that Suu Kyi’s image as the future of peace so different from reality? That question is what this research attempts to answer. Through a rhetorical analysis of Suu Kyi’s Nobel lecture and the media coverage that followed it, the impact of the use of tropes becomes evident. Metonymy, synecdoche, and narrative emerge in both the lecture and media coverage. Suu Kyi’s use of tropes heavily influences public perception of her.

During the last few decades, the translation of metaphors has been a popular focus for examination. Seemingly, the challenges that metaphors and metonymies pose have urged several scholars to compile sets of translation strategies in order to meet them or at least attempt to describe how they tend to be met. This study contributes to the research of how metaphors and metonymies are translated by examining the retention of conventional metaphors and metonymies and the distribution of different translation strategies in a Swedish translation of an excerpt from a Scottish travel guide. According to previous studies, metaphors are powerful instruments of persuasion, especially in travel literature, which essentially serves to sell a destination to its readers. The findings show that translating a metaphor or metonymy into a non-metaphorical or non-metonymical paraphrase is the most frequently utilized strategy, indicating that the images evoked by the metaphors and metonymies are difficult to transfer intact into a target text. Restrictions of semantic relationships and differences in cultural associations are among the possible factors found to influence the choice of strategies. Nevertheless, reproduction of source text metaphors and metonymies, and compensation were found to be the second and third most frequent strategies. While reproduction was expected due to the cultural similarities between English and Swedish, the relative frequency of compensations was less so, but perhaps motivated because of the overall loss of metaphors and metonymies in the translation.

Prison language is heavily influenced by its environment and is noteworthy for its use of metaphor and metonymy. This study examined the use of metaphor and metonymy, including metaphtonymy, in prison language and how they are influenced by aspects of the environment. The metaphoric and metonymic expressions were selected from the language of incarcerated people and of correctional officers (COs). Data for this study was collected from the podcast Ear Hustle that is produced from inside San Quentin State Prison in California, USA and has been qualitatively analyzed using grounded theory. Additionally, Conceptual Metaphor Theory (CMT) was used to identify and format metaphor and metonymy found in the data. The conventional metaphors and metonymies and metaphtonymy found in the data were used by both incarcerated people and COs. The expressions were compared to the metaphors discussed by Lakoff and Johnson (1980) in their work on CMT. In this case, conventional metaphors and metonymies were often used in reference to prison structure. However, incarcerated people also use the unique metaphors INCARCERATED PERSON IS AN ANIMAL and PRISON IS A ZOO that are not evident in the speech of COs. This particular difference occurred in the data when the incarcerated individuals have more negative associations with the issue in question than do the COs. COs instead use the metaphor PRISON IS A TOOL, relying more on legal jargon and technical terms. All three of these metaphors are used by prison abolitionists when talking about prison. The results provide insight into what prison conditions are like for incarcerated people, given how prison environment influences language development, as well as the often-complicated relationships between incarcerated people and COs. Furthermore, the results illustrate that other conceptual metaphors can be found in different language varieties beyond the conventionalized ones found in non-prison discourse.

Le présent travail traite la lange serbe et la littérature serbe dès ses origines jusqu'à l'époque contemporaine ; les notions élémentaires concernant les termes employés en sémantique en général ainsi que ceux employés dans ledit travail, tels que l'homonymie, la polysémie, la synonymie etc. Notre travail présente la liaison entre la sémantique et la rhétorique. A cette fin, il traite les figures de style et les tropes, sous le prisme linguistique. Il s'agit particulièrement de la métaphore, la métonymie et la synecdoque. Les différents types de métaphores sont abordés : la métaphore morte, la métaphore avec la copule et la métaphore ayant le verbe autre que la copule. Le dernier type de métaphore fait preuve qu'elle n'est pas une comparaison abrégée. Toutes les formes de métonymie sont examinées, ainsi que la synecdoque avec ses sous formes. La théorie ensembliste à l'aide de laquelle la métonymie et la synecdoque sont présentées démontre clairement que la synecdoque a une autonomie significative et qu'elle ne peut être considérée comme une simple sous forme de métonymie. / This work focuses on the Serbian language and literature from its beginnings until the present days, and on the basic concepts concerning the terms used in the general semantic as well as the terms that were used in this work such as homonymy, polysemy, synonymy etc. This work represents the connection between the semantics and the rhetoric. It deals with the figures of speech and the tropes in the light of linguistics. It focuses mainly on metaphor, metonymy and synecdoche. The different types of the metaphor have been taken in consideration: dead metaphor, metaphor with the copula and metaphor with a verb instead of the copula. The last mentioned type of metaphor proves that this figure of speech is not an abbreviated comparison. All the types of the metonymy were examined, as well as synecdoche with its subtypes. The theory of sets that was used for graphic presentation of the different types of metonymy and synecdoche clearly shows that the synecdoche has a significant autonomy and cannot be considered as a simple subtype of the metonymy.