This essay researches metaphors and metonymy in motorsports language, mainly investigating strategies for translating the structural metaphors RACING is WAR and RACE POSITIONS are RESOURCES and analyzing the results through both a quantitative and qualitative approach. The material for the research was selected parts of former Formula 1 driver Mark Webber’s autobiography, Aussie Grit: My Formula One Journey (2016). For the translation, dictionaries and parallel texts were utilized, and several works on translation theory, such as Ingo (2007), Newmark (1988), and Lakoff & Johnson (2003) were consulted for both the translation and the following analysis. Research into similar metaphors in other sports (such as Shields & Bredemeier (2013) and Bergh & Ohlander (2012)) was analyzed for background on the phenomenon of structural metaphors in sports. The results show that metonyms are prevalent in motorsports language, and structural metaphors are also well established in both the SL and TL. Regarding metonyms, the parallel texts show that proper noun metonyms can be transferred directly. Most metonyms in the ST are of the PLACE for EVENT category (for example names of racetracks/countries used to reference whole races, and the podium being used to reference placing top three or winning). The metaphor structures are also found in the TL, meaning the intended images can largely be maintained without changing the author’s established structure of the source text. Most metaphors and metonyms can thus be translated literally, or with TL equivalents. Where expansions are necessary, the translator can safely fall back on the structures present in motorsports language to ensure a text a reader with previous knowledge of such language will understand.

Bien que le Self soit une abstraction omniprésente de notre quotidien, il demeure complexe à définir. L'immense majorité des cultures du monde fait appel aux relations parties-tout afin de conceptualiser cette abstraction intime: nous catégorisons nos corps en tant que touts faits de parties, et réifions beaucoup d'aspects intangibles du Self au travers de l'image schéma PARTIE-TOUT (ex: "J'ai perdu une partie de moi ce jour là"; "je me sens entier"). Le Self et les relations parties-tout ont fait l'objet de nombreuses recherche à ce jour. Il convient donc, dans un premier temps, d'établir l'état de l'art en se focalisant sur un certain nombre de contributions influentes à ce sujet, qui nous permettront d'introduire les concepts et notions clés à partir desquels nous établirons notre hypothèse. Nous proposons une définition étroite de la relation partie-tout, puis, en accord avec le cadre théorique de la linguistique cognitive, nous proposerons que nous pouvons en apprendre sur la conceptualisation du Self en étudiant les expressions linguistiques qui y réfère. En effet, du point de vue de la linguistique cognitive, le sens et la conceptualisation ne font qu'un, et nous analysons donc les mécanismes conceptuels à l’œuvre dans les expressions partie-tout du Self. La linguistique cognitive a réconcilié la pensée et le corps en démontrant que la pensée était incarnée. Nous proposons ainsi d'analyser les expressions partie-tout que les anglophones utilisent pour conceptualiser le Self incarné. Nous montrons que l'anglais a des stratégies syntaxiques encodant la conceptualisation du corps en tant que tout fait de parties de manière très précises. Nous proposerons ensuite d'analyser les stratégies linguistiques que les anglophones utilisent pour faire référence à leur Self intangible. Nous soutenons que le schéma PARTIE-TOUT est omniprésent dans la conceptualisation du Self aussi bien dans ses aspects tangibles, qu'intangibles. Nous soutenons que ce schéma est un modèle récurrent hérité de notre expérience sensorimotrice au travers duquel nous vivons, et que ce système de conceptualisation est très précisément capturé par la langue que nous parlons. / The Self is a ubiquitous abstraction of our daily lives, and yet remains complex to define. The vast majority of the world’s cultures recruit a part-whole conceptualizing process to give shape to this intimate abstraction: we categorize our bodies as wholes made of parts, and we reify many aspects of our intangible Self through the PART-WHOLE schema (e.g. “I lost a part of me that can never be replaced”; “I feel whole”). The Self and part-whole relations have both received a considerable amount of attention. I first review influential contributions to both domains of investigation to introduce the theoretical background and key concepts, upon which I build my argument, and also raise some issues, which I propose to address throughout this dissertation. I propose a narrow definition for the part-whole relation, and following the cognitive linguistic literature, I argue that we can learn more about the way we conceptualize our Self by analyzing the linguistic expressions that refer to it. Indeed, from the standpoint of Cognitive Linguistics, meaning is conceptualization, and I thus analyze the conceptual mechanisms at work in part-whole expressions of the Self. Cognitive Linguistics has put back together the long divorced mind and body in Western culture by demonstrating that the mind is embodied. Accordingly, I first propose to analyze part-whole expressions that English speakers use to conceptualize the Embodied Self. I show that English has syntactic strategies that encode the conceptualization of the body as a whole made of parts at a fine level of granularity. I then propose to analyze linguistic strategies English speakers use to refer to their Intangible Self. In both tangible and intangible aspects of the Self I argue that the PART-WHOLE schema is a pervasive recurring pattern of our sensorimotor experience that we live through, and that this complex conceptual system is precisely encoded in language.

This thesis deals with metaphors in the conception of George Lakoff and Mark Johnson. Metaphor is one of the fundamental principles anchored in our conceptual system and in our relationship to the world. Metaphors reveal how the world is saved in our language. This thesis illustrates a method of forming metaphors on the example of advertisements. It closely focuses on the cultural differences.

This study examines the translation of an adventure travel guide from English to Swedish, focusing on the translation of conventional metaphors, original metaphors, metonymy and similes, with special attention to conceptual metaphors. The results show that most of the metaphors are reproduced in the target text, along with most of the metonymic segments and all similes. The findings suggest that the relatively high rate of metaphors and metonymy reproduced is due to a high degree of shared metaphorical concepts in source and target culture, whereas the decrease likely is due to an asymmetry in the preference of usage and degree of elaboration for these metaphors. The qualitative analysis shows that many conceptual metaphors fulfilled important functions in the source text, which confirms previous research that preserving the conceptual metaphors as much as possible in the translation process is essential in order to preserve all the functions of the source text. Analysis of metonymy and the personification of cities shows how the metonymic concept place for person is related to the central theme of personification and that this concept is likewise used to fulfill an important purpose of the source text, showing that metonymy is equally important to preserve in the translation process. The results of this study suggest that the choice of translation strategy in some cases is less dependent on category and more dependent on to what extent the cultural concepts that the metaphor/simile/metonymy is based on is similar/different, more/less elaborate or more/less preferred in source and target culture.

Focusing on a source text of music journalism, this study sets out to investigate the role of metaphors in translation techniques from English to Swedish. The study turns to the conceptual metaphor, as presented by George Lakoff and Mark Johnson (1980), and considers a range of translation strategies prescribed by scholars such as Christina Schäffner (2004, 2012) and Grace Crerar-Bromelow (2007). Drawing upon these sources, the aim is to quantify, categorize, and translate the metaphors of the source text, premised on Lakoff and Johnson’s three conceptual categories of structural, orientational, and ontological metaphors. Focusing on their frequency, overlaps, and role in the source and target texts, the study traces what bearing these conceptual categories have on the translation practice. The results show that Lakoff and Johnson’s conceptual metaphors have great merit in the translation of metaphors by helping the translator capture nuances, double meanings, and idiomatic properties in both source and target texts and contexts.

La langue n’est pas qu’un outil de communication, mais aussi un moyen pour explorer, un raccourci efficace dans l’expansion des connaissances humaines et l'exploration de la société humaine. En analysant la poétique métaphorique des deux poètes déconstructionnistes canadiens, Robert Kroetsch et Erin Moure, cette thèse vise à examiner comment la métaphore, la métonymie et la catachrèse travaillent ensemble pour engendrer des constructions métaphoriques, qui peuvent produire de nouvelles connaissances et une éthique féministe. La métaphore, la métonymie et la catachrèse sont généralement étudiées comme des dispositifs littéraires qui augmentent l'attrait artistique des œuvres littéraires. Cependant, dans la poésie métaphorique, ils sont considérés comme des outils cognitifs pour déconstruire une compréhension rigide de l'histoire humaine et de la société. Dans The Stone Hammer Poems, la métaphore et la métonymie servent à dévoiler l'existence du savoir perdu, délimitant un espace imaginaire, composé de créatures et de civilisations anéanties. De même, dans O Cidadán, les deux dispositifs constituent une structure métaphorique qui accentue le respect du statut naturel des êtres humains. Pendant ce temps, au lieu de former une rhétorique satirique, la catachrèse dans les deux œuvres devient de véritables connaissances du temps et des personnes perdus. Par conséquent, en utilisant une approche cognitive pour effectuer une étude littéraire sur The Stone Hammer Poems et O Cidadán, cette thèse vise à étudier comment la métaphoricité fonctionne comme une ressource de compréhensions post-structuralistes de l'historicité et comme porteuse de l'éthique féministe. / Language is more than a communicative tool. It is a practical means of inquiry, a functional device to expand human knowledge and to explore human society. By analyzing the metaphorical poetics of two Canadian deconstructionist poets Robert Kroetsch and Erin Moure, this thesis aims to examine how metaphor, metonymy, and catachresis work together to engender metaphorical constructions that can produce new knowledge and feminist ethics. Metaphor, metonymy, and catachresis are usually studied as literary devices that increase the artistic appeal of literary works. However, in metaphorical poetry, they function as cognitive tools to deconstruct rigid understanding regarding human history and society. In The Stone Hammer Poems, metaphor and metonymy serve to unveil the existence of the lost knowledge, delineating an imaginative space consisting of annihilated creatures and civilizations. Similarly, in O Cidadán, the two devices construct metaphorical constructions that accentuate the respect of the natural status of human-beings. Meanwhile, instead of forming satirical rhetoric, catachresis in both works become the real knowledge regarding the lost time and people. Therefore, employing a cognitive approach to perform a literary study on The Stone Hammer Poems and O Cidadán, this thesis studies how metaphoricity operates as the resource of post-structuralist understandings on historicity and as the carrier of feminist ethics.

Ce mémoire cherche à dégager les mécanismes et outils narratifs utilisés par les suspenses afin de configurer la tension narrative au cinéma. Le premier chapitre analyse la fonction de la synecdoque et de la métonymie dans la configuration d’un espace-temps tensif. Ainsi, l’exposition d’un danger enclenche une situation narrative incertaine dans laquelle le spectateur s’identifie au personnage menacé et vit avec lui son angoisse. À partir de définitions générales et de nombreux films tels que Jaws et The Matrix, le deuxième chapitre s’aventure à la recherche de récurrences thématiques et esthétiques dans le but de légitimer un genre ambigu. Le troisième chapitre introduit la démarche créative et la recherche en création. Le scénario Les saisons parfaites, un suspense psychologique, évoque L’enfer de Claude Chabrol et Black Swan de Darren Aronofsky. Donc, ce mémoire se demande comment s’articule la tension narrative et comment définir l’identité générique du suspense? Ce dernier existe-t-il seulement? Si oui, à quoi sert-il de l’étudier? / This thesis focuses on the mecanisms and narrative tools used in suspense and thriller films. The first chapter analyzes the function of the synecdoche and metonymy and their role in filmic time-space. The presence of danger triggers incertainties for the viewers that are bound to the endangered character. Then, following larger definitions and numerous films such as Jaws and The Matrix, the second chapter tries to find recurring thematic and aesthetic elements. The purpose of this approach is to legitimate a genre that might not be one. Finally, the third and last chapter, introduces the creative part of this work. A screenplay, The Perfect Seasons (Les saisons parfaites), a psychological suspense, is inspired by Darren Aronofsky’s Black Swan and Claude Chabrol’s L’enfer. This thesis asks how does work narrative tension in films and how is it possible to define suspense as a genre? Does this genre exists? If so, why is it important to study it?

[pt] Este trabalho investiga as formações deverbais X-do, com o objetivo de determinar até que ponto tais formações estariam circunscritas à classe dos adjetivos ou, ao contrário, apresentariam propriedades também de substantivos. Inicialmente discorre-se sobre o problema da classificação de palavras segundo diferentes perspectivas, tais como as da gramática tradicional e a do Estruturalismo. A seguir, trata-se da questão da conversão categorial e do tratamento dado pela gramática tradicional (como derivação imprópria) e pela Morfologia Lexicalista com respeito às categorias lexicais. Ademais, trata-se da questão da relação entre o adjetivo em –do e a função gramatical do particípio passado. Também se aborda o papel da metonímia ao lado do processo morfológico de formação de nomes de afetado do tipo X-do. Finalmente, discorrese acerca de casos específicos, coletados a partir do jornal O Globo durante dois meses. O apêndice constitui-se de testes elaborados a fim de identificar quais formações ocorrem como substantivos convertidos, quais ocorrem como substantivos apenas em contextos restritos a ocorrências genéricas e quais ocorrem apenas como adjetivos. As conclusões são apresentadas a partir dos resultados verificados mediante a aplicação dos testes. / [en] This work investigates X-do type deverbal constructions, in order to determine whether such constructions are restricted to the class of adjectives or, on the contrary, they would also present properties that are also typical of nouns. Firstly, we consider the problem regarding word classes according to different perspectives, such as Traditional Grammar and Structuralism. Then, we discuss categorial conversion and its treatment in Traditional Grammar and Lexicalist Morphology. Also, we discuss the relation between the X-do type adjective and the past participle grammatical function. We approach the role of metonymy as well, in connection with X-do formations corresponding to patient or affected roles. Finally, we analyze specific cases, collected from O Globo newspaper for the period of two months. The appendix consists of tests elaborated in order to identify which formations occur as nouns formed by conversion and which occur only as adjectives. Conclusions are presented according to the results obtained through the application of the tests.

<p>Old English literary studies is a fascinating field of research which spans many various approaches including philology and linguistics as well as literary and cultural theories. The field is characterised by a certain conservatism, what in this thesis is referred to as tradition. This thesis examines the scholarship on The Wife's Lament and Wulf and Eadwacer, projecting its cumbersome affinities with tradition as a conservative force as well as the resistance against it. The investigation focuses mainly on two aspects of scholarly research: the emergence of a professional identity among Anglo-Saxonist scholars and their choice of either a metaphoric or metonymic approach to the material. A final chapter studies the concomitant changes within Old English feminist studies. The thesis also summarises the approaches to points of ambiguity in the poems, and provides a comprehensive bibliography of scholarship on the two texts.</p>

This study aims at examining in detail the linguistic characteristics of sentential idioms (‘idiomatische Sätze’, IS) in German, e.g. Das kannst du dir an den Hut stecken.; Du hast wohl Tomaten auf den Augen!; Da lachen ja die Hühner!. In theoretically and empirically investigating their syntactic, semantic and pragmatic features and productive potential, it is shown that IS can only be described properly by looking at the interfaces between syntax, semantics, and pragmatics, and by systematically investigating pattern formation. In this respect, the study goes far beyond traditional phraseological research. As a theoretical background, the study refers to research on phraseology, sentence types and sentence mood, linguistic evaluation, morphological productivity, and the frameworks of Construction Grammar and Relevance Theory. Empirical evidence comes from a large corpus of written German, a linguistic experiment on productivity, and introspective data. With respect to syntax, the study shows that IS are bound to one or a few different sentence types, varying according to the degree of restriction of their speech act potential. The complex semantics of IS is shown to consist not only of a literal and an idiomatic, but also of a third, mediating representational level. The idiomatic meaning of IS is described as evaluative meaning. Pragmatically, IS are dependent on special contextual environments to obtain a proper interpretation. A context model is developed which makes use of certain categories of evaluation. Moreover, a relevance-theoretic approach is sketched in order to explain which functional advantages IS might have compared to non-idiomatic utterances. With respect to productivity, ten different idiomatic patterns of construction are identified and described in detail. It is experimentally demonstrated that these patterns are productive to a greater or lesser degree dependent on their internal syntactic, lexical, semantic and pragmatic features.