From a general point of view, the aim of this thesis is to study the appearance and the translation of the metaphor in a context that involves specialized texts. Our purpose is also to examine the historical expression of metaphor within aspects connected to its importance for creation of scientific terms. More precisely, the main object is to explore how metaphors have been used in the field of medical terminology and by which methods they have been translated across the languages. Our approach is based on the definition of conceptual metaphor conceived by Lakoff & Johnson as a product of projections made by the thought (mapping). According to that idea, the metaphor constitutes a universal and essential element of human language and, therefore, also a keystone of the human communication reproduced at every level of social activity. From the cognitive point of view, our approach is also based on the theory of blending proposed by Fauconnier & Turner. It is diachronic and multidisciplinary as well, which means that a particular focus has been placed on the etymology of medical terms, which we have explored in the scientific context where those terms have been created and used. The database in this study is composed of medical terms emerging from scientific texts that we have translated from French to Swedish.  During our analysis, we have explored the occurrence of conceptual metaphor across the source language and the target language (the last one is in fact represented in this thesis by four languages: French, Swedish, English and Polish). The translation methods have been analyzed according to the model of Vinay & Darbelnet.   Our result indicates that conceptual metaphor plays a crucial role in the creation of medical terminology. It indicates also that the conceptualization of a medical phenomenon (expressed by mapping and blending) is almost always preserved in its original form in the target language. This observation implies that cognitive factors are activated during the process of translation. Our conclusion is made within the historical and scientific context, in other words regarding the context where the metaphorical terms have been created and afterwards transferred to other languages.   Key words: conceptual metaphor, metaphorical term, cognitive, etymology, medicine, scientific language, mapping, blending, conceptual shift, linguistic shift, translation, source language, target language.

Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1 Dissertacao parte1 Gabriel Lyra Chaves.pdf: 3501458 bytes, checksum: 365aed6e9f2a8e73dad2fff61890993b (MD5) Previous issue date: 2011-04-28 / This work, done for the area of Visual Poetics and Creation Processes, set out in search of two distinct objectives: a theoretical reflection that embraces the language of comics, science fiction and tecnognose, noting the relationship of these two last elements in comic works of the early 1980s; and create a graphic narrative that reflects what was learned in theoretical deliberation. To do so, I ve examined the elements that constitute the language of comics, watching how they relate to each other in order to convey a message and generate subjective reactions in readers in the context of the story. I ve investigated how this narrative genre is structured, and at what points it approximates or take distances from other narrative genres. I ve also looked for relationships between science fiction and the definition of techgnosis, a concept which ponders about the manifestation of transcendental yearnings among supposedly secular aspects of contemporary culture. Done this theoretical approach, I will analyze two comics: Akira, from Katsuhiro Otomo and Ronin, from Frank Miller, observing the articulation of the concepts brought up to date within these comics. And finally, I will deliberate on how I had built my own fictional universe, and how this speaks to the theoretical elements studied throughout this thesis, also reflecting on the formal aspects of the creation of imagery to Narragonia 3.0, a science fiction narrative structure based on the language of comics, but designed to exploit the multiple narrative possibilities brought about by social networks, sites and other digital media over the Internet. / Esta pesquisa em poéticas visuais e processos de criação busca dois objetivos distintos: tecer uma reflexão teórica que abarque a linguagem das histórias em quadrinhos, a ficção científica e a tecnognose, observando o relacionamento destes elementos em duas obras de quadrinhos da década de 1980; e criar uma narrativa gráfica que dialogue de forma dinâmica com os aspectos envolvidos na reflexão teórica. Para tanto, analisei os elementos que constituem a linguagem dos quadrinhos, observando como eles se articulam para reforçar a mensagem no contexto da narrativa. Também procuro mostrar como o gênero narrativo da Ficção Científica se estrutura, e em que pontos se distancia e aproxima de outros gêneros narrativos. Busco tecer relações entre ficção científica e a definição de tecnognose, conceito que pondera sobre a manifestação de anseios transcendentais em meio a aspectos supostamente laicos da cultura contemporânea. Feito este recorte teórico, analisei duas obras de quadrinhos: Akira, de Katsuhiro Otomo e Ronin, de Frank Miller, observando a articulação de elementos específicos das histórias em quadrinhos e da ficção científica e da tecnognose. Finalmente, elaboro um histórico de como foi construído meu próprio universo ficcional, Narragonia 3.0, e como este dialoga com os elementos teóricos estudados ao longo da presente dissertação, refletindo também sobre os aspectos formais da criação imagética desta narrativa de ficção científica baseada primordialmente na linguagem dos quadrinhos, mas criada para explorar as múltiplas possibilidades narrativas trazidas por redes sociais, sites e outros suportes digitais presentes na rede Internet.