abstract: My job in this thesis is to explore a supposedly dragon-filled area of philosophy, tropology. By 'tropology,' I only mean the study of figurative speech, or, more particularly, metaphors. It seems clear to most people that metaphors have meaning. But this fact flies in the face of several different theories of meaning. Such as, the meaning of a metaphor can't be properly conveyed by Possible Worlds Semantics or Truth-Conditional Semantics. Tropology is also an area of philosophy with very few commonly accepted theories. It is not like the study of reference, where there are two theories, each having a large following. The the various theories in tropology are so radically different, with each having relatively few followers, that the it is widely unexplored in philosophy. Some theories claim that metaphors is the exact same as another use of speech (namely, similes). Another claims that metaphors lack “meaning.” And a third claims that metaphors do 'mean' but getting at that meaning requires some special mental operations. By the end of this thesis, you will not only have my map of tropology, my theory of metaphors, but also some experimental philosophy about them to help put to rest some theories. / Dissertation/Thesis / Masters Thesis Philosophy 2016

Orientador: Renato Ferracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T20:36:27Z (GMT). No. of bitstreams: 1 Cunha_Erika1979-_M.pdf: 979491 bytes, checksum: f9addb722b6e5558b6f52d02b14cb918 (MD5) Previous issue date: 2009 / Resumo: O que se pretende nessa dissertação é tentar traduzir em conceitos as metáforas e linhas de fuga da relação ator-sala-comando-atualização-ação, que ocorre em trabalho, como uma ação necessária para compreensão de uma linguagem particular: o trabalho da relação que existe entre o ator/bailarino e o condutor de uma prática (seja ele, diretor ou orientador) e a construção de uma linguagem particular: "as metáforas de trabalho?. Ou seja, tento colocar-me "entre , entre a experiência vivida e o comando verbal de um orientador, dialogando entre o verbo e a ação. Para isso utilizo como exemplo as minhas experiências com o Butô e a Dança Pessoal. / Abstract: What if it intends in this text is to try to translate concepts the metaphors and lines of escape of the relation actor-room-command-update-action, that occurs in work, as a necessary action for understanding of a particular language: the relation work that dancer exists between the actor/dancer and the conductor of one practical one (either it, managing or orienting) and the construction of a particular language: 'the metaphors of the works'. That is, I try to place me 'between', between the lived experience and the verbal command of an person who orientates, dialoguing between the verb and the action. For this I use as example my experiences with the Butoh and Personal Dance. / Mestrado / Artes / Mestre em Artes

No description available.

Metaphors have long shaped the way pure translation studies describe and justify the translation phenomenon by discovering and consolidating underlying principles. Ultimately, by means of metaphor, something that dwells on the interaction of two seemingly distinct things, translation theorists have obtained a better understanding of the category of translation. Human beings are gregarious, and disputes are inevitable in every society, ancient or modern, primitive or civilized. In fact, conflict is one iron law of life that mankind has had to improvise ways of resolving, from such formal ones as litigation to private ones such as self-help. We may not be able to eliminate dispute altogether, but we can, however, resolve it through creative and civilized means. Translation can be approached in a similar context, except it concerns a metaphorical dispute between cultures and/or languages—and probably on a more intangible and subtle platform. Disparate cultures, religions and languages in a clash can be brought closer to each other with skillful translation, and hence, translation is a variation of dispute resolution. That never went totally unnoticed. Over the years, countless translation metaphors have been constructed and exploited with very different results, which indicates how interdisciplinary a subject translation studies really is. Yet, apparently, translation is most often metaphorized as mediation and negotiation but rarely as arbitration or litigation, and one cannot but wonder whether this happened out of sheer coincidence or because of some misunderstanding. Thus, much as I appreciate what theorists have accomplished with translation metaphors, in regard to didactics and heuristics, my primitive observation is that translation theorists and practitioners have never made full use of metaphorization in that they might have had an incomplete idea of dispute resolution theory in general. After all, a metaphor is, ideally, meant to facilitate active learning and full integration of new knowledge, but there still remains a missing piece that is part and parcel of our metaphorization of translation. Specifically, translators have always embraced the amicable terms of negotiation and mediation, distancing themselves from non-mainstream ones such as arbitration and litigation. To that end, in my thesis, I will explore and examine translation through slightly renewed lenses, demonstrating how and why our metaphor schema and mapping should originate in dispute resolution, and why litigation, and perhaps even arbitration as dispute resolution mechanisms, would serve as good a metaphor—if not a better one—for translation. It is my resolute belief that the translator is more qualified as a judge, a respectable professional vested with immense judicial power, than as a mediator, who is but a third-party neutral facilitating dialogue between two disputants. Only in this way can metaphors do translation theory a great service by furnishing it with a renewed and objective description of translation.

The aim of this dissertation is to critically examine the representation of female madness in The Bell Jar, by Sylvia Plath, Wide Sargasso Sea, by Jean Rhys, and Surfacing, by Margaret Atwood, with a particular emphasis on the depiction of madness as a form of revolt against the oppression of women in patriarchal societies. I focus specifically on the textual construction of female insanity in three twentieth-century reading of these depictions in relation to an influential contemporary example of Western psychological discourse, namely The Divided Self (1960). Drawing on the work of Western feminist scholars such as Elaine Showalter and Lillian Feder, I engage with the broader questions of the female malady and dilemma. I pay attention not only to the various tropes, metaphors and images which are employed in the representation of madness, but also give attention to the explanations of madness that are offered in each text as well as the ways in which the various stories of madness are resolved. In the introduction, I offer an overview of the history of madness (and female madness in particular) and consider the importance of Laing and the antipsychiatry movement in challenging conventional definitions. In Chapter 1, I explore the depiction of madness in The Bell Jar, with the focus on the protagonist, Esther, whose madness, I argue, is represented as a conflict between female creativity and mid-twentieth century feminine ideals. In Chapter 2, I discuss Wide Sargasso Sea, a novel which gives a voice to the madwoman in the attic in Charlotte Jane Eyre. I argue tha rather that a particular construction of madness that of the stereotypical wild madwoman is imposed upon her. In addition, I argue that her madness is presented as the result of being abandoned and cast as insane by her husband, whom she marries as part of an economic exchange. In Chapter 3, I explore the ways in which, in Surfacing madness is attributed both to her abortion as well as to the realisation of her own complicity in the patriarchal oppression of women and nature. In all three novels, I suggest, female madness is represented sympathetically as a reaction to, and revolt against patriarchal oppression. In addition, I argue that each novel makes a contribution to an emancipatory feminist politics by suggesting several routes of transcendence or escape. In my concluding chapter, I draw on the previous discussion of the various ways in which madness is figured in the novels in order to show how, in contesting stereotypical views, the three authors must create new vocabularies and metaphors of madness, thus engaging with patriarchal language itself. In this way, they not only contest normative constructions of the female malady but also bend patriarchal language into new shapes. / Dissertation (MA)--University of Pretoria, 2017. / English / MA / Unrestricted

No description available.

<p> Paul, the author of Gal 3:23-4:7 and Rom 8:14-25, demonstrates in these two passages a new thing for all believers in Christ-a clear movement from slavery to adoption as sons to the status of heirs. This movement occurs through the process of adoption into God's family and is characterized by inclusiveness regardless of race, socioeconomic status, or gender. This study will explore the promise that the marginalized can participate in a full, new creation inheritance. According to the promise of Rom 4:13, the dispossessed will "inherit the world." This concept of the new creation so clearly seen in Rom 8-expressed also as inheriting the world in Rom 4:13-is critical for correctly interpreting Gal 3:28, framed as it is in a discussion of inheritance and adoption. For this reason, it is of great benefit to study Gal 3:23-4:7 and Rom 8:14-25 together.</p> / Thesis / Master of Theological Studies (MTS)

Выпускная квалификационная работа посвящена изучению когнитивных метафор в дипломатическом дискурсе. Данный феномен рассматривается на примере речи официального представителя Министерства Иностранных Дел Российской Федерации Марии Захаровой. Теоретическая глава содержит описание дипломатического дискурса как феномена, смежного с другими дискурсами (политическим, масс-медийным, военным, юридическим), а также перечисление лингвистических особенностей дипломатических текстов. Автором также представлены основные положения теории концептуальной метафоры. В практической части исследование проведен лингвокогнитивный анализ метафор в речи российского дипломата Марии Захаровой. Выделены разные типы социоморфных, ориентационных, антропоморфных, артефактных метафор, которые получают когнитивную и лингвоаксиологическую интерпретацию. Выявлены наиболее частотные метафорические модели (метафоры искусства, войны, пути). / The final qualifying work is devoted to the study of cognitive metaphors in diplomatic discourse. This phenomenon is considered on the example of the speech of the official representative of the Ministry of Foreign Affairs of the Russian Federation Maria Zakharova. The theoretical chapter contains a description of diplomatic discourse as a phenomenon related to other discourses (political, mass media, military, legal), as well as a list of linguistic features of diplomatic texts. The author also presents the main provisions of the theory of conceptual metaphor. A linguocognitive analysis of metaphors in the speech of Russian diplomat Maria Zakharova was conducted in the practical part of the study. Different types of sociomorphic, orientational, anthropomorphic, and artifact metaphors are identified. They receive cognitive and linguo-axiological interpretation. The most frequent metaphorical model revealed (metaphors of the art, metaphors of war, metaphors of the way).

No description available.

No description available.