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This study examines the metaphor of the shepherd in Zechariah 11:4-17, which is a prominent and significant one in the Hebrew Bible. It defines Yahweh‟s relationship with the nation of Israel and those who have faith in him. But Zechariah 11:4-17 presents a shepherd image which contradicts to the basic metaphor in the Hebrew Bible. The thesis of this study argues that the differing shepherd image in Zechariah 11:4-17 is the result of the rejection by the people of the responsible shepherd, which caused Yahweh to surrender his shepherd responsibility. It is a metaphor designed to punish an unrepentant Israel. Zechariah 11:4-17 furnishes an example of a situation where Yahweh surrendered his shepherding responsibilities to those irresponsible shepherds. This example should be incorporated into the said metaphor, so as an objective and comprehensive meaning may be achieved, and one should consider this metaphorical meaning in the study of the subject. / Old Testament and Ancient Near Eastern Studies / M. Th. (Old Testament)

This study examines the metaphor of the shepherd in Zechariah 11:4-17, which is a prominent and significant one in the Hebrew Bible. It defines Yahweh‟s relationship with the nation of Israel and those who have faith in him. But Zechariah 11:4-17 presents a shepherd image which contradicts to the basic metaphor in the Hebrew Bible. The thesis of this study argues that the differing shepherd image in Zechariah 11:4-17 is the result of the rejection by the people of the responsible shepherd, which caused Yahweh to surrender his shepherd responsibility. It is a metaphor designed to punish an unrepentant Israel. Zechariah 11:4-17 furnishes an example of a situation where Yahweh surrendered his shepherding responsibilities to those irresponsible shepherds. This example should be incorporated into the said metaphor, so as an objective and comprehensive meaning may be achieved, and one should consider this metaphorical meaning in the study of the subject. / Old Testament and Ancient Near Eastern Studies / M. Th. (Old Testament)

<p>The aim of this study has been to analyse metaphorical strings which have been interpreted literally, a process referred to as metaphor reversal. This was first described by Löflund (1999:18) and the specific term was later coined by Alm-Arvius (2006:6). Metaphor reversal is basically a subcategory of the broader term polysemy punning.</p><p>When a metaphor unexpectedly is interpreted literally, a humorous effect takes place and a pun is created. Especially if the metaphorisation in question has an entrenched figurative meaning, the unexpectedness of the literal interpretation is greater and the pun more obvious. The examples of these puns exploiting metaphor reversal have been taken from films featuring the verbal comedian Groucho Marx (GM), who frequently used this type and other kinds of puns in his films.</p><p>The terms internal and external metaphor, coined by Alm-Arvius (2003:78), have been used in order to distinguish between two different types of metaphorisations. Internal metaphor refers to metaphors with obvious internal collocational clashes and external metaphor refers to metaphors without such clashes, which can thus be given a literal as well as a figurative reading. However, this is not a clear-cut distinction and occasional overlapping between the two categories is common. Therefore, a continuum has been given which shows the overlapping category ‘more figurative external metaphors’. These are metaphors without collocational clashes, but with entrenched figurative meanings which make them metaphorical and not literal.</p><p>GM does not only revert external metaphors; he also reverts internal metaphors although this category contains collocational clashes which should make a literal interpretation impossible. Internal metaphor puns tend to be more absurd than external metaphor puns due to the collocational clashes which make the literal interpretation less probable. Reverted external metaphors are referred to as REM and reverted internal metaphors as RIM.</p><p>Most examples analysed are metaphorisations with idiom status with clearly preferred figurative meanings. Consequently, their figurative meanings are deeply entrenched and should not be altered. However, these figurative meanings are altered by GM in his punning; they are reverted and interpreted literally. This indicates that one of the few occasions when it is accepted or even possible to interpret a metaphorical idiom literally is in punning.</p>

Šiame magistro darbe analizuojamos erdvinės metaforos iš Daiktavardinių frazių žodyno. Jame užfiksuoti statistiniu metodu iš Vytauto Didžiojo universiteto Dabartinės lietuvių kalbos tekstyno atrinkti tipiškiausi žodžių junginiai (arba kolokacijos) ir frazės, kuriose pavartotas bent vienas daiktavardis. Laikomasi nuostatos, kad abstrakčiųjų daiktavardžių kolokacijos yra kalbinių metaforų išraiška. Teorinėje darbo dalyje aptariamos plačios ir įvairialypės kolokacijos ir metaforos sąvokos. Čia kalbinė metafora arba metaforinis pasakymas suprantamas kaip kognityviosios kalbotyros šalininkų aprašomos žmogaus sąmonėje egzistuojančios konceptualiosios metaforos kalbinė išraiška. Pasirinktos erdvinės metaforos – tai tos, kurių žodinėje rai�����koje randama įvairių erdvės elementų įvardijimų. Išsamesnei analizei darbo objektas susiaurintas iki vertikaliųjų metaforų, kuriomis metaforizuojamas objektas (reiškinys) projektuojama vertikalėje. Aprašius atrankos kriterijus ir problemas, sudarytas vertikaliųjų metaforų ir susijusių frazeologizmų sąrašas, tada junginiai suskirstyti į semantines grupes pagal nurodomą vietą vertikalėje ar judėjimą kuria nors jos kryptimi. Aptartos tipiškiausios kiekvienos grupės kolokacijos, sutelkiant dėmesį į vertikalumą žyminčius žodžius ir metaforizuojamus objektus išreiškiančius kolokatus. Apibendrinus dažniausias kolokacijas, duomenys sisteminti, nustatytos ryškiausios konceptualiosios metaforos, kurios rodo analizuotos lietuvių kalbos vartotojų... [toliau žr. visą tekstą] / Present research paper deals with the specific group of conceptual metaphors, derived from the Dictionary of Lithuanian Nominal Phrases. The dictionary is compiled from collocations, automatically extracted from the Corpus of Present Day Lithuanian Language. All collocations contain at least one noun. The dictionary is a suitable source for the extraction of metaphors since it contains a lot of abstract noun collocations that in most cases are metaphorical. The paper presents theoretical approaches towards both issues under analysis, i.e. metaphors and collocations. The specific object of investigation, however, is conceptual, or dead, metaphor. It is defined here as a linguistic expression of a conceptual model of a world view. Following the cognitive approach it is assumed that human conceptual system, comprising cognition, language and memory, is metaphorical in nature. The metaphors under investigation contain nominations space or spacial elements in their linguistic expressions in general and specifically those, that deal with vertical scale and motion along a vertical dimension. After describing the identification criteria and procedures, the outcome of analysis is presented, i.e. the list of metaphorical phrases and idioms that are further subdivided according to the spacial dimensions, specifically the place or direction in the vertical scale. The most typical collocations of every group are discussed paying attention to the semantics of verticality. The most vivid... [to full text]

[pt] Esta dissertação reflete sobre a identidade da metáfora literária. Toma como base a teoria geral da metáfora inaugurada por George Lakoff e Mark Jonhson na década de 1980 - o que equivale a conceber a metáfora como um princípio cognitivo básico, como um mecanismo estruturador do conhecimento e da experiência que em muito ultrapassa os domínios da literatura. Reconhecendo com Lakoff e Johnson a onipresença do fenômeno metafórico em nossas vidas, interessou-nos refletir sobre o que poderia distinguir a sua manifestação no campo específico da literatura. Tivemos por objetivo central aqui contribuir para o teste de hipóteses cognitivistas levantadas por George Lakoff e Mark Turner, em uma obra especificamente voltada para a manifestação literária da metáfora, a saber, More than cool reason (1989). Analisamos com o aparato teórico e descritivo ali oferecido um conjunto de metáforas presentes em um texto literário específico - o Romance d`A Pedra do Reino e o Príncipe do Sangue do Vai- e- Volta, de Ariano Suassuna. A análise empreendida fala em favor das hipóteses de Lakoff e Turner, para quem a maioria das metáforas literárias resulta de explorações criativas e inusitadas de mapeamentos metafóricos bastante arraigados em nossos sistemas conceptuais - extensões, combinações ou elaborações das metáforas ontológicas, estruturais e orientacionais que governam, em um nível básico e de forma geral, a nossa linguagem, pensamento e ação. / [en] This dissertation analyses the identity of the literary metaphor. It is based in the general Conceptual Theory of Metaphors started by George Lakoff and Mark Johnson in the 80`s decade - they set the metaphor as a basic cognitive principle, as a mechanism that structures the knowledge and the experience which goes beyond the literature field. Recognizing along with Lakoff and Johnson the presence of the metaphorical phenomena in our lives, this study interested us to think about what could distinguish the presence of the metaphor specifically in literature. Our central objective here was to contribute to test the cognitive hypothesis showed by George Lakoff and Mark Turner, in a specific book which studies the literary metaphor, More than cool reason (1989). We analyzed a set of metaphors in the Romance d`A Pedra do Reino e o Príncipe do Sangue do Vai-e- Volta, by Ariano Suassuna. This analysis shows that Lakoff and Turner hypothesis, which the generalizations governing poetic metaphorical expressions are not in language, but in thought: they are general mappings across conceptual domains; they are creative extensions of these mappings. As the locus of metaphor is not in language at all, but in the way we conceptualize one mental domain in terms of another. The literary metaphors are extensions, combinations or elaborations of the ontological, structural and orientational metaphors that lead, in a basic level and in a general way, our language, thought and actions.

Thesis (D.Th.)--University of South Africa, 2001.

published_or_final_version / English Studies / Master / Master of Arts

<p>The aim of this study has been to investigate whether metaphors in terms of fire and heat in rock lyrics can be interpreted figuratively as well as literally. The terms for these latter two categories are internal and external metaphors.</p><p>Many rock lyrics are about love, a theme often described with the use of metaphors. One common type of metaphorisation for describing love is to use what in this study has been called “fire and heat metaphors”. These are metaphors that as their source use FIRE and HEAT/WARMTH and map some of these qualities on to the metaphorical target LOVE, which results in metaphorical constructions like I am on fire.</p><p>Internal and external metaphors are terms coined by Alm-Arvius (2003:78) and they serve the purpose of separating the metaphors that cannot be taken literally from those that can also be given a literal meaning in another context. The main aim of this study has been to investigate whether a set of chosen metaphorical constructions taken from different rock songs can also be interpreted literally in relation to another universe of discourse. Moreover, the semantic and syntactic structures of the metaphor examples have been outlined, and some theories why the constructions should be regarded as internal or external metaphors have been presented.</p><p>A number of related underlying cognitive structures (conceptual metaphors) were identified in this study, and (BEING IN) LOVE IS (EXPERIENCING) HEAT/WARMTH is a structure that allows external metaphorical constructions. Some cognitive scientists see this cognitive structure as metonymy. However, it seems more adequate to connect it to the occurrence of external metaphors, since the language constructions relating to it can be literal as well as figurative. However, the distinction between internal and external metaphors is not always clear, it is difficult to make a clear distinction. Therefore, a continuum has been presented in this study which shows both the distinction and the occasional overlap between the categories of internal and external metaphors.</p>

This project aims to discover if there is useful overlap between the recommended rhetorical responses to crises as defined by organizational communication specialists and the rhetorical responses frequently portrayed in various forms of mass media entertainment. Specifically, it investigates the potential effectiveness of these mass mediated crisis portrayals and identifies whether the rhetoric of crisis depicted in them could help inform and educate organizational responders to better communicate internally in crisis scenarios. This research may provide a better understanding of how rhetoric in real and fictive contexts works to shape real-world responses to crises.