The shepherd metaphor is used in the Hebrew Bible to refer to kings or leaders of the Israelite community. It belongs to the larger group of pastoral metaphors which are used to convey ideas about governance and politics. This is especially apparent in how the Hebrew prophets have utilized pastoral imagery in their rhetoric about politics. Specifically, the imagery occurs in Micah 2:12-13; 5:1- 5; 7:14-20; Isaiah 40:9-11; 44:24-45:7; 56:9-12; 63:7-14; Jeremiah 3:15-20; 10:19- 21; 22:18-23; 23:1-8; 25:30-38; 31:10-14; Ezekiel 34 and Zechariah chs. 10, 11, 13. This study is an analysis of these passages. It investigates the political processes depicted in the text and describes the political ideas that they express. In order to show that pastoral metaphors are powerful rhetorical devices for revealing political ideas, Chapter 1 provides a survey of metaphorical theories that are relevant to the exegesis of the shepherd texts. Particularly useful is Janet Soskice’ notion of ‘metaphorical modeling’ which leads to the overarching metaphorical assumption in the use of pastoral metaphors, that ‘Political governance is shepherding.’ New meanings are created by mapping out the structures of shepherding onto the domain of governance. Secondly, the chapter also examines the sociological background of pastoral metaphors in their wider Mesopotamian context to show that the shepherd metaphor is a political metaphor. Lastly, it explores ideas in political theology that might enhance the exegesis of the text from the perspective of politics. Particularly, the study draws upon the conceptions in political theology proposed by Oliver O’Donovan, Walter Brueggeman and Dale Launderville, who all base their theories on the notion of the ‘authority’ of God. O’Donovan suggests four organizing concepts for doing political theology, namely, salvation, judgment, possession, and praise. On the other hand, Brueggeman intimates a reading that uses the ‘politics of Yahweh vs. politics of Pharaoh’ as a paradigm. As for Launderville, he explores the idea of authority through the notion of legitimation by the gods and by the people. Each of the subsequent chapters (2-6) will offer a detailed exegetical analysis of the prophetic books containing shepherd texts. These close readings result in variety of political implications based on the interactions of three main players, Yahweh who is the owner of the flock and sometimes also portrayed as the Great Shepherd, the human shepherd, and the flock. The web of relationship and interaction of these three players affirms the centrality of the ‘authority of God’ in the politics of the shepherd texts. Moreover, five aspects of politics arise and consistently thread their way across the five chapters. Primary among these is [1] the different manifestations of the dynamics of relations of power between different entities such as: Yahweh, the Great Shepherd and the supreme king of the flock, the human shepherd-rulers who are considered as vicegerents and are under the jurisdiction of the Great Shepherd, and the flock who are subordinate to both the Great Shepherd and the human shepherd-rulers. Consequent to this notion are the following ideas: [2] the need for the human-shepherd to be attentive to divine sanction; [3] the human-shepherd as the chief redistributor of material and symbolic goods in the community; [4] the shepherd-leader, whether referring to Yahweh or to the human shepherds, as the centralizing symbol in the community; and [5] justice as a central aspect of governance within the shepherding-governance framework.

A proposta deste trabalho é compreender o significado do vôo virtual, avaliar as características envolvidas e buscar rumos que ampliem sua utilidade. O vôo virtual é considerado como uma metáfora do deslocamento aéreo. Por meio de representações computacionais, permite variações seqüenciais de direção e de altitude sobre representações cartográficas tridimensionais. Caracteriza-se como uma interface flexível de apresentação de dados espaciais, que viabiliza a consulta dos seus atributos. O vôo possui um forte apelo visual, que une as características lúdicas dos jogos eletrônicos com o poder de atração das imagens de satélite. Permite o arranjo temático e temporal das informações mapeadas, aumenta as opções de representação (2 e 3D) e oferece uma visão integrada da superfície terrestre horizontal e vertical, proporcionada pelo sistema geocêntrico de coordenadas e pela pirâmide de múltipla resolução, que controla a variação de escala. / This work is prepared for the purposes of understanding the meaning of a virtual flight, to evaluate the characteristics involved and seek new ways to broaden its utility. A virtual flight is considered as a metaphor of air displacement. Through computerized representations, it enables sequential direction and altitude variations over three-dimensional cartographical representations. It is characterized as a flexible spatial data interface, which makes it possible to query its attributes. The flight has strong visual appeal, which combines the ludic characteristics of video games with the power of attraction of satellite images. It enables a thematic and temporal arrangement of mapped information, increases the options of representation (2 and 3D) and offers an integrated view of the land surface horizontal and vertical made possible through the geocentric system of coordinates and the multiple resolution pyramid, which controls the scale variation.

This project expands root-metaphor analysis by examining the closure of a once popular social networking site, advancing critical interrogation of ownership vs. the idea of online spaces as “communities.” Yahoo! 360° participants used private sphere root-metaphors of home, family, and community constituting a space of intimacy, camaraderie, and care. The closing exposed previously unseen power differentials between participants and Yahoo! Participants reacted by using the metaphor of war and violence to frame the actions of Yahoo!

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.

Current creativity research is dominated by attention to the individual, with increasingly less attention paid to creativity in its context, in groups, and in filmmaking as a collaboratively creative enterprise. This study answers the research call to explore filmmaking as an exemplar for collaborative creativity. Utilizing the stories told on DVD extras on special edition releases of feature films, this study analyzes how collaborative creativity is storied. In turn, these stories reveal specific communication forms, practices, and strategies that enrich theoretical conceptions of collaborative creativity. Following dramatistic concepts elaborated by Kenneth Burke, this rhetorical analysis finds three emergent patterns of communication--mythic, historic, and symbolic--in the discourses of making-of-documentaries (MODs) that illuminate collaborative creativity. As mythic patterns, MODs utilize the structure of the quest tale to organize the plot, drama, and rhetoric of collaborative creativity told in MODs. Audiences, then, are invited to re-experience the journey, and every MOD symbolically and ritually repeats and re-actualizes the cosmogony. As historic patterns, filmmakers converse in history with filmmaking predecessors, traditional industry practices, and present collaborators. Through their various roles as fans, critics, and memorialists, filmmakers renovate and commemorate film history, offering creativity theory criteria by which novelty is evaluated. As symbolic patterns, MOD discourse spotlights the metaphors filmmakers use to create collaborative environments and to characterize directors' performances. Together these metaphors create a guiding and habitable ideology for production work that improves upon "vision" as one guiding metaphor for creativity. This analysis enriches theoretical accounts of creativity by approaching collaborative creativity obliquely, as space-off, and rhetorically, as inducements to success stories in organizations. Taking communication as central to collaborative creativity, this study offers three counter-statements to traditional conceptions of creativity: creativity is shared, not possessed; collaborative creativity emerges within human drama; and collaborative creativity lives and finds its meaning in performance.

ABSTRACT Treating the concept of culture as a heuristic allows us to analyze multiple contexts involving culture as continuously changing with or without exterior contact. The productions from such system have the potential to develop identities through ideological materials produced by specialized rhetoric. This paper then focuses on how figurative language and structure affect the ways in which rhetoric, ideology, and identity are formed within the context of film reviews. In particular, I analyze reviews from the films Birdman and The Revenant, both directed by Alejandro Gonzales Iñárritu, to detail how the use of metaphors influences the production of rhetoric. I use cross-cultural rhetoric and identity frames in each review as a way to identify the implications of the use of metaphors in film reviews and what this choice details about the writers and the agencies for which they work.

This project makes the empirical assertion that U.S. President Donald Trump and conservative news media outlets contribute to a national narrative of xenophobia that frames immigrants, particularly those of color, as parasitic and dangerous to the American way of life. Through this study, I assert that the use of demagogic and dehumanizing language along with more subtle discursive strategies, such as positive representation of ‘us’, negative representation of ‘them,’ and metaphorical constructions are being used to stoke fear and anti-immigrant sentiment and to strip individuals of their humanity for the purpose of rendering them unworthy of dignity and of the same rights and benefits as those to which groups considered insiders and ‘real Americans’ are entitled. Through the lens of Critical Discourse Analysis and Corpus Linguistics, I analyze a collection of transcriptions selected from among 100+ speeches, addresses and remarks delivered by Donald Trump both before and after the 2016 U.S. Presidential Elections, along with a set of ten news stories featuring issues surrounding immigration collected from FoxNews.com, Breitbart.com, and Bill O’Reilly.com. Concordancing software is used to reveal and quantify discursive patterns that contribute to this national narrative of xenophobia.

[pt] Esta dissertação analisa o ensaio Las kenningar, de Jorge Luis Borges. Debruçando-nos sobre suas reflexões acerca desse recurso próprio dos poemas medievais islandeses, encontramos vez para discutir a linguagem, em geral, e a metáfora, em particular. Mostraremos mais especificamente que certo ângulo aberto pelo texto de Borges permite pensá-las de uma forma que é surpreendentemente próxima do tipo de perspectivismo descrito pelo antropólogo Eduardo Viveiros de Castro em suas reflexões sobre a vida e o pensamento ameríndio. Tal afinidade é fomentada por inusitados encontros: se o sangue, por exemplo, nas kenningar, pode ser a cerveja dos corvos; para os ameríndios, pode ser o cauim do jaguar. Destaca-se nos dois casos, conforme mostraremos, o privilégio de uma perspectiva e a predominância das relações em devir – e isso de um modo que promete subverter de forma especialmente radical o pendor logocêntrico, que tende a permanecer como matéria velha em percepções contemporâneas ocidentais sobre a palavra, mesmo entre os mais perseverantes críticos da visão representacionista da linguagem. Busca-se mostrar também como o ensaio de Borges, na contraluz do perspectivismo ameríndio, abre espaços para se repensar o jogo entre metáfora e alteridade. / [en] This dissertation analyses Jorge Luis Borges’ essay Las kenningar. Looking on his reflexions about the kenningar - a resource typical to the icelandic medieval poetry -, a discussion on language, in general, and on metaphor, in particular, arises. It is shown specifically that an angle explored by Borges allows to think metaphor in a very close way to anthropologist Eduardo Viveiros de Castro’s perspectivism definition as found in his works on Amerindian people life and mind. Such an affinity is fomented by amusing encouters, e.g. if blood in the kenningar can be crows’ beer, to Amerindian people it can be jaguar’s cauim. In both cases, it will be shown that a certain perspective is privileged and that becoming relationships are dominant. All this ocurrs in a specially radical way that promises to subvert the logocentric penchant - which becomes “old stuff” in the contemporary western perceptions about language. It also tries to show how Borges’ essay along with Amerindian perspectivism call for a rethinking of the metaphor/alterity game.

The study of metaphor has moved from abstraction and poetics into the realms of cognitive science and cultural studies. Rather than being seen as purely figurative and secondary to literal meaning, investigation of metaphors reveals a close relationship to our processes of reasoning, a capacity to both reveal and cover, and a plasticity that forms within surrounding cultural values. I reviewed current metaphor theory, including its concerns and justifications, and designed a simple survey experiment through the Qualtrix webpage. The survey was distributed via the Amazon Mechanical TURK system. The experiment, in two different versions, briefly described obesity and then asked participants to describe their attitudes toward, and preferred solutions for, this emerging public health issue. The paragraphs differed only in the metaphor used to describe obesity. Based upon a metaphorical framing hypothesis, it was predicted that obesity as an "infectious epidemic" would bias readers towards societal causes and a preference for public policy changes, while obesity as "simple calorie math" would bias readers towards individualized causes, and less support for public policy changes. The hypotheses of the study were not supported; there was no significant difference in participant responses between frame conditions. Possible reasons for non-significant results include the survey format, unique aspects of obesity as a public health problem, and participants' level of media exposure to obesity. However, this study could be easily altered into various iterations to confirm or deny many aspects of brief metaphorical framing.

This thesis investigates metaphoric structure revealed during discussions about conflict, and poses the general question: What conceptual metaphors do married individuals use to structure their marital conflict? Theoretical issues of metaphor analysis and general issues of conflict management are reviewed, providing a background for the study's approach to data collection and analysis. Eight married individuals were interviewed. Interviews were tape recorded. The interview schedule was structured around issues of topic, setting, process, response, and communication of typical, as well as a most recent, marital conflict. More specific probing followed respondents' comments. Using techniques of interpretive analysis, transcripts from the interviews were analyzed for emergent metaphors. Data from the transcripts coalesced around the topics of structural, ontological, and orientational metaphors. Implications for conflict management and marital counseling are discussed. Finally, in view of the study's limitations and strengths, the thesis concludes with suggested directions for future research.