Over a thousand English metaphorical business terms collected from Longman Business English Dictionary, Dictionary of Economics, Macmillan Dictionary of Modern Economics and The Encyclopedical Lithuanian-English Dictionary of Banking and Commerce are analyzed in the Master’s thesis. Since often the same English terms can have multiple equivalents in Lithuanian language, it is essential to choose and consistently use the same terminology when translating. However, the analysis of authentic contemporary translations of such terms collected from Translation Memory of the European Commission's Directorate General for Translation and Donelaitis Parallel Corpus demonstrates that this rule is often ignored and various translation strategies are employed. Furthermore, multitude of proposed translations of such terms in the dictionaries shows that Lithuanian business terminology is still under development, but tendency not to preserve metaphoricity can be observed. / Magistro darbe nagrinėjama daugiau kaip tūkstantis metaforinių anglų kalbos verslo terminų, surinktų iš Longman Business English Dictionary, Ekonomikos terminų žodyno, Aiškinamojo ekonomikos anglų-lietuvių kalbų žodyno bei Lietuvių-anglų kalbų aiškinamojo bankinių ir komercinių terminų žodyno. Kadangi neretai tie patys angliški terminai lietuvių kalboje gali turėti kelis atitikmenis, verčiant ypač svarbu pasirinkti ir nuosekliai vartoti vienodą terminiją. Tačiau šiuolaikinių tokių terminų vertimų, surinktų iš Europos Komisijos generalinio vertimo direktorato vertimų atminčių bei Donelaičio lygiagrečiojo tekstyno, analizė rodo, kad ši taisyklė dažnai ignoruojama ir taikomos įvairios vertimo strategijos. Be to, žodynuose siūloma tokių terminų vertimų gausa rodo, kad lietuviškoji verslo terminija dar nėra nusistovėjusi, bet pastebima tendencija atsisakyti metaforiškumo.

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This study is premised on the assumption that foregrounding is the dominant feature of poetry. Such an assumption informs this study to the extent that it examines the role of foregrounding in isiXhosa modem poetry. Foregrounding, as an unusual or deviant usage of language, manifests itself as: metaphorical language, foregrounded sound, syntactic foregrounding and the variation of rhythmico-metrical structure. These are called foregrounding techniques. However, this study deals only with the first three foregrounding techniques. Qangule's poetry furnishes this study with examples that are used to illustrate that foregrounding plays a significant role in isiXhosa modem poetry. The foregrounding techniques depict, illustrate, dramatize and suggest the meaning of a poem. They also have the ability to do that in a collaborative manner. Such a claim is evidenced by the comprehensive analysis and interpretation of the poem Ukubonga (To praise). / African Languages / M.A. (African Languages)

This study investigates the acquisition of conventional metaphorical expressions by Chinese learners of English. A conventional metaphorical expression, following the definition of cognitive semantics, refers to the use of a conventionalised non-literal meaning of a lexical item in a multi-word phrase. For example, the word 'attack' in the phrase 'attack one's idea', which should be interpreted as 'to criticise somebody or something severely', clearly departs from the literal meaning 'to use violence to try to hurt or kill somebody', and thus should be seen as a metaphorically used word. Consequently, the phrase 'attack one's idea' is a conventional metaphorical expression. This study explores learners' behaviour towards and acquisition of metaphorical expressions from two major perspectives: (1) possible cross-linguistic influence in the process of acquisition and factors that could affect cross-linguistic influence; and (2) the organisation of learners' bilingual lexicon and the status of metaphorical expressions in a bilingual lexicon. These two perspectives are considered to be the main factors that can influence learners' acquisition of metaphorical expressions: in order to acquire a metaphorical expression, learners should be able to integrate it into the bilingual lexicon, while the process of integration can be impacted by cross-linguistic influence. Previous research has mainly been conducted on the acquisition of certain figurative expressions in a second language, predominantly idioms; however, a combination of the two perspectives and a joint analysis on the acquisition of figurative language has yet to be accomplished. This study presents a first attempt of such analysis on the acquisition of a specific type of figurative language. The results of the experiments reported in this dissertation show that learners react differently to metaphorical expressions with different cross-linguistic availabilities (shared between Chinese and English or exclusively available in Chinese or English) but in general they encounter difficulty to achieve native-like performance when reading metaphorical expressions available in their second language. Persistent cross-linguistic influence is observed in two aspects, even among highly proficient learners: (1) learners encounter obstacles when acquiring the metaphorical expressions that are only available in their second language; and (2) learners seem to still activate the metaphorical meanings that are only available in their first language even when they read in their second language. These results altogether reflect that metaphorical expressions, regardless of cross-linguistic availability, are more difficult to acquire than literal expressions in a second language.

While considering the work of James McAuley, Francis Webb and Vincent Buckley, this thesis concentrates on the religious character of their poetry. Since it assumes that religious language is primarily metaphorical (as distinct from dogmatic), the thesis describes the poetry by way of its religio-imaginative relationships and structures. James McAuley's poetry is religious, not so much because it is Catholic, as because it voyages between despair and hope, believing always in the reasoned will. Francis Webb's poetry, continually discovering glory in dereliction, dramatises the revelatory and redeeming power of the rejected ones - and so works within the 'Suffering Servant' model of 'Isaiah'. While Vincent Buckley's poetry gradually abandons Catholic language in favour of its own 'idiom of sensation', the religious quality of that sensation is discovered more in liminal than in paradisal possibilities - in the way 'holy spaces' are always in some sense expatriate ones. Since each of these poets belongs in the period of Vatican II Catholicism, the thesis next relates their work to that context. Here, however, it searches for imaginative connections and disconnections by setting up its comparison on the basis, not of dogmas, but of models. Finally, the thesis interprets Webb's 'Eyre All Alone' as a search for renewed religious language, returning to its opening assumption that religious language is primarily metaphorical.

In Henry James’s novel "The Ambassadors," James uses axiological language in tropes and in substantives, periphrastically replacing proper names. He also includes valuations in miscellaneous data contained in such differences as the one he makes in "The Ambassadors" between "Europe" (place) and "'Europe'" (concept). As well, James puts adjectival assessments of people and situations in the midst of these constructions and in the mouths of his characters, assessments which vary from those which contradict the value systems posited in the novel by various characters, through those which seem quizzical or ambiguous, to those whose meaning seems obvious under the circumstances. The argument of this critical work is that these attempts at naming tie in fundamentally with the ways in which James means for readers to interpret the identities of the characters and the events and are not merely ornamental. Even when James says that a character "didn’t know what to call" someone or something or when "identity" or a verbal equation for identity occurs in an odd context, James answers his own implied rhetorical question; he is not as problematic to read as is sometimes suggested. Our own valuations are encouraged to be close to the experience of Lambert Strether. Leading the reader through the maze of Strether’s experience, James gives many clear signals from the simplest elements of his complicated language even into the fabrication of his complex metaphors that he, though an explorer of the moral universe, is no relativistic iconoclast. In the examination of these issues, a choice has been made to draw eclectically upon various sources and techniques, from traditional "humanistic" modes of interpretation, rhetorical studies, structuralist and deconstructionist remarks, to existentialism, narratology, and identity studies. This choice is the result of an intention to access as many different "voices" as possible, in the attempt to be comprehensive about the voices of James and "The Ambassadors."

Kalba parodo tautos savitumą, papročius, tradicijas, požiūrį į aplink esantį pasaulį. Kalbinio proceso metu kuriasi metaforiniai modeliai, kurie atspindi kiekvienai tautai būdingą pasaulio suvokimą. Metaforinių modelių analizė padeda atskleisti tautos mąstyseną, nuostatą, vertybes, kurios yra svarbios ir puoselėjamos. Šio darbo tikslas aptarti, kaip lietuvių kalbos pasaulėvaizdyje aktualizuojamas metaforinis skonio modelis. Analizei atlikti buvo surinkti 942 pavyzdžiai paremti visų žodžių saldus, -i, kartus, -i, rūgštus, -i, sūrus, -i formų junginių su abstrakčius reiškinius pavadinančiais žodžiais vartojimo pavyzdžiais, surinktais iš „Dabartinės lietuvių kalbos tekstyno“. Pavyzdžiai suskirstyti į penkias sferas pagal žodžių junginyje užfiksuotą skonį apibūdinančio žodžio ir abstraktaus fenomeno ryšį. Išanalizavus metaforinį skonio modelį lietuvių kalbos pasaulėvaizdyje paaiškėjo, kad didžiąją dalį, viso darbo medžiagos sudaro ŽMOGAUS BŪVIO sferai priklausantys pavyzdžiai. Žodžiu kartus apibūdinamų abstrakčių fenomenų yra daugiausiai visose penkiose sferose. Kaip kartūs apibūdinti abstraktūs fenomenai yra vertinami neigiamai. Darbe dar aptariamos JAUSMŲ IR EMOCIJŲ, KALBOS, MĄSTYMO IR MORALINIŲ VERTYBIŲ sferos. / A languege shows a nation‘s distinction, customs, traditions, attitude towards the surrounding world. For every nation during the lingual process, there forms metaphorical models which reflect a specifik world perception. The analysis of the metaphorical models helps to reveal the nation‘s thinking, attitudes, values which are important and are being cherished. The aim of the work is to discuss how there is actualized the metaphorical taste model in the Lithuanian language Outlook. For the analysis, there were picked 942 examples of the words sweet, bitter, sour, salty and their compounds and abstract phenomenon. The examples were divided into five spheres according to the words compound stated taste exaplaining word and the abstract phenomenon bond. After analyzing the metaphorical taste model in the Lithuanian language Outlook, there emerged, that most of the part consist of the HUMAN BEING EXISTENCE‘S fied dependant examples. The word bitter explaining abstract phenomenons are being found in the all five spheres. The abstact phenomenons, explained as bitter, ar explained as negatyve ones. There in the work, are discussed FEELINGS AND EMOTIONS, LINGUISTIC, THINKING AND MORAL VALUES spheres.

In Henry James’s novel "The Ambassadors," James uses axiological language in tropes and in substantives, periphrastically replacing proper names. He also includes valuations in miscellaneous data contained in such differences as the one he makes in "The Ambassadors" between "Europe" (place) and "'Europe'" (concept). As well, James puts adjectival assessments of people and situations in the midst of these constructions and in the mouths of his characters, assessments which vary from those which contradict the value systems posited in the novel by various characters, through those which seem quizzical or ambiguous, to those whose meaning seems obvious under the circumstances. The argument of this critical work is that these attempts at naming tie in fundamentally with the ways in which James means for readers to interpret the identities of the characters and the events and are not merely ornamental. Even when James says that a character "didn’t know what to call" someone or something or when "identity" or a verbal equation for identity occurs in an odd context, James answers his own implied rhetorical question; he is not as problematic to read as is sometimes suggested. Our own valuations are encouraged to be close to the experience of Lambert Strether. Leading the reader through the maze of Strether’s experience, James gives many clear signals from the simplest elements of his complicated language even into the fabrication of his complex metaphors that he, though an explorer of the moral universe, is no relativistic iconoclast. In the examination of these issues, a choice has been made to draw eclectically upon various sources and techniques, from traditional "humanistic" modes of interpretation, rhetorical studies, structuralist and deconstructionist remarks, to existentialism, narratology, and identity studies. This choice is the result of an intention to access as many different "voices" as possible, in the attempt to be comprehensive about the voices of James and "The Ambassadors."

While considering the work of James McAuley, Francis Webb and Vincent Buckley, this thesis concentrates on the religious character of their poetry. Since it assumes that religious language is primarily metaphorical (as distinct from dogmatic), the thesis describes the poetry by way of its religio-imaginative relationships and structures. James McAuley's poetry is religious, not so much because it is Catholic, as because it voyages between despair and hope, believing always in the reasoned will. Francis Webb's poetry, continually discovering glory in dereliction, dramatises the revelatory and redeeming power of the rejected ones - and so works within the 'Suffering Servant' model of 'Isaiah'. While Vincent Buckley's poetry gradually abandons Catholic language in favour of its own 'idiom of sensation', the religious quality of that sensation is discovered more in liminal than in paradisal possibilities - in the way 'holy spaces' are always in some sense expatriate ones. Since each of these poets belongs in the period of Vatican II Catholicism, the thesis next relates their work to that context. Here, however, it searches for imaginative connections and disconnections by setting up its comparison on the basis, not of dogmas, but of models. Finally, the thesis interprets Webb's 'Eyre All Alone' as a search for renewed religious language, returning to its opening assumption that religious language is primarily metaphorical.

This study is premised on the assumption that foregrounding is the dominant feature of poetry. Such an assumption informs this study to the extent that it examines the role of foregrounding in isiXhosa modem poetry. Foregrounding, as an unusual or deviant usage of language, manifests itself as: metaphorical language, foregrounded sound, syntactic foregrounding and the variation of rhythmico-metrical structure. These are called foregrounding techniques. However, this study deals only with the first three foregrounding techniques. Qangule's poetry furnishes this study with examples that are used to illustrate that foregrounding plays a significant role in isiXhosa modem poetry. The foregrounding techniques depict, illustrate, dramatize and suggest the meaning of a poem. They also have the ability to do that in a collaborative manner. Such a claim is evidenced by the comprehensive analysis and interpretation of the poem Ukubonga (To praise). / African Languages / M.A. (African Languages)