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< Freedom of speech > is a foundational ideograph in the American and more broadly, Western, tradition. Yet this term is not static in its meanings or commitments to social action. The current debate around cancel culture is the site of renegotiation of < freedom of speech > in relation to other terms such as < open debate >, < justice >, < marginalized >, < tolerance >, < democracy >, and < power >. This study is an ideographic analysis of two artifacts that represent two sides of the < freedom of speech > discussion: “A Letter on Justice and Open Debate” and “A More Specific Letter on Justice and Open Debate.” Following McGee’s theory and method, this research examines the diachronic definition of < freedom of speech > through the U. S. Supreme Court and the liberty model and the synchronic tensions surrounding < freedom of speech > represented in these two editorials. The analysis identifies < justice > as an inadequate and detrimental synecdoche in the renegotiation and suggests that there is no appropriate synecdoche because < freedom of speech > is prerequisite to all public debate. This renegotiation is happening now because of disparities between the ideal of < freedom of speech > and its material reality in society. Further, because < freedom of speech > has not been sufficiently defined and its alternatives explained and rebutted, it is being devalued in current society. Finally, the prevalence of the internet as a public square raises questions about protected speech as have all new media in the past. The study shows that one vision must eventually dominate because they are fundamentally irreconcilable within a single political union. The analysis concludes with an outline of the two moral visions presented in each letter and the consequences of adopting each.

Bien que le Self soit une abstraction omniprésente de notre quotidien, il demeure complexe à définir. L'immense majorité des cultures du monde fait appel aux relations parties-tout afin de conceptualiser cette abstraction intime: nous catégorisons nos corps en tant que touts faits de parties, et réifions beaucoup d'aspects intangibles du Self au travers de l'image schéma PARTIE-TOUT (ex: "J'ai perdu une partie de moi ce jour là"; "je me sens entier"). Le Self et les relations parties-tout ont fait l'objet de nombreuses recherche à ce jour. Il convient donc, dans un premier temps, d'établir l'état de l'art en se focalisant sur un certain nombre de contributions influentes à ce sujet, qui nous permettront d'introduire les concepts et notions clés à partir desquels nous établirons notre hypothèse. Nous proposons une définition étroite de la relation partie-tout, puis, en accord avec le cadre théorique de la linguistique cognitive, nous proposerons que nous pouvons en apprendre sur la conceptualisation du Self en étudiant les expressions linguistiques qui y réfère. En effet, du point de vue de la linguistique cognitive, le sens et la conceptualisation ne font qu'un, et nous analysons donc les mécanismes conceptuels à l’œuvre dans les expressions partie-tout du Self. La linguistique cognitive a réconcilié la pensée et le corps en démontrant que la pensée était incarnée. Nous proposons ainsi d'analyser les expressions partie-tout que les anglophones utilisent pour conceptualiser le Self incarné. Nous montrons que l'anglais a des stratégies syntaxiques encodant la conceptualisation du corps en tant que tout fait de parties de manière très précises. Nous proposerons ensuite d'analyser les stratégies linguistiques que les anglophones utilisent pour faire référence à leur Self intangible. Nous soutenons que le schéma PARTIE-TOUT est omniprésent dans la conceptualisation du Self aussi bien dans ses aspects tangibles, qu'intangibles. Nous soutenons que ce schéma est un modèle récurrent hérité de notre expérience sensorimotrice au travers duquel nous vivons, et que ce système de conceptualisation est très précisément capturé par la langue que nous parlons. / The Self is a ubiquitous abstraction of our daily lives, and yet remains complex to define. The vast majority of the world’s cultures recruit a part-whole conceptualizing process to give shape to this intimate abstraction: we categorize our bodies as wholes made of parts, and we reify many aspects of our intangible Self through the PART-WHOLE schema (e.g. “I lost a part of me that can never be replaced”; “I feel whole”). The Self and part-whole relations have both received a considerable amount of attention. I first review influential contributions to both domains of investigation to introduce the theoretical background and key concepts, upon which I build my argument, and also raise some issues, which I propose to address throughout this dissertation. I propose a narrow definition for the part-whole relation, and following the cognitive linguistic literature, I argue that we can learn more about the way we conceptualize our Self by analyzing the linguistic expressions that refer to it. Indeed, from the standpoint of Cognitive Linguistics, meaning is conceptualization, and I thus analyze the conceptual mechanisms at work in part-whole expressions of the Self. Cognitive Linguistics has put back together the long divorced mind and body in Western culture by demonstrating that the mind is embodied. Accordingly, I first propose to analyze part-whole expressions that English speakers use to conceptualize the Embodied Self. I show that English has syntactic strategies that encode the conceptualization of the body as a whole made of parts at a fine level of granularity. I then propose to analyze linguistic strategies English speakers use to refer to their Intangible Self. In both tangible and intangible aspects of the Self I argue that the PART-WHOLE schema is a pervasive recurring pattern of our sensorimotor experience that we live through, and that this complex conceptual system is precisely encoded in language.

Le présent travail traite la lange serbe et la littérature serbe dès ses origines jusqu'à l'époque contemporaine ; les notions élémentaires concernant les termes employés en sémantique en général ainsi que ceux employés dans ledit travail, tels que l'homonymie, la polysémie, la synonymie etc. Notre travail présente la liaison entre la sémantique et la rhétorique. A cette fin, il traite les figures de style et les tropes, sous le prisme linguistique. Il s'agit particulièrement de la métaphore, la métonymie et la synecdoque. Les différents types de métaphores sont abordés : la métaphore morte, la métaphore avec la copule et la métaphore ayant le verbe autre que la copule. Le dernier type de métaphore fait preuve qu'elle n'est pas une comparaison abrégée. Toutes les formes de métonymie sont examinées, ainsi que la synecdoque avec ses sous formes. La théorie ensembliste à l'aide de laquelle la métonymie et la synecdoque sont présentées démontre clairement que la synecdoque a une autonomie significative et qu'elle ne peut être considérée comme une simple sous forme de métonymie. / This work focuses on the Serbian language and literature from its beginnings until the present days, and on the basic concepts concerning the terms used in the general semantic as well as the terms that were used in this work such as homonymy, polysemy, synonymy etc. This work represents the connection between the semantics and the rhetoric. It deals with the figures of speech and the tropes in the light of linguistics. It focuses mainly on metaphor, metonymy and synecdoche. The different types of the metaphor have been taken in consideration: dead metaphor, metaphor with the copula and metaphor with a verb instead of the copula. The last mentioned type of metaphor proves that this figure of speech is not an abbreviated comparison. All the types of the metonymy were examined, as well as synecdoche with its subtypes. The theory of sets that was used for graphic presentation of the different types of metonymy and synecdoche clearly shows that the synecdoche has a significant autonomy and cannot be considered as a simple subtype of the metonymy.

The diploma work is divided into two parts - theoretical and practical. The first part is further divided into the theoretical linguistic subsection and theoretical political science subsection. The theoretical linguistic part comprises information on metaphors, metonymies and synecdoches taken from Czech and Spanish linguistic handbooks and is focused on a phenomenon of levelling and it also deals with the function of the aforementioned rhetorical figures. In the first part there is also a chapter on the rhetorical style and translation of rhetorical figures. The second, practical part deals with the analysis of the rhetorical figures in selected political speeches, their function, frequency and possible levelling when translating them into the target language. The analysis is carried out on the basis of a comparable sample of political speeches in the Czech and Spanish languages. They are the speeches of two important personalities of the 1970s, President Ludvík Svoboda's speeches in the Czech language and in terms of the Spanish linguistic background - the speeches of his Chilean counterpart - President Salvador Allende, and their Czech translation. Key words: levelling, metaphor, metonymy, synecdoche, translation, political speech

Contemporary federal education policy discourse from A Nation at Risk to the Race to the Top program has promoted and extended neoliberal discourse from the national level to the level of the school and its personnel. This study highlights the persistence of neoliberal discourse within federal education policy and the consequences this persistence holds for critiques of current policies and practices. Analyzing reports published by the United States Department of Education and contemporary United States education policy starting from A Nation at Risk, moving through America 2000, Goals 2000, and No Child Left Behind, and ending with the Race to the Top program, I use rhetorical tropes to provide a method of analysis for education policy. Due to the novelty of this project for the field of education policy studies, I bring in concepts from rhetorical studies and discourse analysis to produce an interdisciplinary approach to policy analysis that fills a particular gap in existing analyses. At present, there exists no framework within the traditional analyses of education policy that offers a theoretical account of how a discourse maintains and propagates itself through policy. This dissertation offers a new method of policy analysis that examines how a discourse stabilizes and perpetuates itself through education policy. Specifically, an analysis of these policies and reports demonstrates how neoliberal discourse uses the tropes of metaphor, where two objects are identified with one another, and synecdoche, where the part is made to represent the whole and vice-versa, to ground and naturalize its growing presence in education policy and practice. Through the tropological analysis of the above cited texts, the co-operation of metaphor and synecdoche, what I term “organic identification,” accounts for the persistence of neoliberal discourse through its identification and integration with federal education policy discourse specifically through the constitution of places, e.g., the nation and the school. The conclusion suggests the critical potential for considering the role of tropes in the discursive constitution of place by mapping the persistence of a discourse and providing a critical distance from which contradictions and alternative trajectories can be forwarded.

The main topic of my dissertation is exploitation of metaphor and metonymy in current argot of Parisian suburbs. The paper defines metaphor, metonymy and synecdoche (special type of metonymy). It also describes the term argot and analyses present argot French on Parisian suburbs from social-linguistic perspective. In the end based on available sources my work analyses lexical units in argot created by means of metaphor and metonymy and describes in detail the process of relevant semantic change.

Este trabalho pretende mostrar os efeitos expressivos gerados pelo emprego das locuções adjetivas nos contos de Clarice Lispector. Para tanto, foi realizada a recolha de sintagmas nominais com locuções adjetivas das narrativas que compõem as duas primeiras obras de contos da autora: Laços de família e A legião estrangeira. Focando-se a análise semântico-estilística na descrição das personagens, as locuções adjetivas revelaram-se como um dos motores da prosa poética, contribuindo para a construção de um mundo ficcional introspectivo. Por meio das relações semânticas entre a locução adjetiva e o substantivo nuclear do sintagma nominal, há o engenho de imagens que demonstram a subjetividade das personagens e arquitetam uma escritura plena de recursos expressivos, entre eles a metáfora, a sinédoque e a antonomásia. / This study aims at detailing the expressive effects produced by the use of the adjective clauses in Clarice Lispectors short stories. This objective was achieved by the selection of noun syntagms containing adjective clauses taken from the narratives found in the first two pieces of work of the authors short stories: Laços de família and A legião estrangeira. By focusing on the semanticstylistic analysis of the description of the characters, the adjective clauses presented themselves as one of the driving engines of the poetic prose, thus contributing to the construction of an introspective fictional world. This can be explained by the semantic relastionships, divided up into the adjective clause and the nuclear subject of the noun syntagm, among which there is and inventive production of images that demonstrate the characters subjectivity and build up a writing full of expressive resources such as the metaphor, the synecdoche and the antonomasy.

This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the contextualisation of Performance art are explored: how it pertains to the theatrical framework, audience, art, social order, and the sublime. To this end, the influence of the socio-political construct of reality on the theatrical framework of a performance is examined. The premise is that a socio-political context both precedes and follows a performance and likely affects 5 how a performance is experienced. This investigation relies upon the methodological approach of Grounded Theory that allows the freedom of exploring this phenomenon in conjunction to the development of a communicative model. To delimit the scope of this study, I primarily focus on the symbolic, insofar as it affects the context of a performance. The analysis of this study supports the development of a theorisation that introduces an approach to the theatrical framework, defined as Neo-Surrealism. Drawing upon Immanuel Kant's philosophical work on judgement, a precept is introduced for a theatrical framework: Neo- Surrealism is a platform that constitutes the demarcation of sacred space, where the signification of the aesthetic has symbolic authority over the signification of the socio-political construct. In the present study, the term transgression as situated in a metaphysical context of sacred space, changes its symbolic signification from a complicit act against the socio-political construct to a complicit act against the limitations of perception, positioning this semiotic sign to constitute an aesthetic infinitude. This theorisation serves to support a philosophical dialectic that incorporates performative methods from Ritual Studies. This aspect of the dissertation acts as a counterpart to the documented artwork aimed at reinforcing the specific purposes as outlined through the research. The practical portion of this study consists of three performances that rely upon the platform of Neo-Surrealism. Each performance strategically responds to the influence of the socio-political construct in separate ways. Neo-Surrealism: What is Performance art? (2015) contains a fictitious narrative that is integrated in an academic context. I portray several different archetypes; this theoretically makes my identity impalpable to an audience comprised mostly of students that are unfamiliar with my work. Neo-Surrealism: The Audition (2016) is centred on the site specificity of the performance, challenging the application of the communicative model in an unfamiliar socio-political context, Anchorage, Alaska. Neo-Surrealism: The Rehearsal (2017) is aimed at asserting the relevance of the platform of Neo-Surrealism by expanding the symbolic boundaries of Performance Art.

Este trabalho pretende mostrar os efeitos expressivos gerados pelo emprego das locuções adjetivas nos contos de Clarice Lispector. Para tanto, foi realizada a recolha de sintagmas nominais com locuções adjetivas das narrativas que compõem as duas primeiras obras de contos da autora: Laços de família e A legião estrangeira. Focando-se a análise semântico-estilística na descrição das personagens, as locuções adjetivas revelaram-se como um dos motores da prosa poética, contribuindo para a construção de um mundo ficcional introspectivo. Por meio das relações semânticas entre a locução adjetiva e o substantivo nuclear do sintagma nominal, há o engenho de imagens que demonstram a subjetividade das personagens e arquitetam uma escritura plena de recursos expressivos, entre eles a metáfora, a sinédoque e a antonomásia. / This study aims at detailing the expressive effects produced by the use of the adjective clauses in Clarice Lispectors short stories. This objective was achieved by the selection of noun syntagms containing adjective clauses taken from the narratives found in the first two pieces of work of the authors short stories: Laços de família and A legião estrangeira. By focusing on the semanticstylistic analysis of the description of the characters, the adjective clauses presented themselves as one of the driving engines of the poetic prose, thus contributing to the construction of an introspective fictional world. This can be explained by the semantic relastionships, divided up into the adjective clause and the nuclear subject of the noun syntagm, among which there is and inventive production of images that demonstrate the characters subjectivity and build up a writing full of expressive resources such as the metaphor, the synecdoche and the antonomasy.