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Zem pode mnou v nesmírné bolesti kolébá se. K vertikální orientaci prostoru Znamení moci Jana Zahradníčka

100%
Novák F., Krásenská K., Pavlík O.
Slovo a smysl - Word & Sense
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2023
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vol. 20
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issue 1
62-72
EN
The aim of this study is to map the specific orientation of space in Jan Zahradníček’s extensive poem The Sign of Power. His unique conceptualization of ‘up’ and ‘down’ in this work plays a significant role in the construction of setting. In this paper, we draw on George Lakoff and Mark Johnson’s Metaphors We Live By, in particular their insights and observations on metaphors involving spatial orientation and the notion that ‘more is up; less is down’ — a postulate that can be extended to various other good-bad (including ethical and religious) distinctions. Along these lines, we further draw on their concept of in/coherence of metaphor and different cultural spaces. The central question of the study concerns the coherence (or incoherence) of spatial designations with the values of good and bad. Our analysis then traces the tension between conventional spatial connotations and the unsettling instability, with regard to both space and values, of the world modelled in Zahradníček’s poem.
2
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Obraz Melancholia Jacka Malczewskiego w kontekście teorii lingwistyki kognitywnej

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Łata M.
Filozofia i Nauka
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2017
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vol. 5
323-339
EN
In the article I analyse the painting Melancholy by Jacek Malczewski in the context of the theory of cognitive linguistics. I transfer the principles of the analysis paradigms of language – which have been studied intensively since the eighties of the twentieth century – to the field of visual art. I refer to a few key aspects of these studies, by choosing the sets which create complementary and mutually enriching content useful for the intended task. The analysis of painting is preceded by the outline of the theory of metonymy, metaphor and conceptual blends.
PL
W artykule analizuję obraz Jacka Malczewskiego Melancholia w kontekście teorii lingwistyki kognitywnej, przenosząc zasady analizy paradygmatów językowych, badanych intensywnie od lat osiemdziesiątych XX wieku, w obszar sztuk wizualnych. W pracy odniosłam się do kilku głównych aspektów tych badań, wybierając takie ich zestawienia, które tworzą dopełniające i wzbogacające się nawzajem treści, przydatne dla wyznaczonego zadania. Analizę obrazu poprzedza zarys teorii metonimii, metafory i amalgamatów pojęciowych.
3
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Przeciw dualizmowi psycho-fizycznemu. Analiza i porównanie stanowisk Johna Searle'a i George'a Lakoffa

89%
Milewski D.
Zagadnienia Filozoficzne w Nauce
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2014
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issue 56
57-92
PL
This paper discusses John Searle’s biological naturalism and George Lakoff’s embodied mind hypothesis. These theories are presented as examples of a certain part of the philosophy of mind that breaks with the tradition launched by Descartes. In both cases, the break from this tradition is indicated to be a radical one as the theories argue not only against Cartesian dualism - the basic philosophical categories utilized by Descartes are being questioned. This attempt of departure from distinctions that seem to form a great part of the contemporary philosophy of mind may stand for a chance to provide a new perspective for some old philosophical problems.
4
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Kognitywny obraz GNIEWU we współczesnej polszczyźnie

71%
Mikołajczuk A.
Etnolingwistyka. Problemy Języka i Kultury
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1996
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vol. 8
131–145
PL
Celem prezentowanego artykułu było zbadanie, jakie pojęcia i schematy wyobrażeniowe służą użytkownikom polszczyzny do rozumienia gniewu i mówienia o nim. Materiał badań stanowiły polskie nazwy gniewu i różnych jego odcieni oraz zachowań z nim związanych (przede wszystkim związki frazeologiczne). W analizie wykorzystano pojęcia i metody zaproponowane przez Lakoffa w rozdziale na temat struktury angielskiego pojęcia ANGER (G. Lakoff, Women, Fire and Dangerous Things. What Categories Reveal About the Mind, Chicago 1987). W głównej części artykułu – dzięki deleksykalizacji utrwalonych jednostek językowych – można było przedstawić objawy fizjologiczne gniewu, zastygłe w języku, oraz odtworzyć metonimie i metafory pojęciowe, które wspomagają nasze myślenie o gniewie i mówienie o nim. Efektem końcowym pracy było wskazanie trzech grup czynników, współtworzących kognitywny obraz gniewu w polszczyźnie. Należą do nich: (1) proste schematy wyobrażeniowe: RÓWNOWAGA, POJEMNIK, RUCH (W GÓRĘ / W DÓŁ), (2) pojęcia stanowiące klucz do rozumienia gniewu (źródło metafor): BÓL FIZYCZNY, CIĘŻAR, CHOROBA CIAŁA, WŚCIEKLIZNA, SZALEŃSTWA, ZATRUCIE, BURZOWA POGODA, NIEBEZPIECZNE ZWIERZĘ, PRZECIWNIK, DIABEŁ, PUŁAPKA, WIĘZIENIE, MORZE, OGIEŃ, GORĄCA CIECZ, (3) różne aspekty pojęcia GNIEWU: przyczyna, sprawca i obiekt uczucia, subiekt, uczucie i jego ocena, intensywność, głębokość i trwałość uczucia oraz możliwość kontrolowania go, a także objawy uczucia.
EN
The aim of the paper is to establish what concepts and image schemata are utilized by speakers of Polish to understand and talk about anger. The study is based on the material of Polish terms of anger in its various shades (mainly phraseological expressions) as well as patterns of behaviour connected with it. We make use of the concepts and methods proposed by Lakoff (G. Lakoff, 1987, Women, Fire and Dangerous Things. What Categories Reveal About the Mind, Chicago: Chicago Press) in the chapter on the structure of the English concept of ANGER. In the main body of the paper, owing to the delexicalization of some fixed expressions, it has been possible to present the physiological symptoms of anger, “frozen” in language. It has also been possible to reconstruct the metonymies and conceptual metaphors which aid our thinking and talking about anger. The final result of the analysis is the designation of three groups of factors which constitute the cognitive portrait of anger in Polish. These are: 1. Simple image schemata: EQUILIBB.IUM, A CONTAINER, MOVEMENT (UP/ DOWN). 2. Concepts which serve as the key to understanding anger (the source of metaphors): PHYSICAL PAIN, WEIGIIT (7BURDEN?), BODILY ILLNESS, RABIES, MADNESS, POISONING, STOR.MY WEATHER, DANGEROUS ANIMAL, ENEMY, DEVIL, TRAP, PRISON, SEA, FIRE, HOT LIQUID. 3. Various aspects of the concept of anger: the cause, the causer and the object of the emotion, the recipient, the subject, the emotion itself and its evaluation, the degree of its intensiveness, its depth and permanence, the possibilty of bringing it under control, and its symptoms.
5
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Metafory, kterými hrajeme. Perspektivy a meze české kognitivní teatrologie

54%
Havlíčková Kysová Š.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2015
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vol. 18
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issue 1
65-84
EN
The given study presents the main terms and theoretical concepts of cognitive theatrology. The author aims at making the Czech audience acquainted with the foundation texts of this relatively new branch of theatre studies which draws abundantly from other disciplines, and indicate its possible application in research. Discussion is carried on what is the use of cognitive science in theatre research, which issues it can handle, and what methodology it employs.
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