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1

Non-Commercial Advertisements: Multimodal Metaphor, Metonymy and Conceptual Blending at Work

100%

Ikere Z., Oļehnoviča I., Liepa S.

Research in Language

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2021

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vol. 19

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issue 3

305-314

EN

Nowadays the omnipresence of advertisements, and the necessity of conscious and subconscious mental interpretation of their hidden messages, can hardly be overlooked. In the present article, the authors attempt to provide additional evidence for the role of multimodal metaphor, metonymy, and conceptual blending in hidden cognitive mechanisms involved in the understanding and/or the correct interpretation of printed non-commercial advertisements and their overall communicative effect thus brought about. The objective is to consider and analyse text-image non-commercial advertisements randomly retrieved from the Internet; the analysis is carried out from the cognitive perspective and aims at discussing the functions of multimodal metaphor, metonymy and conceptual blending as powerful mechanisms exploited for creative purposes in advertising texts and accompanying images, and thus in conveying the central ideas embedded in the adverts.

2

Metaphors Instrumental in Achieving the Pragmatic Effect in Animal Rights Advertisements

88%

Oļehnoviča I., Tretjakova J., Liepa S.

Research in Language

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2020

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vol. 18

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issue 4

441-451

EN

Metaphor can manifest itself in a variety of form including the visual one, which can be an extremely expressive means of communication. That is why visual metaphors are widely used by marketers and advertisers thus becoming a topical object of linguistic research programmes. The study of visual metaphor is tightly related to the study of conceptual metaphor as the target message delivered by a picture is derived from a certain source field that is employed for metaphorical representation. Another type of metaphor commonly used in visual representation is a multimodal metaphor. The present research dwells upon the study of metaphor use in animal rights protection advertisements. The hypothesis of the study is that visual metaphors present strong content that can activate emotions and contribute to the marketers’ desire to influence the audience.

3

Reading as Synthesis of Immersion and Interactivity: Multimodal Metaphors in "The Fantastic Flying Books of Mr. Morris Lessmore" Combo

75%

Deszcz-Tryhubczak J., Marecki M.

Anglica Wratislaviensia

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2015

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issue 53

45 - 54

EN

In addition to being praised for promoting the healing power and the pedagogical potential of literature, William Joyce and Moonbot Studios’ The Fantastic Flying Books of Mr. Morris Lessmore, a cross-media narrative,which consists of four thematically related but discrete versions of one story (a film, an e-book app, a picturebook and an IMAG-N-O-TRON app), has been criticized for two main reasons. First, it has been revealed that the book emphasizes the significance of books at large at the expense of foregrounding the benefits and mechanics of the act of reading. Second, one of its components, the e-book app, has been regarded as ineffective in enhancing the reading experience due to its limited interactive options. Whereas we partially agree with the latter argument, we nevertheless argue that, if seen as a whole, the Lessmore combo employs a catalogue of metaphors, such as reading is sharing or reading is remaining young, with a view to deepening and refreshing the reader/viewer/user’s appreciation of reading as an activity that fosters one’s affective and cognitive development. Significantly, depending on the narrative platform, these metaphors can be cued textually, visually, musically or/and kinesthetically. Focusing specifically on the metaphor reading is engaging with fictive minds, this article explores how the Lessmore film and its remediations recycle that metaphor along with encouraging the experience of immersion or/and interactivity.

4

„Królestwo samotnej duszy” – czyli konceptualizacje pojęcia w filmie animowanym pt. Kraina lodu

63%

Czerkas K.

Poradnik Językowy

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2023

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vol. 805

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issue 6

50-65

EN

This article discusses the conceptualisations of the notion ‘loneliness’ in the film titled Frozen (2013), directed by Chris Buck and Jennifer Lee. The study employs the cognitive methodology coupled with the media linguistic perspective. Multi modal metaphors and their functions in the narrative of the film have a special place in the analysis. The aim of the study is to analyse the aforementioned animated film in terms of what components of the conceptual structure of ‘loneliness’ were shown by its authors, what domains found in language they invoked, and what new contents related to the subject matter they used. The text shows that loneliness in Frozen is conceptualised as singleness, lack of company, lack of love, otherness, freedom, escape, experience of loss, rejection, closure, darkness, cold, and emptiness. A special image of the analysed notion emerges from two metaphors: LONELINESS is ICE, LONELINESS is a CLOSED DOOR.

PL

Artykuł dotyczy sposobów konceptualizacji pojęcia ‘samotność’ w filmie Kraina lodu z 2013 r., w reż. Chrisa Bucka i Jennifer Lee. W pracy wykorzystuję metodologię kognitywną połączoną ze spojrzeniem mediolingwistycznym. Szczególne miejsce w analizie zajmują metafory multimodalne oraz ich funkcje w narracji filmu. Celem pracy jest analiza wspomnianej animacji pod kątem tego, jakie elementy struktury pojęciowej ‘samotność’ ukazali w niej jej twórcy, do jakich domen obecnych w języku się odnieśli oraz jakie nowe treści dotyczącego tego tematu wykorzystali. Z tekstu wynika, że samotność w Krainie lodu konceptualizowana jest jako pojedynczość, brak towarzystwa, brak miłości, inność, wolność, ucieczka, doświadczenie straty, odrzucenia, zamknięcie, ciemność, zimno i pustka. Szczególny obraz analizowanego pojęcia wyłania się z dwóch metafor samotność to lód, samotność to zamknięte drzwi.

5

Singing in the blend: stagings of Verdi's operatic Shakespeare in the Czech Republic after 1989

51%

Havlíčková Kysová Š.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue Special_Issue

189-208

EN

The article deals with changes in creating scenography for productions of operas based on plays by William Shakespeare in former Czechoslovakia and the Czech Republic after 1989. The article discusses the procedure of a multimodal analysis of scenography based on blending theory approach. The 1991 production of Verdi's Otello of the Prague State Opera directed by Dominik Neuner and revived in 2009 by Lubor Cukr is used as an example of creating scenographic space for operatic Shakespeare. The scenography is understood as not only visual but multimodal component of theatrical performance. Vladimír Nývlt's concept of scenography for the Otello production is treated from the perspectives of multimodal analysis and examined in the context of other productions of operatic Shakespeare in the Czech Republic after 1989.

6

Intermedialne warsztaty twórcze "Przestrzenie Mixmedialne", czyli kształcenie wyobraźni z wyobraźnią

51%

Limont W.

Nauki o Wychowaniu. Studia Interdyscyplinarne

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2018

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vol. 7

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issue 2

68-88

EN

The paper presents three experiments where metaphorical thinking, visualization and visual art expression were important elements. A characteristic feature of the first experiment was the use of thinking by means of analogy and metaphorical thinking with verbal and visual expressions. In the second experiment related to creative imagination, visual metaphor was dominant. The third experiment was an intermedia creative workshop, in which multimodal metaphors and playing with a specific plot were significant features. Combining physical, virtual and mental spaces as well as moving participants between mixed extended real and virtual spaces were also key factors. The intermedia creative workshop was organized by students of art education in two stages. In the first stage, they designed the workshop while in the second stage, the workshop was run among early-school-age children.

PL

W artykule przedstawiono trzy eksperymenty, w których ważne było myślenie metaforyczne, wizualizacja i ekspresja plastyczna. Charakterystyczną cechą pierwszego eksperymentu było wykorzystanie myślenia przez analogię i myślenia metaforycznego z ekspresją werbalną i wizualną, w drugim eksperymencie związanym z wyobraźnią twórczą dominowała metafora wizualna. W trzecim, mającym charakter intermedialnych warsztatów twórczych, znaczącymi elementami były metafory multimodalne i zabawa z konkretną fabułą. Ważnym czynnikiem było także łączenie przestrzeni fizycznej, wirtualnej i mentalnej, przemieszczanie się uczestników w mieszanej, rozszerzonej przestrzeni realnej i wirtualnej. Intermedialne warsztaty twórcze realizowane były przez studentów edukacji artystycznej w dwóch etapach. Na pierwszym studenci tworzyli projekty warsztatów, na drugim warsztat realizowano wśród dzieci w wieku wczesnoszkolnym.

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2 Research in Language

1 Anglica Wratislaviensia

1 Nauki o Wychowaniu. Studia Interdyscyplinarne

1 Poradnik Językowy

1 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

1 2023

2 2021

1 2020

1 2018

1 2015

2 Liepa S.

2 Oļehnoviča I.

1 Czerkas K.

1 Deszcz-Tryhubczak J.

1 Havlíčková Kysová Š.

1 Ikere Z.

1 Limont W.