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1

Seeing through language

100%
Davidson D.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
128-141
EN
This essay attempts at offering an answer to the question how the metaphor of 'seeing through language' should be understood. The author considers three popular interpretations: language as a medium reproducing the external world; language as a hermetic curtain drawn between us and the world; and, language as a semitransparent substance that embellishes the perceived world in a specific way. And, he comes to the conclusion that each of them has some essential defects to it. Instead, the author proposes his own non-metaphorical interpretation: namely, we perceive the world through, or, owing to, having language - that is, a special organ (not being an intermediary) that along with other organs (eyes, ears, etc.) enables us to enter into direct contact with our environment, but also, as opposed to any other organs, to acquire propositional knowledge. Further on, he analyses arguments against the 'language of thought' hypothesis; he considers the relation between perceptual beliefs and the world; and, analyses base conditions proving indispensable for language acquisition and formation of thinking. The conclusion comes out of the author's meticulous considerations that the abilities to speak, perceive, and think develop together, gradually.
2
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METAPHORS, FAD-WORDS AND TRAVELLING CONCEPTS IN MUSICOLOGICAL TERMINOLOGY

80%
Piotrowska A. G.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
156 – 165
EN
This paper deals with metaphors (fad-words and travelling concepts) as encountered in the field of musicology, highlighting how and when certain concepts and ideas were borrowed and/or appropriated from other disciplines. It is claimed that by creating its unique jargon (abounding with discipline-specific metaphors) musicology has proved the facilitating role of metaphors in the communication between musicologists, music lovers, music critics etc. It is also argued that while transgressing the borders of disciplines, metaphors have helped to establish and ossify typically musicological methodology and tools of analysis.
3
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METAFORA V KOGNITÍVNOVEDNOM MODELOVANÍ

80%
Gáliková S.
World Literature Studies
|
2011
|
vol. 3 (20)
|
issue 3
28 – 40
EN
There has been an ongoing intensive research of the nature of human mind in contemporary cognitive science. The author ś aim is to point out the role of metaphorical language in the experimental and theoretical mind studies. The analysis subject is to emphasize heuristic and argumentative function of metaphor in models of cognitive science representatives. Viability of this strategy appears by solving problems reaching beyond the imaginary boundaries of disciplines, f.e. reality-fiction, literal-metaphorical, text understanding, the nature of truth etc. putting significance on the function of metaphorical language in art, philosophy and science has become a great challenge for reconsidering traditional approaches to the study of human mind, body and reality.
4
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MÝTIZÁCIA A DEMÝTIZÁCIA V ROMÁNE THOMASA MANNA DOKTOR FAUSTUS

80%
Sošková J.
ESPES
|
2014
|
vol. 3
|
issue 2
71 – 82
EN
Thomas Mann's novel Doctor Faustus is a multi-layered work that elicits different, often conflicting and contradictory reflections, analysis and interpretation. In the novel are thematised many literary, social, historical, philosophical, musical theory and aesthetic problems. In this paper we focus on the questions of aesthetic potentiality modelled of literary event, to possible ways of perception and understanding of the literary text, its potential relationship to the real facts past and present. As a methodological basis we will use the philosophical and aesthetic concept of N. Goodman and by him explained the essence of making metaphors, "image as", exemplification and making of aesthetic semiosis. We will point out the difficulty of comparing literary text with the real reality (past and present), the problem of "mythical" and "demythical" potential of literary text in relation to the problem of art, artist, art, art perceiver.
5
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QUAKEN ALS AUSDRUCK VON VERFEHLUNG UND MENSCHLICHER BEDROHUNG: DER FROSCH ALS EINE „ABSOLUTE METAPHER“

80%
Hild C.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
86 – 103
EN
The frog as a literary motif has a predominantly negative connotation in European literary history: it is associated with hubris, boasting, stupidity and cowardice. These representations show overlapping concerning the attached attributes: they not only show the limits of conceptual thinking, but also of human knowledge, they point to aporias and mysteries and provide answers to questions that cannot be answered in principle, whose relevance is simply that they cannot be eliminated because they are not asked in the first place, but find themselves placed within the basis of existence. What becomes obvious when scrutinizing the frog is that its outer appearance reflects an expression of misconduct and threat to the human being. In order to shed light on and support the main idea of the article, selected examples from antiquity to modern times will be used to examine to what extent this animal expresses something that cannot be conveyed through conceptually abstract language and thus functions as an “absolute metaphor” in the sense of Hans Blumenberg.
6
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Religia jako poezja? O filozofi i religii George’a Santayany

80%
Waloszczyk K.
Filo-Sofija
|
2010
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vol. 10
|
issue 2(11)
93-106
EN
George Santayana (1863–1952) has contended that religion should be seen as a kind of poetry and not as a literal truth. To him “religion, when seen to be poetry, ceases to be deceptive and therefore odious, and becomes humanly more significant than it seemed before”. I shall (1) expose reasons which have him conduced to this view, (2) compare it with the opposite doctrine of the Catholic Church and (3) conclude, that Santayana’s philosophy of religion seems to be in the age of globalization and religious pluralism of particular relevance.
7

POLISH PHOTOGRAPHY CRITICISM VS. THE PROBLEM OF AVANT-GARDE, MODERNITY AND METAPHOR IN THE LATTER PART OF THE 1950s

80%
Jurecki K.
Rocznik Historii Sztuki
|
2006
|
vol. 31
199-214
EN
After the end of the social realism in Polish photography in the mid-1950s, the critics turned to the problems of modernity, metaphor and reportage. The critics, mainly Janusz Bogucki and Urszula Czartoryska, reflected on the artistry of photography and its value principally on the basis of the categories of realism and report documentality. Czartoryska, on the other hand, tried to relate them to the concept of modernity present both in the fine arts and culture of those times. From today's perspective the most important are the opinions of Bogucki and Czartoryska who, as opposed to others, tried to analyse and highly estimated artistic works that went beyond the purity of form of photography as art, i.e. beyond the literary and humanistic reportage (for instance, the works by Zdzislaw Beksinski, Marek Piasecki, Bronislaw Schlabs). The key concept of modernity had a very broad research model. The term was variously interpreted, even with inclusion of reportage, or experimental film by Andrzej Pawlowski. The criticism was backed up by the theoretical texts of Zbigniew Dlubak focused on painting metaphor, an artist of avant-garde opinions and aspirations, in his texts postulated the 'purity' of form of art of photography distanced himself both from the tradition of pictorialism, expressionism and figurative surrealism. In general, all Polish critics allowed abstraction in photography only when a photograph preserved its mimetic character, without the elements of graphic art or painting. Such critics as Bogucki and Czartoryska, and to a lesser extent Ligocki, accompanied with their texts the more modern artists of the 1950s in Poland.
8
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METAPHOR AND METONYMY IN COGNITIVE LINGUISTIC THEORY: ON THE BASIS OF EVIDENTIAL ADVERBS AND THEIR SEMANTIC EXTENSIONS

80%
Ivanová M.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
166 – 175
EN
The paper brings the analysis of evidential units such as očividne, evidentne, zjavne (obvi-ously, apparently, evidently) which show semantic extensions from direct visual perception meaning to assumption meaning. This semantic extension can be viewed as an example of the KNOWING is SEEING metaphor which arises on the basis of metonymy. The paper brings the corpus data to show various usage of the given units which can be interpreted as metonymical (from pre-metonymic through weak metonymic to partially metonymic readings). It is shown how metonymy and inference processes cooperate to produce the metaphoric extension TO SEE is TO KNOW.
9

FORMULATION OF QUALITY-QUANTITY RELATIONSHIP IN TOPONYMY BY THE EXPRESSIVE MEANS AND METAPHORS

80%
Krsko J.
Slavica Slovaca
|
2006
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vol. 41
|
issue 1
61-68
EN
The author of the study deals with the use of metaphor and metonymy in the formation of toponyms. The commonest use in proper nouns is that of resemblance with appellatives known to people from their everyday lives - 'brdo' (harness), 'hreben' (comb), 'sedlo' (saddle), 'nohavice' (trousers), 'noznice' (scissors)… Long distance of the object from the settlement was expressed by people metaphorically, using the names of distant countries and cities - America, Canada, Kamchatka, Peking, Mexico... In some toponyms, the expressive words are used to denote poor-quality soil, too distant objects etc.
10

METAPHOR IN CRITICAL COMMUNICATION SITUATIONS

80%
Krupa V.
Asian and African Studies
|
2010
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vol. 19
|
issue 2
344-350
EN
This article deals with a metaphor in critical communication situations. The critical communication situation is defined here as such condition when the available and ready-made linguistic means within the standard inventory are not felt to be adequate to express the intentions of the speaker. The cognitive value of poetic metaphor can not be judged in isolation from its communicative function. Art is no a distortion of reality in the pejorative sense but rather a distortion of conventionality. The need to talk of thinks in a new way is experienced not only by poets. Linguistic creativity is allowed in everyday speech that is incessantly in reached with new expressions.
11
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K PROBLEMATIKE TEXTOVO-OBRAZOVEJ METAFORY V OBRAZOVEJ KNIHE

80%
Gal Drzewiecka I., Lešková D.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
142 – 155
EN
The article deals with the issue of metaphor in the semiotically heterogeneous medium of picture books. The contemporary production of books in the genre of fictional text-pictorial narratives is characterised by a philosophical point of view on ontological topics. The metaphorical way of their expression makes more abstract thoughts, less known realities or non-conceptualised experience accessible by means of more concrete “terms” of figurative language and depiction. In order to solve this issue, we focus on explicating and exemplifying the topic of death. Our research is based on outlines of possibilities and limits of external representation of abstract concepts by means of text and picture. We analyse the text-pictorial metaphor and reciprocal alternation of texts and pictures in the positions of its target and original domain. The reception of the text-pictorial metaphor is explained by receptive mechanisms of immersion and interactivity – by the distinction between the “world” metaphor and metaphor “as game”, which is provided by Marie-Laura Ryan ’s approach.
12

THE LINGUISTIC IMAGE OF THE NOTION OF LIE IN HUNGARIAN

80%
Nyomarkay I.
Magyar Nyelvor (Hungarian Language Guardian)
|
2006
|
vol. 130
|
issue 4
389-399
EN
The notion of lie is expressed in numerous metaphors and attributive constructions in Hungarian. This paper presents the most characteristic constructions and analyses them partly on the basis of texts of fiction but mainly on the basis of colloquial data taken from the National Text Corpus.
13

The first Cologne Epode of Archilocus

80%
Mayer P.
Antik Tanulmanyok (Studia Antiqua)
|
2007
|
vol. 51
|
issue 1
1-14
EN
The first Cologne Epode of Archilochus (196a W2) is widely considered to be a poetic account of a malicious seduction, committed or invented and uttered in revenge by the poet. The narrator as rejected suitor of Neobule seduces her younger sister, reaching his goal both by means of a promise of future marriage and of a proposition for sex on the spot. Actually, the first conception can not be proved or even made probable by the text. On the other hand the sexually coded proposition of the man (vv. 21-24) should rather be taken as a sparkling double-voiced utterance, understood in its metaphorical sense only by the male publicum of the iambos, whereas for the girl being equivalent to an invitation to innocent conversation. These observations, along with psychological and reception-aesthetical considerations, make a strong case for the minority opinion, that the Cologne Epode as erotic poem relates the meeting between a man filled with desire (rather than with thirst for vengeance), and an unknown virgin, who is unlikely to be the younger sister of Neobule.
14
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WIRKLICHKEITSKONSTRUKTION DURCH METAPHERN BEI INGEBORG BACHMANN

80%
Mikulášová A., Mikuláš R.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
47 – 67
EN
In the self-description (in letters or in dream notes, and in the novel Malina and two novel fragments from the project “Todesarten”) it is observed how those elements of reality that literally embody or specifically indicate a problem are metaphorically conceptualized – in this case, the traumatic experience from relationships (Bachmann explicitly speaks of insults) and Bachmann’s resulting psychic injury. Accordingly, the development of metaphors in the self-descriptions or self-portrayals of the author and her female protagonists is also examined. The development of the metaphors in the projection and introspection of letters and dream notes and in the selected texts of the project “Todesarten” indicates a system of states of one’s own that have an effect on the cognitive system, or to which the author is repeatedly thrown back (according to Georg Groddeck). In this sense, a self-therapeutic effect cannot be denied. Subsequently, a metaphorical structure should be recognizable, which lay in the shape of a network over the texts to be examined.
15

ŠACH AKO METAFORA MATEMATIKY

80%
Kvasz L.
Filozofia (Philosophy)
|
2015
|
vol. 70
|
issue 3
175 - 187
EN
The proponents of analytical philosophy often draw a comparison between mathematics and chess. Their metaphor is to suggest that both the result of mathematical calculation and the content of the mathematical statement are determined by the rules of “mathematical game” of some kind and independent of status quo. The steps made in a given calculation or proof arguments are game moves – and similarly to a position in chess the position in a “mathematical game” has no factual content. The aim of the article is to question the metaphor at issue and show the multiple characteristics of mathematical symbols that make them principally different from chessmen. The arguments introduced are to show that contrary to chess mathematics enables us to understand the world, discern its structure and grasp its coherence. The metaphor in question thus can be labelled as systematically misleading.
16
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Metaphorical Meaning and its Interpretations

80%
Kulka T.
Estetika: The Central European Journal of Aesthetics
|
2006
|
vol. 42
|
issue 1-3
64-79
EN
The author continues the preceding exchange of views on the nature of metaphor with the American philosopher Nelson Goodman that has been published in 'Poetics Today'. He offers his own theory of metaphor, which assumes a middle ground between Goodman's semantic theory and Davidson's pragmatic conception. The article also presents another argument in support of the thesis that there are only true metaphors, and that the logical space assumed by Goodman for the metaphorical falsehood is already reserved for the category of statements that are nonsensical.
17
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METAPHOR IN THE POETRY OF IMAGISTS

80%
Pokrivčák A.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
19 – 29
EN
The article discusses the role of metaphor in the new poetic response to reality which emerged at the beginning of the twentieth century, especially in the work of some Anglo-American poets and critics, known as Imagists. The new trends, which the poets were part of as well as helped define, drew on the philosophy of T. E. Hulme who claimed that the future poetry will consist of dry and sophisticated images, which is in striking contrast to rich romantic imagery. The interpretive part of the article draws attention to imagistic anthologies in which the poets expressed the new sensibility through several visually striking poems, most of them forgotten by now, as well as to the handling of metaphor in some poems by Ezra Pound and Wallace Stevens.
18
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THE FUNCTIONS OF METAPHORS IN THE RELATIONS OF POLAND WITH THE EUROPEAN UNION (Funkcje metafor w relacjach Polski z Unia Europejska)

80%
Kazmierczak M.
Przegląd Zachodni
|
2009
|
issue 3(332)
213-230
EN
The article concerns methapors taken from the political language. The author investigates the lingustic representations of relations (rooted in the historical context) between Poland and the EU. These metaphors were active in the public discourse and their meanings influnced the social reception of the Polish accession to the UE. The common aspect of these lingustic figures is the tacit conviction about the 'fatalism of history' in Polish politics. The author also discusses the social and international understanding of metaphors in foreign mass media. The main hypothesis concerns an important influence of speech acts on internal and external politics - in the lingustic perspective - where metaphors create images and representations of reality. In the Polish context, these metaphors are rooted in the semantic field implicated by associations with 'death', 'sacrifice', 'prejudice' and 'uncertainty'.
19

VANISHING POINT. ON READING 19th CENTURY WRITINGS

80%
Borkowska G.
Przegląd Filozoficzno-Literacki
|
2008
|
vol. 6
|
issue 4(21)
119-129
EN
The British author, Elaine Freedgood, distinguishes two types of meaning in the Victorian novel: metaphorical meaning, determined by symbolic culture, and metonymic meaning related to the material history of things, to their real existence. For example: the mahogany furniture in Jane Eyre is a symbol of prosperity, but also a gist of the history of slavery and colonial deforestation, never presented directly to our eyes. The things 'remember' their past; a reader should take them seriously and recognize that the most inconsequential of objects can in fact be an object of considerable consequence. Can one read the 19th-century Polish novel metonymically? In Polish literature, history of an object is presented in a patriotic context: for example, Rzecki's room is associated with a soldier's equipment. Let us try to read this text in a different way and ask: what can the things tell us? What can the doll, the eponymous object in Prus novel, tell us about itself? What is the history of doll (doll as a doll, not as a symbol or sign)? In the past, dolls have been the object of cult; later, the dolls have been designed by artists. In the 19th century, dolls were produced on a large scale, sold in shops. Nobody prayed to them, nobody cared about their artistic shape. The doll, desanctified and profaned, turned into a commodity, is a good emblem of our modernity.
20
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Polskie autostereotypy w debacie o transformacji ustrojowej albo: Dlaczego komuniści są Krzyżakami?

80%
Zinken J.
Etnolingwistyka. Problemy Języka i Kultury
|
2003
|
vol. 15
147-163
PL
W artykule przedstawiono analizę struktury metaforycznej polskich dyskursów na temat końca komunizmu państwowego. Analizę przeprowadzono w oparciu o bazę danych, zawierającą 1008 metafor pochodzących z tekstów prasowych z 1999 r., upamiętniających ważne wydarzenia z 1989 roku. Jak się okazuje, struktury metaforyczne różnych dyskursów wyrażają i utrwalają ideologicznie ukształtowane interpretacje historii. Szczegółowiej badano interpretacje metaforyczne dwóch zjawisk: zachowania się przedstawicieli władzy i opozycji przy Okrągłym Stole oraz pytania o ciągłość historii. Te dwa zjawiska – których konceptualizacja gra ważną rolę, w określeniu autostereotypu Polaka w III RP – są interpretowane za pomocą różnego rodzaju metafor. Metaforyczne rozumienie ciągłości historii da się analizować za pomocą tak zwanej „konceptualnej teorii metafory” Lakoffa i Johnsona. Natomiast zachowania komunistów i opozycjonistów są interpretowane za pomocą metafor intertekstualnych. Są one skonstruowane nie na podstawie doświadczenia cielesnego, lecz doświadczenia specyficznego dla danej kultury. Wydaje się zatem, że kształtowanie różnego rodzaju pojęć w dyskursie aktywizuje różne strefy bazy doświadczeniowej.
EN
The article analyzes the metaphorical structure of the Polish discourse on the closing stage of the communist system in the country. 1,008 metaphors found in journalistic texts from the year 1999 have been analyzed. The texts deal with various significant events of 1989. It appears that the metaphorical structures of various types of discourse express and strengthen ideologically biased interpretations of history. Two phenomena have been analyzed in particular detail: the behavior of the authorities and of the opposition during the Round Table talks and questions of the continuity of history. Both phenomena, whose conceptualization plays an important role in the shaping of the auto-stereotype of a Pole in the Third Republic, are interpreted via various metaphors. The metaphorical understanding of the continuity of history can be analyzed within Lakoff and Johnson's so called 'conceptual theory of metaphor'. The behavior of the communists and oppositionists, in turn, is interpreted via intertextual metaphors, based not on bodily experience but on the experience characteristic of a given culture. It appears, therefore, that the shaping of different concepts in discourse activates different spheres of one's experiential basis.
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