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Metapher und Metonymie als Strategien der Bedeutungserweiterung am Beispiel des Deutschen und Französischen.
No full textA verb is an unsaturated concept ready to be saturated by one or more arguments to form a saturated process. Metaphor, which transfers concepts across conceptual domains, can involve both saturated (processes) and unsaturated (verbs) concepts. As a form of connection, metonymy is restricted to saturated concepts, that is, to processes. This premise has a bearing on an observable consequence in lexical extension: whereas the metaphorical sense of a verb can accept new arguments, its metonymic sense maintains the same, primitive arguments.Ein Verb ist ein ungesättigter Begriff, der dazu bestimmt ist, durch eine bestimmte Anzahl von Ergänzungen zur Bildung eines gesättigten Prozesses gesättigt zu werden. Die eine Begriffsübertragung herbeiführende Metapher kann sowohl auf gesättigte (Prozesse) als auch ungesättigte (Verben) Begriffe einwirken. Da die Metonymie eine Verknüpfung zwischen Begriffen darstellt, lässt sie nur gesättigte Begriffe, also Prozesse, zu. Diese Prämisse hat eine Konsequenz, die sich in der lexikalischen Erweiterung beobachten lässt. Die metaphorische Bedeutung eines Verbs nimmt neue Ergänzungen auf, während die metonymische Bedeutung die Ergänzungen der Ursprungsbedeutung beibehält
Lexikalische Erweiterungen und lebendige Figuren: eine grundlegende Abgrenzung
No full textRhetorical tradition recognizes two distinct pairs of tropes within a homogeneous area – metaphor and a broad definition of metonymy on the one hand, and 'live' figures of speech and lexical extension on the other. Metaphor and metonymy are seen as different outcomes of a transfer of concepts, whereas lexical extensions are seen as the outcome of a process of crystallization of 'live' figures of speech. Neither these two fundamental points, nor the assumptions they rely on, i.e., the association between trope and transfer, and the idea that the 'conceptual pressure' provoked by the trope always affects the external focus, have been challenged by recent approaches. In this paper, however, we attempt to challenge both of these assumptions. Indeed, we show that on the one hand concept transfer is exclusive of the metaphor, while on the other the conceptual pressure in metaphoric projection does not affect the external focus but the coherent tenor. In so doing, we essentially redesign the topography of the field of tropology. The metaphor and metonym are profoundly different conceptual structures. Likewise, the live metaphor and lexical extension involve opposite orientations in conceptual pressure – while the lexical extension adapts the meaning of the word to the conceptual domain into which it is transferred, the living metaphor exploits the transferred concept to remodel the new domain
As relações de Odilla Mestriner com a Universidade de São Paulo
No full textThis paper aims to study the presence of the plastic artist Odilla Mestriner at the University Of Sao Paulo, Campus of Ribeirão Preto and presents in its course, expositive relations, of collections and knowledge development. The artist’s relationship with the campus is present during all her life and, today, through knowledge and practices provided by the undergraduate course in Information and Documentation Science, this relationship became products and services that allows a new visibility to the artist’s work inside the campus
Types of metaphors and their structure. Annotation guidelines between theory and practice
No full textMetaphors are not all equal. Besides identifying metaphors in texts, metaphor annotation should therefore also aim to make explicit the distinction between different types of metaphor. The annotation guidelines presented in this paper have been conceived precisely with this objective in mind, and consist of a set of steps aimed at identifying different types of metaphors (i.e., conflictual and consistent, creative and non-creative ones) and highlighting their internal structure (by marking focus, frame, and covert concepts that may result from their interaction). Annotating the structure of metaphors also makes it possible to mark connections between metaphors occurring within a given text, such connections being defined by the presence of a shared frame and a consistent relation between the foci of the metaphors. The presentation of the annotation guidelines is followed by a discussion of their strengths, which are primarily theoretical, and of their limitations, which are primarily practical. The specific challenges that different types of metaphors pose to annotation are also examined and illustrated through examples from different text genres
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Creating metaphors in specialised languages: choice criteria for the success of metaphorical terms
No full textVariations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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