Metaphors Dead and Alive, Sleeping and Waking: A Dynamic View

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A Dynamic View

Taking a unique approach to this question, Jason Hughes moves beyond Taking a unique approach to this question, Jason Hughes moves beyond the usual focus on biological addiction that dominates news coverage and public health studies and invites us to reconsider how social and personal understandings of Pragmatic Liberalism. Drawing on the legacy of prominent pragmatic philosophers and political economists—C. Peirce, William James, Commons—Charles W. Anderson creatively brings pragmatism and liberalism together, striving to temper the excesses of both and to Prague Palimpsest: Writing, Memory, and the City.

A city of immense literary mystique, Prague has inspired writers across the centuries with its A city of immense literary mystique, Prague has inspired writers across the centuries with its beauty, cosmopolitanism, and tragic history. The combination of walking between the house walls and the camera movement both end in a downward position: when reaching the door, everything is directed downwards, since the posture of the heads, the eye-gazes, as well as the camera perspective are all directed downwards, pointing to the intercom.

This downward direction continues in the following short montage, which stages a conversation between the voice from the intercom and the small investors. Their request for information and dialog fails. It is stifled by the intercom's slightly distorted voice, which is raised while showing an image of a house-wall - a faceless, inhuman voice. In essence, this voice only echoes the small investors' utterances, turning the conversation into absurdity, and once again demonstrates the small investors' losses:. And this is exactly the case: everything human possible is being done.

The composition connects different ways of experiencing a sensation of 'down' with the losers of the crisis. Note that, in this expressive movement unit, 'down' is not verbally present. This means that the activation of metaphoricity observed here is not one that rests upon a verbal metaphoric expression articulated in scene two.

Rather, the activation emerges from the audio-visual composition and is connected temporally to the previous scene one. It further specifies and concretizes the experiential realm of losing in terms of a sensation of 'down'. The orchestration of the expressive movement unit that constitutes the second scene of the report thus evokes a sensation of being excluded while the experience of being and feeling down for those specific losers of the big financial crisis is specified by the audio-visual activation of metaphoricity.

The TV report is a beautiful illustration of the inherently temporal nature of metaphoric meaning and documents to what extent metaphoricity is dynamically emerging from audio-visual compositions. What the spectators see are not concatenations of single metaphoric instantiation in words, moving images, or sounds.

As can be seen in the analyses of scene one and two above, metaphoricity - first set up in the introductory statements - now fully emerges and unfolds: being a winner is experienced and understood as being up , while a loser is experienced and understood as being down. Moreover, we have suggested that, due to the audio-visual images' expressive movements, further experiential qualities emerge that have not been mentioned in the introduction: being a winner unfolds within experiences of group cohesion and of resting and being inside , while being a loser unfolds within the experience of being excluded.

Obviously, this means much more than just the fact that the action spaces of winners are interior spaces e. The point is that the composition of the cinematic expressive movements in these first two scenes not only orchestrates this interior-exterior antagonism, but also turns it into a movement experience. This embodied conceptualization of losers and winners as an experiential opposition culminates towards the middle of the overall report, when scene three - in a highly symmetrical compositional structure - confronts a small investor with a consultant.

The staged experiencing of an opposition here is highly complex: an abrupt, slow, downward movement and being outside loser is confronted with a straight, quick forward movement winner. Of particular interest is that the experience and the sensation of 'down' are now the main quality of an expressive movement itself, rather than a quality of a depicted pose or of a camera's short shot perspective. Scene four follows this climax and brings an unexpected turn of the report's metaphoric rhetoric.

Unexpected, because, similar to what occurs at the end of scene one, the topic now shifts to a very specific group of losers within the financial crisis - the bank managers themselves. While at the end of scene one their failing was connected to a drastic experience of downwardness i. Interestingly, this is performed among others, with a staging through a montage of upward movements, particularly of zooms and camera movements, as well as with an upward gesture of the former German Minister of Finance.

However, it would fall much too short to conclude due to the previous scenes that upward movements in general are connected to success and winning. Rather, at this point of the report, these movements dynamically map with what is verbally articulated, since the voice over presents bank managers who have lost their jobs as "hoch risikobehaftet" - "highly fraught with risk".

2017 Maps of Meaning 05: Story and Metastory (Part 1)

Put differently, the upward movements together with the verbal now articulate a metaphorical spatializing of risk. This calls attention to a very basal but essential facet of audio-visual images: Audio-visual articulations, like a camera movement or perspective, do not refer to conventionalized, fixed meanings there are no audio-visual 'dictionaries' ; audio-visual 'meanings' are highly context sensitive and, from our point of view, only graspable within highly dynamic, emerging embodied complexes.

It is within the report's last two scenes that the metaphoric structure, as emerged and established in the first three scenes of the report, is taken up again. In scene five, the focus stays with bankers as losers of the financial crisis. Nevertheless, it shifts from failed managers to bank clerks, whose positions were laid off on a massive scale, as the voice-over states; a staging of contrast dominates this scene.

Initially, the topic 'laid-off bank clerks' is staged by situating these losers at the lower end of a vertical axis: the verbal metaphoric expression produced in the voice-over "down, it [i. This is staged by a highly symmetrical, two-part visual composition, opposing the representative by a racking focus with bank towers. Scene six, finally, establishes a closing frame for the overall report by returning to the consultants as winners, once again taking up the staging of the experiential quality of 'cohesion' as established in the first scene. It can therefore be concluded, that the overall structure of the report is a dynamically emerging experience of opposing qualities and experiences that are connected metaphorically with the group of winners and losers of the banking crisis, respectively.

This metaphoric theme emerges and is grounded in highly specific realms of audio-visually modulated experiences:. Winning in the financial crisis is experienced and understood as being lifted and up, closed and inside, excluding the outside, moving quick, straight, and unaffected.

Several of the sensory qualities in these metaphoric formulations describe the experiential and affective qualities of the report's cinematic expressive movements, through which winners and losers are staged. These experiential qualities are not verbalized, nor are they part of a linguistic source domain of a verbal metaphoric expression: they are evoked by the composition of the audio-visual 'movement-images'. On the other hand, the main metaphoric opposition - winning as being lifted and up , losing as falling and being down - is introduced and activated by the interplay of verbal metaphoric expressions and audio-visual images.

This opposition is first mentioned verbally in the introduction to the report and announces the metaphoric opposition that will emerge to the 'leitmotif' of the report's composition.


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The source domains are activated through different forms of staging sensations of 'up' and 'down', respectively. At the same time, they come to be grounded in the unfolding of the cinematic expressive movements' experiential qualities. In a nutshell, the conclusion can be formulated as follows: Audio-visual metaphors are dynamic forms of meaning making and are affectively grounded in the sensory experiences of the cinematic expressive movements.

Rather they should be considered as a complex processes of meaning making in which experiences of source domains are intricately interwoven with the experiential qualities of cinematic expressive movements, at times even merging one into the other. This position runs in line with Evans, who points out that:.

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EVANS, , p. Audio-visual metaphors must be conceived of as emergent, experientially-grounded forms of meaning making. For the TV report on the financial crisis, metaphoric meaning concerns thus the dynamic emergence of embodied conceptualizations over the course of the entire report, grounded in the sensations of sensory experiences, which is what we tentatively call understanding through experience.

Such a stance alludes to Mark Johnson's "meaning of the body" When we as spectators watch such a political report, the processes in which we make sense of it are embodied, our meaning making resides in the actual bodily experiences modulated by the cinematic expressive movements and the metaphors that are grounded within them or emerge from them. Please note, however, that this does not involve assumptions concerning the actual psychological and physiological processes that spectators go through. In this manner, our work on audio-visual metaphors is a proposal to empirically reconstruct how meaning is grounded in bodily experience:.

According to the view I am developing, meaning is grounded in bodily experience; it arises from our feeling of qualities, sensory patterns, movements, changes, and emotional contours. Meaning is not limited only to those bodily engagements, but it always starts with and leads back to them. Meaning depends on our experiencing and assessing the qualities of situations. Film Art. An Introduction. New York: McGraw-Hill, Cognitive poetics and imagery. European Journal of English Studies, London et al. Making sense of a blend: A cognitive-semiotic approach to metaphor.

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Aesthetics of human understanding. Chicago: University of Chicago, Das Kino, das Melodrama und das Theater der Empfindsamkeit. Berlin: Vorwerk 8, Embodied meaning construction. Multimodal metaphor and expressive movement in speech, gesture, and feature film. Metaphor and the Social World, Amsterdam, v. Audiovisual metaphors - Embodied meaning and processes of fictionalization.

Metaphors we live by. Hamburgische Dramaturgie. Berlin: Aufbau, Metaphoric expressions on vertical axis revisited: An empirical study of Russian and French material. Metaphors dead and alive, sleeping and waking. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Hermann Kappelhoff. Sarah Greifenstein Contributor. Dorothea Horst Contributor. Thomas Scherer Contributor. Christina Schmitt Contributor. Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research.

whatuacompters.tk The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of informat Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research.