Naciscione, Anita. 2010. "Visual Representation of Phraseological Image." In Kuiper, Koenraad (ed.). Yearbook of Phraseology, vol. 1. Berlin/New York: de Gruyter Mouton: 19-43. (original) (raw)
Related papers
Visual Representation of Phraseological Metaphor
2020
The paper deals with the creative aspects of textual and visual saturation in a multimodal discourse. It explores the benefits of the cognitive approach to the stylistic aspects of language in use and focuses on perception and comprehension of the textual and the visual. The perception of an image, whether it is lexical or phraseological, is a cognitive process, which creates a mental picture in one's imagination, a kind of visualisation in one's mind's eye. A visual representation of the image serves to create a new mode of narrative, which is both visual and textual. Comprehension and interpretation rely on the ties between the visual and the verbal, as well as the knowledge of the sociocultural background and the symbolic implications. The visual representation of instantial stylistic use of phraseological units has a semantic function: it enhances and interprets the image, creates a new meaning and sustains figurative thought.
The paper deals with the creative aspects of textual and visual saturation in a multimodal discourse. It explores the benefits of the cognitive approach to the stylistic aspects of language in use and focuses on perception and comprehension of the textual and the visual. The perception of an image, whether it is lexical or phraseological, is a cognitive process, which creates a mental picture in one's imagination, a kind of visualisation in one's mind's eye. A visual representation of the image serves to create a new mode of narrative, which is both visual and textual. Comprehension and interpretation rely on the ties between the visual and the verbal, as well as the knowledge of the sociocultural background and the symbolic implications. The visual representation of instantial stylistic use of phraseological units has a semantic function: it enhances and interprets the image, creates a new meaning and sustains figurative thought.
Visual representation of phraseological image 1
2010
Visual representation of a phraseological image is of stylistic and cognitive interest because it brings out the creative aspects of the verbal and the visual in multimodal discourse. A cognitive approach to the instantial stylistic use of phraseological units (PUs) focuses on how they are perceived, understood, and interpreted. In a visual representation, the process of creating a mental image relies on close ties between the visual and the verbal, and knowledge of the political, socio-cultural, and semiotic implications. Visual representation performs a semantic and stylistic function; it enhances and interprets the image of a metaphorical PU and creates new meaning. It stretches the imagination and sustains figurative thought. Thus, phraseological metaphor exists not only in thought and language; it also exists in visual representation and its perception.
Visual representation of phraseological image
Yearbook of phraseology, 2010
Visual representation of a phraseological image is of stylistic and cognitive interest because it brings out the creative aspects of the verbal and the visual in multimodal discourse. A cognitive approach to the instantial stylistic use of phraseological units 2 (PUs) focuses on how they are perceived, understood, and interpreted. In a visual representation, the process of creating a mental image relies on close ties between the visual and the verbal, and knowledge of the political, socio-cultural, and semiotic implications. Visual representation performs a semantic and stylistic function; it enhances and interprets the image of a metaphorical PU and creates new meaning. It stretches the imagination and sustains figurative thought. Thus, phraseological metaphor exists not only in thought and language; it also exists in visual representation and its perception.
Visual Representation of Phraseological Metaphor in Discourse: A Cognitive Approach
The Writer's Craft, the Culture's Technology, 2005
The paper deals with the creative aspects of textual and visual saturation in a multimodal discourse. It explores the benefits of the cognitive approach to the stylistic aspects of language in use and focuses on perception and comprehension of the textual and the visual. The perception of an image, whether it is lexical or phraseological, is a cognitive process, which creates a mental picture in one's imagination, a kind of visualisation in one's mind's eye. A visual representation of the image serves to create a new mode of narrative, which is both visual and textual. Comprehension and interpretation rely on the ties between the visual and the verbal, as well as the knowledge of the sociocultural background and the symbolic implications. The visual representation of instantial stylistic use of phraseological units has a semantic function: it enhances and interprets the image, creates a new meaning and sustains figurative thought.
Rhetoric of the visual : metaphor in a still image
Jyväskylä studies in humanities, 2011
Lehtonen, Kimmo E. RHETORIC OF THE VISUAL – Metaphor in a Still Image Jyväskylä: University of Jyväskylä, 2011, 174 p. (Jyväskylä Studies in Humanities ISSN 1459-4331; 166) ISBN 978-951-39-4546-6 (nid.) ISBN 978-951-39-4547-3 (PDF) Diss. This study includes an introduction and six articles. The articles return to the problem of visual meaning as a content-intensive quality of an image. The elementary questions are in which ways does an image represent itself when it is published, and how much does the genre in a single visual presentation metaphorise itself before presenting its message, narrative or argument through the visual means? The goal of this study is to make new openings for the analysis of the content in visual presentations in the field of humanities. It considers media studies and cultural studies in terms of semiotics and genre studies. The texts look at a variety of theoretical disciplines, especially semiotics, rhetoric and to some extent, hermeneutics and various th...
2020 - Book review: Visual Metaphor: Structure and Process (ed. G. Steen)
Today it is generally accepted that metaphor is not simply a figure of speech or a feature of language, but a fundamental mode of cognition. It is vital to our thinking and crucial for our understanding of abstract concepts. This reconceptualization has an important theoretical implication: if metaphor is no longer confined to language (because it is conceptual), then it is plausible to assume that there exist modes of expression other than the verbal one. Validating this assumption is important because it will lend more weight to the existence of conceptual metaphors. Indeed, without the empirical support of other modalities, it would be hard to see how metaphor differs from language. To avoid the risk of circular reasoning and "to prove the idea that metaphors are expressed by language, as opposed to the idea that they are necessarily linguistic in nature, " it is therefore "imperative, " as Forceville asserted in one of his agenda-setting articles, "to demonstrate that, and how, they can occur non-verbally and multimodally as well as purely verbally" (p. 381, italics in original). In view of this, it is all the more remarkable that nonverbal metaphor has never been explored with the same rigour as metaphor in language. Although Conceptual Metaphor Theory (henceforth, CMT) approaches its forty-year anniversary, it is only now, after a modest start, that scholarly work investigating metaphors in nonverbal and multimodal modalities is thriving. Steen's edited volume "Visual Metaphor: Structure and Process" further builds on this line of research. Restricting itself to the nonverbal case of visual metaphor, it aims to exploit the vast psycholinguistic expertise and knowledge on metaphor in language for a more in-depth and empirically founded understanding of static visuals. The book establishes this goal, which is sketched in the introductory chapter, in six chapters that are equally divided over two parts.
Visual metaphor versus verbal metaphor: A unified account
Multimodal metaphors are those “whose target and source are each repre-sented exclusively or predominantly in different modes” (Forceville 2006: 384), mainly with a verbal-visual interface of source and/or target. When multimodality is analyzed in metaphors, the verbal and visual inputs are often treated as different phenomena demanding different interpretive strategies when searching for a metaphoric interpretation. In this chapter, on the contrary, it is claimed that the comprehension of verbal, visual and multimodal metaphors involves similar mental procedures. Although the perception of images differs from linguistic decoding, reaching an interpretation of metaphors entails similar adjustments of conceptual information of texts and images and multimodal combinations, regardless of the modal quality of the input.
The visuality of metaphors: A formalist ontology of metaphors, 2020
This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. Keywords: conceptualism, formalism, ontology, visual metaphor, externalism, internalism, cognitivism, cognition, visual turn, linguistic turn, aesthetics, embodied cognition, Danto, Johnson, Lakoff, metaphor
The Visual Representation of Metaphor: A Systemic Functional Approach
Annual Review of Cognitive Linguistics
Complementing cognitive theories which attribute the understanding of visual metaphors to situational and cultural context, this study adopts a social semiotic perspective to investigate how visual images themselves are constructed to cue conceptual metaphors. The visual realization of metaphor in representational, interactive and compositional meaning structures are modeled based on Kress and van Leeuwen’s (2006) visual grammar. In the representational structure, colligational anomaly is used to explain novel visual metaphors. Interactive and compositional resources, whose meanings are derived from correlations in our physical and cultural experience, can visualize conventional metaphors. It is found that most types of visual metaphor identified by cognitive linguists can be explained within the framework. Instances of visual metaphors in advertisements are analyzed to investigate their persuasive power. It is concluded that the social semiotic framework is able to provide a compre...