Metaphor pervades discourse and may govern how we think and act. But most studies only discuss its verbal varieties. This book examines metaphors drawing on combinations of visuals, language, gestures, sound, and music. Investigated texts include advertising, political cartoons, comics, film, songs, and oral communication. Where appropriate, the influence of genre and cultural factors is thematized.

Both mainstream and art comics often use various flourishes surrounding characters’ heads. These so-called “pictorial runes” help convey the emotional states of the characters. In this paper, using panels from Western and Indian comic albums as well as neutral emoticons and basic shapes in different colors, we focus on the following two issues: whether runes increase the awareness in comics readers about the emotional state of the character; and whether a correspondence can be found between the types of runes and (...) specific emotions. Our results show that runes help communicate emotion. Although no one-to-one correspondence was found between the tested runes and specific emotions, it was found that droplets and spikes indicate generic emotions, spirals indicate negative emotions, and twirls indicate confusion and dizziness. (shrink)

According to Conceptual Metaphor Theory , the Source-Path-Goal schema constitutes a central concept in cognition. Apart from literally structuring “movement“, SPG also shapes our understanding of “purposive activity“, including questing and story-telling. A problem in CMT, however, is that the existence of image schemas is almost exclusively postulated on the basis of verbal expressions. To examine the claim that people recruit image schemas such as SPG to make sense of life, it is essential to examine non-verbal modalities. Animation has highly (...) medium-specific opportunities to exploit SPG by its emphasis on “manner of movement“ and “balance“. Three animation films exemplifying MOVEMENT, QUEST, and STORY are analyzed in terms of SPG to chart how they exploit this schema. We end the paper by positioning our findings with respect to recent discussions about image schemas in Hampe and by suggesting avenues for further research. (shrink)

According to Conceptual Metaphor Theory, the Source-Path-Goal schema constitutes a central concept in cognition. Apart from literally structuring “movement”, SPG also shapes our understanding of “purposive activity”, including questing and story-telling. A problem in CMT, however, is that the existence of image schemas is almost exclusively postulated on the basis of verbal expressions. To examine the claim that people recruit image schemas such as SPG to make sense of life, it is essential to examine non-verbal modalities. Animation has highly medium-specific (...) opportunities to exploit SPG by its emphasis on “manner of movement” and “balance”. Three animation films exemplifying MOVEMENT, QUEST, and STORY are analyzed in terms of SPG to chart how they exploit this schema. We end the paper by positioning our findings with respect to recent discussions about image schemas in Hampe and by suggesting avenues for further research. (shrink)

In the cognitivist paradigm, metaphor's conceptual nature is investigated almost exclusively in its verbal manifestations. Research on nonverbal expressions of conceptual metaphors is still surprisingly scarce. Although some pioneering work has been done in the area of pictorial metaphor, the work has hitherto focused on specific instances of isolated metaphors. For better insight into the nature of conceptual metaphors, it is necessary to examine if they can be rendered pictorially and mixed-medially, and if so, what forms they could take. In (...) this case study, a structural metaphor from Ian McEwan's novel The Comfort of Strangers is analyzed and compared to its counterpart in the film that Paul Schrader based on the book. The article ends with suggestions for generalizations across different media, including a distinction between explicitly and implicitly signaled metaphors. (shrink)

Research on metaphor has over the past decades increasingly been extended to its visual and multimodal varieties. While analysts of verbal metaphors are helped by the fact that languages have grammars and vocabularies, researchers of visual and multimodal metaphors need to rely on other methods for identification and interpretation. One approach that claims to have developed a robust method for analyzing metaphor in moving images is FILMIP, which has hitherto focused on the specific genre of commercials. In this paper it (...) is argued that there are serious problems with FILMIP. First, the theoretical basis of FILMIP and two empirical studies drawing on it are discussed. Subsequently, its limited use for analyzing metaphors in the genre of feature films is demonstrated on the basis of four case studies. The paper ends with sketching some general advice pertaining to researching metaphor in film, and provides a cautious alternative to FILMIP. (shrink)

Literary narratology has rightly devoted much attention to analysing the source(s) of verbal information about the story world, usually discussed under the label “narration”, and to any agent(s) that present(s) non-verbalized perspectives on it, usually discussed under the label “focalization”. Assessing the identity of narrators and focalizers is crucial for understanding what is going on in the story world. Which narrative agent is in charge? Is the narration and/or focalization layered? If the latter, is there any “colouring” by the higher-level (...) narrative agent of anything said, thought, or experienced by the lower-level agent? Is the information provided trustworthy? Nuanced? Prejudiced? Narration and focalization have supra-medial as well as medium-specific dimensions. Over the past years, the issue of how these concepts function in the medium of comics, which combines visuals and language, has begun to be systematically addressed. This paper aims to show how the visual mode can, on its own or combined with the written-language mode, signal the sources of narration, focalization, and joint narration-and-focalization, as well as distinguish between different levels at which these take place. (shrink)

Mark Johnson's new monograph pursues the research line of the earlier books he published, together with George Lakoff and on his own (Lakoff & Johnson, 1980, 1999; Johnson, 1987, 1993), but breaks...

Film viewers make sense of films first of all at a precognitive level, triggered by their bodi­ly responses. The key notion here is movement: the movements of screen characters, the movements simulated by the viewers who perceive these characters, and the camera move­ments that mediate between the two. This review essay evaluates two monographs: Maarten Coëgnarts’ Embodied Cinema, which expands conceptual metaphor theo­ry to account for film’s unique affordances to communicate embodied meaning; and Vit­torio Gallese's and Michele Guerra’s The Empathic (...) Screen, which buttresses embod­ied simulation by film viewers experimentally by demonstrating the workings of “mirror neurons.” The review ends by discussing how these two books tie in with other develop­ments in the study of gene-culture coevolution. (shrink)

Political cartoons make meaning by drawing on scenarios that must be immediately recognizable by their intended audience. Crucial meaning-making mechanisms in these scenarios are verbo-visual ensembles of metaphors and metonymies. In this paper we investigate 69 Chinese and 60 American political cartoons published in 2018 and 2019 that pertain to the two nations’ trade conflict. By examining the cross-cultural similarities and differences between metaphors and metonymies, we chart how Chinese and American cartoonists portray this trade conflict. We end by showing (...) how a complete interpretation of the cartoons requires enrichment with insights provided by yet other analytical instruments. (shrink)