This study aims to contribute to the research on spatial metaphors for morality from the perspective of Chinese. It outlines the linguistic patterns in Chinese that manifest the putative underlying spatial subsystem of moral metaphors, which can be summarized by a central metaphor “MORALITY IS SPATIALITY.” In doing so, it focuses on 17 spatial words that instantiate in real-life discourses five pairs of moral–spatial metaphors in their positive and negative valence. The total of 10 metaphors under study forms a cluster (...) as the spatial metaphor subsystem operating in conjunction and connection with other metaphor subsystems in our moral cognition. It is suggested that the 10 conceptual metaphors emerge from four image schemas: UP-DOWN, BALANCE, PATH, and OBJECT. A unified schematic configuration is proposed to lay out the spatial elements and relations represented by the four image schemas in a single diagram. Based on its linguistic analysis, the study also provides a list of prototypical target as... (shrink)

Cognitive semantic studies have shown that our conceptualization of morality is at least partially metaphorical and that our moral cognition is grounded in some fundamental contrastive categories of our embodied experience in the physical environment. It is argued that our moral cognition is built on a moral metaphor system. Within the framework of conceptual metaphor theory, this study aims to examine the spatial subsystem of moral metaphors in English. We set out with five pairs of moral metaphors that involve the (...) following spatial source concepts: HIGH and LOW, UPRIGHT and TILTED, LEVEL and UNLEVEL, STRAIGHT and CROOKED, and BIG and SMALL. These metaphors were found to constitute the spatial subsystem of moral metaphors in Chinese. Our primary goal is to find out if the five pairs of moral–spatial metaphors are manifested in English as well. To that end we collected linguistic data from the Corpus of Contemporary American English and searched Google Images for multimodal evidence. Our finding is that the five pairs of moral–spatial metaphors are applicable in English as they are in Chinese. We also discuss issues related to conceptual metaphor theory. (shrink)

This article studies the moral metaphor system focusing on a subsystem consisting of five pairs of MORAL and IMMORAL metaphors whose source concepts represent some contrastive categories in our visual experience: WHITE and BLACK, LIGHT and DARK, CLEAR and MURKY, CLEAN and DIRTY, PURE and IMPURE. The study examines whether these moral metaphors are manifested in Chinese and English, looking for linguistic evidence in both languages. It is found that the studied moral metaphors are applicable in both languages at varying (...) degrees. This finding suggests that these metaphors may range from being widespread to being universal. The study then further analyzes them regarding whether they are primary or complex metaphors and whether they are equal in status, applying a decompositional approach to metaphor analysis. The result suggests that the moral metaphors under study are complex rather than primary metaphors, and that they are actually not equal in status, some depending on others in meaning making in our moral cognition. If the analysis is valid, the implications are: some conceptual metaphors are more fundamental than others, those that are more fundamental are more likely to be widespread or universal, and hypotheses can be made about conceptual metaphors based on in-depth analysis of their conceptual composition. (shrink)

This book is a cognitive semantic study of the Chinese conceptualization of the heart, traditionally seen as the central faculty of cognition. The Chinese word xin, which primarily denotes the heart organ, covers the meanings of both "heart" and "mind" as understood in English, which upholds a heart-head dichotomy. In contrast to the Western dualist view, Chinese takes on a more holistic view that sees the heart as the center of both emotions and thought. The contrast characterizes two cultural traditions (...) that have developed different conceptualizations of person, self, and agent of cognition. The concept of "heart" lies at the core of Chinese thought and medicine, and its importance to Chinese culture is extensively manifested in the Chinese language. Diachronically, this book traces the roots of its conception in ancient Chinese philosophy and traditional Chinese medicine. Along the synchronic dimension, it not only makes a systematic analysis of conventionalized expressions that reflect the underlying cultural models and conceptualizations, as well as underlying conceptual metaphors and metonymies, but also attempts a textual analysis of an essay and a number of poems for their metaphoric and metonymic images and imports contributing to the cultural models and conceptualizations. It also takes up a comparative perspective that sheds light on similarities and differences between Western and Chinese cultures in the understanding of the heart, brain, body, mind, self, and person. The book contributes to the understanding of the embodied nature of human cognition situated in its cultural context, and the relationship between language, culture, and cognition. (shrink)

Name der Zeitschrift: Cognitive Linguistics Jahrgang: 27 Heft: 2 Seiten: 147-180.

This paper is a cognitive semantic analysis of a CCTV educational commercial, which is one of a series designed and produced in preparation for, and in celebration of, the Beijing 2008 Olympic Games. Called the “Beijing Opera Episode”, this TV commercial converges on the theme: “To mount the stage of the world, and to put on a show of China”. That is, China sees her hosting of the 2008 Olympics by Beijing as a great opportunity for her to step onto (...) the international stage to perform a show of China. This theme, which alludes to China's globalization and retention of cultural identity, is conceptualized and expressed in terms of a central metaphor of theatrical performance: hosting the beijing olympics is performing beijing opera on an international stage. This study first analyzes in detail how this central metaphor is manifested multimodally through visual and aural as well as verbal discourse, thus examining it as a multimodal metaphor. The study then applies a decompositional approach, based on the distinction between primary and complex metaphors, to analyzing the central metaphor as a metaphorical compound with its internal structures and components, which is nevertheless built on a more general cognitive foundation. The study also offers a linguistic perspective on a cultural model underlying the central metaphor, which is arguably a Chinese cultural model for understanding various aspects and events of life in general. At the core of this cultural model is the widespread life is a stage metaphor, which however has a specific manifestation within the Chinese cultural context. (shrink)

ABSTRACTThis is a linguistic study of two primary metaphors with the same target concept, “DIFFICULTY IS WEIGHT” and “DIFFICULTY IS SOLIDITY,” in English and Chinese. The study employs both lexical...

This study is a semantic analysis of metonymic and metaphoric expressions involving body-part terms for the face in Chinese. These expressions are discussed regarding four perceived roles of face, namely, as highlight of appearance and look, as indicator of emotion and character, as focus of interaction and relationship, and as locus of dignity and prestige. It is argued that the figurative extensions are based on some biological facts about our face: it is the most distinctive part on the interactive side (...) of our body capable of revealing our inner states. Referring to English the study shows that the terms for the face in both languages have developed figurative meanings along similar routes with similar stops. It also shows that the concepts of ¿face and facework¿, admittedly ubiquitous in all cultures, are manifested more richly in Chinese than in English ¿ a reflection of cultural differences in values attached to those concepts. Finally, a hypothetical ¿Triangle Model¿ is proposed to account for the relationship between language, culture, body, and cognition. (shrink)

This study is a semantic analysis of metonymic and metaphoric expressions involving body-part terms for the face in Chinese. These expressions are discussed regarding four perceived roles of face, namely, as highlight of appearance and look, as indicator of emotion and character, as focus of interaction and relationship, and as locus of dignity and prestige. It is argued that the figurative extensions are based on some biological facts about our face: it is the most distinctive part on the interactive side (...) of our body capable of revealing our inner states. Referring to English the study shows that the terms for the face in both languages have developed figurative meanings along similar routes with similar stops. It also shows that the concepts of “face and facework”, admittedly ubiquitous in all cultures, are manifested more richly in Chinese than in English — a reflection of cultural differences in values attached to those concepts. Finally, a hypothetical “Triangle Model” is proposed to account for the relationship between language, culture, body, and cognition. (shrink)

According to the theory of internal organs in traditional Chinese medicine, the gallbladder has the function of making judgments and decisions in mental processes and activities, and it also determines one's degree of courage. This culturally constructed medical characterization of the gallbladder forms the base of the cultural model for the concept of courage. In the core of this cultural model is a pair of conceptual metaphors: (a) "GALLBLADDER IS CONTAINTER OF COURAGE," and (b) "COURAGE IS QI (GASEOUS VITAL ENERGY) (...) IN GALLBLADDER," which partly constitutive of the understanding of the gallbladder and courage in Chinese culture. A description and analysis of the data from the Chinese language show that numerous conventional expressions are systematically tied to each other and contributive to the underlying conceptual metaphors. The study presents a case in which an abstract concept (courage) is understood in part via a conceptual metaphor grounded in the body, but shaped by a culture-specific metaphorical understanding of an internal organ (gallbladder) inside the body. Although the human body is a potentially universal source domain for metaphors structuring abstract concepts, cultural models set up specific perspectives from which certain aspects of bodily experience or certain parts of the body are viewed as especially salient and meaningful in the understanding of those abstract concepts. (shrink)

This article studies 2 Chinese body-part terms zhi 'finger' and zhang 'palm' as they are used in compounds and idioms to express abstract concepts. Primarily, zhi 'finger' is used to express intention, aim, guidance, and direction, whereas zhang 'palm' is used to refer to power and control. The metaphoric and metonymic expressions involved are based on 2 common acts with hands: pointing with the index finger and holding in the palm of the hand. A comparison between Chinese and English data (...) reveals 2 differences. First, the conceptual metaphor "CONTROL IS HOLDING IN THE PALM OF THE HAND" is not richly manifested in English, although it is in Chinese. Second, the conceptual metaphor "THE FINGER IS THE DOER" is well manifested in English, but it is not realized in Chinese. These differences consist in the choice of a subpart (palm or finger) over the part (hand) as a result of cultural preferences. They reside, however, in a larger context of common grounding of meaning in bodily experiences. (shrink)

This is a linguistic study of two primary metaphors with the same target-domain concept, “IMPORTANCE IS SIZE” and “IMPORTANCE IS WEIGHT,” in English and Chinese. It is suggested that these two primary metaphors are derived from the OBJECT image schema, abstracted from our embodied, sensorimotor experience, especially our visual and tactile perception, in dealing with physical objects in everyday life. The study focuses on size and weight adjectives in both languages and on linguistic evidence in two areas: their lexicalizations of (...) the importance senses as found in the dictionaries, and their roles in the instantiation of the two primary metaphors in natural discourse as found in the corpora. Our further analysis also shows that the primary metaphors can be manifested without explicit use of size and weight words when relevant conceptual frames in the source, evoked by other words or images, are mapped onto the target domain, thus activating the relevant region of our encyclopedic knowledge and triggering off the primary metaphors in our conceptual system. We also construct a hypothetical mapping scheme for primary metaphors based on the OBJECT image schema, in which OBJECT is mapped onto its target via three of its fundamental dimensions: SIZE, WEIGHT, and SOLIDITY. It is hoped that this mapping scheme will benefit future comparative studies of primary metaphors across languages and cultures in a more systematic way. (shrink)

This article reports on the evolution of breakdance. Given the inclusion of breakdancing in the 2024 Olympic Games in Paris, France, scholars have generated substantial international research related to breakdance teaching in recent years. However, few researchers have focused on the impact of formal formative assessment on breakdance teachers’ teaching and students’ learning. We wish to contribute to the quality of breakdance teaching and learning by identifying the positive impact of recent research on formative assessment on student learning and designing (...) a formal formative assessment task related to breakdance. This article lays out a framework of formal formative assessment tasks and identifies the positive impact of formative assessment on dance education. Although our work is far from perfect, it does provide a general methodological framework for assessing breakdance students’ abilities in formal educational settings. (shrink)

This study presents a semantic analysis of how emotions and emotional experiences are described in Chinese. It focuses on conventionalized expressions in Chinese, namely compounds and idioms, which contain body-part terms. The body-part terms are divided into two classes: those denoting external body parts and those denoting internal body parts or organs. It is found that, with a few exceptions, the expressions involving external body parts are originally metonymic, describing emotions in terms of their externally observable bodily events and processes. (...) However, once conventionalized, these expressions are also used metaphorically regardless of emotional symptoms or gestures. The expressions involving internal organs evoke imaginary bodily images that are primarily metaphorical. It is found that the metaphors, though imaginary in nature, are not really all arbitrary. They seem to have a bodily or psychological basis, although they are inevitably influenced by cultural models. (shrink)