Bidirectionality and Metaphor: An Introduction

Goodblatt, Chanita; Glicksohn, Joseph

doi:10.1215/03335372-3716189

Cited by 12 publications

(4 citation statements)

References 27 publications

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“…Similarly, theories of dreaming that incorporate conceptual metaphor theory (Domhoff, 2003; Lakoff, 1993) do not address the kind of novelty that emerges from bidirectional interaction between vehicle and topic. In fact, Lakoff and Turner (1989) explicitly rejected the possibility of such interaction (see Goodblatt & Glicksohn, 2017a, for a review). Recent discussion of this limitation (Goodblatt & Glicksohn, 2017b) suggested, in addition, that models limited to the unidirectional mapping of vehicle onto topic fail to address the oscillation between separately emergent but persistently incongruous meanings that arise from bidirectional interplay between a metaphoric vehicle and topic.…”

Section: Aesthetic Effects Of Impactful Dreamsmentioning

confidence: 99%

Metaphoric and associative aftereffects of impactful dreams.

et al. 2018

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The proposal that impactful dreaming is "involuntary poetry" suggests that some dreams facilitate creative thinking and have aesthetic aftereffects. In two online studies (n ϭ 107 and 117), participants completed three tasks immediately after awakening from a dream: (a) an index of metaphoric creativity, (b) a measure of the interactive combination of associative fluency and restraint, and (c) a version of the Remote Associates Test. Results indicated that, after existential dreams (Studies 1 and 2) and perhaps transcendent dreams (Study 2), participants who reported dissociative absorption provided higher scores on the interactive combination of associative fluency and restraint. Results for both studies also indicated that participants who reported dissociative absorption following significant loss (including traumatic loss) had lower postdream scores on the remote associates task. Finally, results for Study 2 indicated that participants who awakened from impactful dreams (existential dreams, transcendent dreams, or nightmares) were more likely than those who awakened from mundane dreams to include a metaphoric vehicle and topic in the same ad hoc class (although for conventional metaphors only). This pattern of results indicates that a generative and expressive form of postdream creativity follows awakening from existential and transcendent dreams (but not nightmares), although whether this form of creativity supports aesthetically significant metaphoricity remains unclear.

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Section: Aesthetic Effects Of Impactful Dreamsmentioning

confidence: 99%

Metaphoric and associative aftereffects of impactful dreams.

et al. 2018

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“…Richards inspired Black's ( 1962 ) interaction theory of metaphor, which further inspired Goodman (e.g., 1976 ), Glicksohn (e.g., 2003 , 2017;Glicksohn & Goodblatt 1993 ), and the psycholinguist Glucksberg (e.g., 2001 ). Whereas Glucksberg develops a cognitive theory that deals with understanding metaphor in ordinary sentences (e.g., Glucksberg 2001 : v), Goodblatt and Glicksohn (2017) focus on bidirectionality as it unfolds in poetry reading. Goodblatt and Glicksohn ( 2003 : 213) note that Interaction Theory is largely ignored and even subjected to "misrepresentation […] by George Lakoff and Mark Turner (1989)".…”

Section: Challenging Cmt (1): Lessons From Richards Black and Glucksbergmentioning

confidence: 99%

“…For while blending theory predicts the complete fusion of the two domains, we rather predict a continued potentiality for-and tension among-possible readings. 23 In a special issue edited by Goodblatt and Glicksohn (2017), authors from a range of disciplines provide factors that may promote bidirectional readings of poetry: great semantic distance between topic and vehicle (Katz and Al-Azari; Goodblatt and Glicksohn); the lack of copula, as in visual metaphor (Indurkhya and Ojha); or the specifi c structure of the metaphorical phrase (Porat and Shen).…”

Section: Contenders or Collaborators? Blending Th Eory And Bidirectionality Th Eorymentioning

confidence: 99%

Cognitive Poetics and the Problem of Metaphor

Vandaele¹

2021

The Routledge Handbook of Cognitive Linguistics

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The term poetics goes back to Aristotle's treatise on tragedy and stands for the "critical and analytical treatment of poetry" where poetry is "the general name for literary expressions in diverse forms" (Zhang 2011 : 631-632; see also Reed 2012Reed : 1058Reed -1059. In this sense poetics is another name for literary criticism or literary theory. Culler ( 2002 ) argues, however, that the term poetics specifi cally denotes the kind of literary analysis that focuses on principles of literary meaning production-on "devices, conventions and strategies" (vii)-and not just on interpretation per se. Culler's specifi cation certainly applies to Aristotle and much literary analysis that has called itself poetics since the 1970s (see, e.g., the journal Poetics Today ). In 1992 Tsur coined the term cognitive poetics (CP) to describe the kind of poetic analysis he intends to pursue-a poetics that attends to principles of cognition, including principles of perception, emotion, attention, memory, imaging, and language understanding (see also Tsur 2002 : 280-281). Tsur's work focuses on poetry in the strict sense (i.e., poems) yet is part of a broader fi eld of cognitive poetics (or cognitive stylistics, or cognitive literary theory) that focuses on literature in general.Broadly speaking, then, cognitive poetics is the interdisciplinary endeavor to understand the poetic effects or aesthetic qualities of literary texts as products of interactions between the human mind (and its cognitive principles) and literary texts with their specifi c makeup. Cognitive poetics investigates topics as diverse as narrativity, mechanisms of empathy and immersion, distancing effects and defamiliarization, the nesting of perspectives in narrative fi ction (e.g., 'metarepresentation'), cognitive universals of literature, humor and irony, poetic metaphors, mental imagery and emotion, linguistic mechanisms of creativity, effects of form-meaning similarity (i.e., iconicity), meter, fi gure-ground perception, and so on (for a broad range of topics, see, e.g.,

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“…An aspect that needs further examination is related to the effect of the figure of the syllogism on the evaluation of arguments ( Dickstein, 1978 ; Oberauer et al, 2005 ) as the order of the words influences the sequential reading and interpretation of the argument. This is particularly interesting in the case of metaphors, whose directionality effect ( Black, 1954 , 1962 ; Tversky, 1977 ; Goodblatt and Glicksohn, 2017 ; Indurkhya and Ojha, 2017 ) might interfere with the directionality of the syllogistic figure used. In this perspective, data on the salience of the properties, the kind of properties (of the target/of the source/shared/emergent) ( Gineste et al, 2000 ) and properties coherence ( Weiland et al, 2014 ) of metaphors should definitely be taken into account.…”

Section: Future Directionsmentioning

confidence: 99%

Creative Argumentation: When and Why People Commit the Metaphoric Fallacy

et al. 2018

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This article aims to understand when and why people accept fallacious arguments featuring metaphors (metaphoric fallacy) as sound arguments. Two experiments were designed to investigate, respectively, when and why participants fell into the metaphoric fallacy. In the first experiment, participants were provided with a series of syllogisms, presented in natural language, containing in their first premise either a lexically ambiguous, literal middle term or a metaphorical middle term, i.e. the term that “bridges” the first premise with the second premise, and ending with a true, false or plausible conclusion. For each argument they were asked to evaluate whether the conclusion followed from the premises. Results show that the metaphoric fallacy is harder to detect in case of arguments with plausible conclusion with a conventional metaphor rather than a novel metaphor as middle term. The second experiment investigated why participants considered the metaphoric fallacy with plausible conclusion as a strong argument. Results suggest that participants’ belief in the conclusion of the argument, independent from the premises, is a predictor for committing the metaphoric fallacy. We argue that a creative search for alternative reasons justifies participants’ falling into the metaphoric fallacy, especially when the framing effect of a metaphor covertly influences the overall reading of the argument. Thus, far from being a source of irrationality, metaphors might elicit a different style of reasoning in argumentation, forcing participants to find an alternative interpretation of the premises that guarantees the believed conclusion. In this process, conventional metaphors are revitalized and extended through the second premise to the conclusion, thereby entailing an overall metaphorical reading of the argument.

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Bidirectionality and Metaphor: An Introduction

Cited by 12 publications

References 27 publications

Metaphoric and associative aftereffects of impactful dreams.

Metaphoric and associative aftereffects of impactful dreams.

Cognitive Poetics and the Problem of Metaphor

Creative Argumentation: When and Why People Commit the Metaphoric Fallacy

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