Spatial Metaphors of Time in Roman Culture

Abstract

As cognitive structures that capture patterns of sensorimotor experience, image schemas and their metaphorical interpretations not only deliver meaning in Latin's semantic system, but also organize other forms of Roman symbolic representation. This paper builds on Maurizio Bettini's analysis of Latin's metaphorical expression of time in terms of linear spatial relations by tracing the structuring effects of these metaphors on other aspects of Roman social practice, including its artistic practice. As I argue, apart from their linguistic manifestations, these metaphors motivate the "axial" configurations of certain socially instituted genealogical representations, as well as provide principles of organization for the construction and decoration of material objects.

The axes of time: spatiotemporal relations in Old English vocabulary

“…Beyond the potential influence of the Christian conceptualization of time on the OE time system, the intercultural exchanges of the Anglo-Saxons, the Romans and Celts might have also influenced their time conceptualization. There is linguistic and artistic evidence that time-space correlations consistent with the metaphors BEFORE IS ABOVE, AFTER IS BELOW, THE PAST IS BEHIND and THE FUTURE IS IN FRONT (OF THE EGO) stretch back to ancient Roman culture (Short 2016) and that the influence of Old Irish Gaelic on OE might explain the cyclical structure of the Menologium, a tenth-century OE metrical calendar (Hennig 1952). 3 In this context, the aim of this article is to reconstruct the space-time cognitive models used in the Old English period to understand and convey time notions to add to previous literature on the study of OE vocabulary of time and gain a deeper understanding of the historical basis of Modern English space-time metaphors.…”

Metonimias y metáforas conceptuales con manus en el teatro latino

“…3 Los textos analizados se han obtenido a través del recurso Classical Latin Texts del Packard Humanities Institute (PHI), accesible a través de internet https://latin.packhum.org/ index (20/9/2021). 4 Como obras trágicas, se han incluido los fragmentos de Nevio, Ennio, Pacuvio, accio y la obra dramática de Séneca, incluidas las obras espurias; como obras cómicas se han considerado los fragmentos de Livio andronico, Nevio, Tito Quincio ata, Lucio Pomponio, Novio, Cecilio Estacio, Luscio Lanuvino, Juvencio, Turpilio, Pompilio, Gayo Ticio, Gayo Julio César Estrabón, afranio y las obras completas de Plauto y Terencio, así como los fragmentos de comedia y tragedia conservados de autoría incierta (Ribbeck 1897). Las ediciones concretas de estos textos se pueden consultar en https://latin.packhum.org/canon (20/9/2021).…”