Metaphor And Emotion

Are human emotions best characterized as biological, psychological, or cultural entities? Many researchers claim that emotions arise either from human biology (i.e., biological reductionism) or as products of culture (i.e., social constructionism). This book challenges this simplistic division between the body and culture by showing how human emotions are to a large extent "constructed" from individuals' embodied experiences in different cultural settings. The view proposed here demonstrates how cultural aspects of emotions, metaphorical language about the emotions, and human physiology in emotion are all part of an intergrated system and shows how this system points to the reconciliation of the seemingly contradictory views of biological reductionism and social constructionism in contemporary debates about human emotion.

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions, written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge": self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how.

This chapter briefly describes the general goals of the book, introduces the most fundamental features of the methodology that is employed to achieve these goals, and gives an outline of the structure of the book. A more detailed account of the goals and methodology is presented in chapters 2 and 3, respectively. What the Book Is About The main objective of this study is to attempt to answer the question: How do people understand their emotions? As we shall see in the next chapter, a large number of scholars have tried to provide answers to this question. The interest in the way people understand their emotions has led scholars to the issue of the nature of emotion concepts and emotional meaning. Since the notion of understanding involves or presupposes the notions of concept and meaning, it was only natural for scholars with an interest in the way people understand their emotions to tum their attention to emo tion concepts and the meaning associated with emotion terms. So the broader issue has often become more specific. For example, Davitz in his The Language of Emotion formulated the central question in the following way: "What does a person mean when he says someone is happy or angry or sad?" (Davitz 1969: 1).

This volume maps the watershed areas between two 'holy grails' of computer science: the identification and interpretation of affect – including sentiment and mood. The expression of sentiment and mood involves the use of metaphors, especially in emotive situations. Affect computing is rooted in hermeneutics, philosophy, political science and sociology, and is now a key area of research in computer science. The 24/7 news sites and blogs facilitate the expression and shaping of opinion locally and globally. Sentiment analysis, based on text and data mining, is being used in the looking at news and blogs for purposes as diverse as: brand management, film reviews, financial market analysis and prediction, homeland security. There are systems that learn how sentiments are articulated. This work draws on, and informs, research in fields as varied as artificial intelligence, especially reasoning and machine learning, corpus-based information extraction, linguistics, and psychology.

This study is an attempt to uncover the structure of three emotion concepts: anger, pride and love. The results indicate that the conceptual structure associated with these emotions consists of four parts: (1) a system of metaphors, (2) a system of metonymies, (3) a system of related concepts, and (4) a category of cognitive models, with a prototypical model in the center. This goes against an influential view of the structure of concepts in linguistics, psychology, anthropology, according to which the structure of a concept can be represented by a small number of sense components.

A comprehensive collection of essays in multidisciplinary metaphor scholarship that has been written in response to the growing interest among scholars and students from a variety of disciplines such as linguistics, philosophy, anthropology, music and psychology. These essays explore the significance of metaphor in language, thought, culture and artistic expression. There are five main themes of the book: the roots of metaphor, metaphor understanding, metaphor in language and culture, metaphor in reasoning and feeling, and metaphor in non-verbal expression. Contributors come from a variety of academic disciplines, including psychology, linguistics, philosophy, cognitive science, literature, education, music, and law.

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 ad

Offers an extended, improved version of Conceptual Metaphor Theory (CMT), updating it in the context of current linguistic theory.

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Linguistics, grade: 2+ (B), University of Cologne (Institute for Anglistics), course: Congitive Linguistics, language: English, abstract: Every time we talk about our emotions, we use images, especially metaphors and metonymies. The phenomena of these two kinds of image seem to have always been essential for the human conceptualization of emotions, as Gábor Györi claims: “[...] emotions have always invited the human mind to metaphorise about them” (1998: 117). Thus, the quality of timelessness stresses the importance of this way of reference to emotions. It would be useful to find out if they are also universal regarding culture. If emotions were conceptualized in the same images in cultures that completely differ from each other, there would be an evidence for the universality of metaphors and metonymies in the conceptualization of human emotions. The question of culture-specification includes, additionally to the question if the images in which basic emotions are referred to are universal, also the question whether something like basic emotions exists in general, and is discussed intensively. Except of the meaning of metaphor and metonymy in general and in reference to human emotions, the question of culture-specification will be discussed in this paper. We will have a look at the opponents and supporters of the theory of universality of emotions and emotion images and find out whether they really exclude each other or if one can find a hypothesis that considers both points of view.

To what extent and in what ways is metaphorical thought relevant to an understanding of culture and society? More specifically: can the cognitive linguistic view of metaphor simultaneously explain both universality and diversity in metaphorical thought? Cognitive linguists have done important work on universal aspects of metaphor, but they have paid much less attention to why metaphors vary both interculturally and intraculturally as extensively as they do. In this book, Zoltán Kövecses proposes a new theory of metaphor variation. First, he identifies the major dimension of metaphor variation, that is, those social and cultural boundaries that signal discontinuities in human experience. Second, he describes which components, or aspects of conceptual metaphor are involved in metaphor variation, and how they are involved. Third, he isolates the main causes of metaphor variation. Fourth Professor Kövecses addresses the issue to the degree of cultural coherence in the interplay among conceptual metaphors, embodiment, and causes of metaphor variation.