Performing Metaphoric Creativity Across Modes and Contexts

Description

The creative potentiality of metaphor is one of the central themes in research on creativity. The present volume offers a space for the interdisciplinary discussion of the relationship between metaphor and creativity by focusing on (re)contextualization across modes and socio-cultural contexts and on the performative dimension of creative discourse practices. The volume brings together insights from Conceptual Metaphor Theory, (Critical) Discourse approaches to metaphor and Multimodal discourse analysis. Creativity as a process is explored in how it emerges in the flow of experience when talking about or reacting to creative acts such as dance, painting or music, and in subjects' responses to advertisements in experimental studies. Creativity as product is explored by analyzing the choice, occurrence and patterning of creative metaphors in various types of (multimodal and multisensorial) discourses such as political cartoons, satire, films, children's storybooks, music and songs, videos, scientific discourse, architectural reviews and the performance of classical Indian rasa. Performing Metaphoric Creativity across Modes and Contexts Editorial page Title page Copyright page Dedication page Table of contents Preface 1. Introduction: Towards an integrated framework for the analysis of metaphor and creativity in discourse 1. Introduction 2. Approaching metaphor and creativity as product and process 3. Dimensions of creativity 4. Performance in understanding metaphoric creativity 5. Multimodality and problem solving in metaphoric creativity 6. About this book References 2. Metaphor in multimodal creativity 1. Introduction 2. Music 3. Painting 4. Dance 5. Advertisements 6. Conclusion References 3. Music, metaphor, and creativity 1. Introduction 1.1 A musical bestiary 1.2 Sine-wave speech and words about music 1.3 Metaphor, analogy, and metonymy 1.4 Music, metaphor, and creativity 2. Analogical thought and musical understanding 2.1 Another animal in the bestiary 2.2 Research on analogy 2.3 Analogical thought and tone painting 3. From musical analogy to musical metaphor 3.1 Analogy and metaphor 3.2 Musical topics and musical meaning 3.3 Conceptual metaphor theory and music 3.3.1 The metaphor of the pastoral 3.3.2 Music and conceptual metaphors 3.3.3 Summary 4. Music and Metonymy 5. Creativity in and around musical utterances References 4. Singing for peace: Metaphor and creativity in the lyrics and performances of three songs by U2 1. Introduction 2. The Northern Irish conflict, U2, the three songs and their performance across contexts 3. Metaphor and creativity as social practice in songs 3.1 Metaphor and creativity in pop-rock songs: From discursive to social practices 3.2 Metaphor and political action 3.3 Recontextualization of the songs and reinterpretation of the metaphors 4. Metaphors and metonymies in the lyrics of the three songs 5. Multimodal metaphor and metonymy in the video performance of “Please” 6. Recontextualization of the three songs across performances 7. Conclusions Acknowledgements References 5. Metaphor emergence in cinematic discourse 1. Food in ‘Lost’ 2. Food in ‘Map’ 3. Metaphors of Tokyo 4. Conclusions References 6. What makes an advert go viral? The role of figurative operations in the success of Internet videos 1. Introduction 2. The creative use of figurative operations in internet videos 2.1 Making creative use of the connection between two entities: Metaphor and metonymy 2.2 Making creative use of the contrast between two realities: Irony and unmarked contrast 2.3 Strengthening and mitigating the message: The creative use of hyperbole and understatement 3. Variables for video success: Density, coverage, and positioning 3.1 Density 3.2 Type of figurative operation and coverage 3.3 Positioning 4. Methodology 4.1 Variables observed in this study 4.2 Data analysis and statistical procedures 5. Results and discussion 5.1 Do certain figurative operations, or combinations of figurative operations, contribute more strongly to the success of an internet marketing video? 5.2 Do some modes of figurative operations contribute more than others to the success of an internet marketing video? 5.3 Does the positioning of the figurative operations make a difference? 6. General discussion Funding References Secondary sources: Advertisements 7. Metaphorical creativity in political cartoons: The migrant crisis in Europe 1. Introduction 2. Metaphor and creativity in political cartooning 2.1 Humor in political cartooning 2.2 Cognitive mechanisms in cartoons 2.3 Creativity in political cartooning 3. The migrant crisis in Europe: Some facts 4. Methodology 4.1 Case studies: Data sources and data collection 4.2 Hypotheses and research objectives 4.3 Research design: Procedure 5. Results and discussion 5.1 Metaphor in cartoons and in the language of politics and the media 5.2 Creativity in cartoons 6. Conclusions References 8. Disentangling metaphoric communication: The origin, evolution and extinction of metaphors Introduction Metaphorgenesis: On the origin of metaphors Metaphors as memes and the eco-evolutive process Adaptation of metaphors and other evolutionary processes Evolving together: Metaphoric symbiogenesis Extinction of metaphors: Living fossils and dead metaphors Discussion and conclusion References 9. Sensory landscapes: Cross modal metaphors in architecture 1. Introduction 2. Reviewing built space: The genre of architectural reviews 3. Re-sensing built space through metaphor 3.1 Metaphor and the senses 4. Multimodal, dynamic spaces 5. Conclusion Acknowledgments References 10. Creative journeys: Metaphors of metastasis in press popularization articles 1. Introduction 2. Metastasis and its metaphors in specialized genres 3. Materials and methods 4. Quantitative and qualitative analysis of metaphors of metastasis 4.1 INVASION AND COLONIZATION metaphors 4.2 DISSEMINATION metaphors 4.3 MIGRATION metaphors 4.4 JOURNEY metaphors 5. Personification 6. Creative exploitation of metastasis metaphors 6.1 Intertextual metaphors in the English subcorpus 6.2 Creative patterning in the Spanish subcorpus 6.2.1 Metaphorical clusters in the reporting of metastasis 6.2.2 Creative elaboration and extension in the Spanish press 7. Conclusions References 11. Multimodal creativity in figurative use 1. Introduction 2. Multimodal representations in the print media 2.1 Embodied cognition in multimodal print articles 2.2 Sustained use of metaphorical image in multimodal texts 2.3 Multimodality as a cross-language and a cross-cultural phenomenon 2.4 Use of photomontage in multimodal print discourse 3. Multimodal discourse in advertising 3.1 Multimodality in business advertisements 3.2 The role of background information in interpreting political advertisements 4. Multimodal use of semiotic modes 4.1 Use of symbols in multimodal discourse 4.2 The significance of gesture in multimodal representation 4.3 Dynamic use of semiotic modes in political speech 5. Multimodal political discourse 5.1 Multimodal metaphor in political argumentation 5.2 The role of satire in multimodal political discourse 6. Conclusion References 12. “Born from the heart”: Social uses of pictorial and multimodal metaphors in picture books on adoption Introduction Standpoint Sample of texts Case studies of each subtype of pictorial metaphor 1. The Contextual Metaphor: A “collage” of good memories and bonds 1.1 Settling in a new home 1.2 The affective and physical bond 2. Hybrid relations: Physical resemblance does not equal parenthood 3. Simile-type relations: A celebration of the self and affection 4. Verbo-pictorial metaphor: Born from the heart Discussion Conclusion Acknowledgements References 13. Figuring it out: Old modes and new codes for multimodality, technology and creative performativity in 21st century India 1. Introduction: “Coding teaches us how to think” 2. Compositionality and Creativity: ‘Poetry is the best code’ 3. Metaphor and Inference: “I am a riddle in nine syllables” The puzzle The challenge to its own medium The engagement with pattern 4. Performativity and Emotion: “We want an object of diversion, which must be audible as well as visible’’ 5. Conclusion: “Eureka! Immense.” Acknowledgements References Index