B O O K O F A B S T R A C T S

Polish Cognitive Linguistics Association Conference 2019 Cognitive Linguistics in the Year 2019

September 26-28, 2019 University of Bialystok Poland




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Polish Cognitive Linguistics Association (Polskie Towarzystwo Językoznawstwa Kognitywnego) is an affiliate of International Cognitive Linguistics Association (ICLA). Please visit PTJK website for more information.

PCLA conferences are held annually to provide an academic platform for cognitive linguists to present their research findings, exchange ideas, share experiences and research results, explore opportunities for collaboration, and recognize outstanding achievements within their scientific community.

The Polish Cognitive Linguistics Association (PTJK/PCLA 2019 conference will be held from 26th September till 28th September in Bialystok, Poland. The conference is locally organized and hosted by the Institute of Modern Languages of the University of Białystok. 

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Conference venue: Wydział Filologiczny Uniwersytetu w Białymstoku Plac Niezależnego Zrzeszenia Studentów 1 15-420 Białystok, Poland PTJK2019 website e-mail

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Projekt finansowany w ramach programu Ministra Nauki i Szkolnictwa Wyższego pod nazwą „Regionalna Inicjatywa Doskonałości” na lata 2019-2022 nr projektu 009/RID/2018/19 kwota finansowania 8 791 222,00 zł.

The project is financed from the grant received from the Polish Ministry of Science and Higher Education under the Regional Initiative of Excellence programme for the years 2019-2022, project numer 009/RID/2018/19, the amount of funding 8 791 222,00 zloty.

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https://sites.google.com/site/ptjkpol/homehttp://ptjk2019.uwb.edu.plmailto:ptjk2019@uwb.edu.pl

Organising Committee: Daniel Karczewski (Chair)

Martyna Awier, Paweł Dziedziul, Aleksandra Kowalewska-Buraczewska, Ewa Lewicka-

Mroczek, Piotr Malinowski, Dorota Szymaniuk, Edyta Wajda, Justyna Wawrzyniuk

Scientific Board: Alan Cienki – Vrije Universiteit Amsterdam,

Dagmar Divjak – University of Birmingham,

Małgorzata Fabiszak – Uniwersytet im. Adama Mickiewicza w Poznaniu,

Dirk Geeraerts – Katholieke Universiteit Leuven,

Adam Głaz – Uniwersytet Marii Curie-Skłodowskiej w Lublinie,

Elżbieta Górska – Uniwersytet Warszawski,

Marcin Grygiel – Uniwersytet Rzeszowski,

Beate Hampe – Universität Erfurt,

Martin Hilpert – Université de Neuchâtel,

Henryk Kardela – Uniwersytet Marii Curie-Skłodowskiej w Lublinie,

Zoltán Kövecses – Eötvös Loránd University,

Ronald W. Langacker -University of California,

Barbara Lewandowska-Tomaszczyk – Państwowa Wyższa Szkoła Zawodowa w Koninie,

Agnieszka Libura – Uniwersytet Wrocławski,

Jeannette Littlemore -University of Birmingham,

Günter Radden – Universität Hamburg,

Farzad Sharifian – MONASH University,

Waldemar Skrzypczak – Uniwersytet Mikołaja Kopernika w Toruniu,

Irena Szczepankowska – Uniwersytet w Białymstoku,

Halina Święczkowska – Uniwersytet w Białymstoku,

Elżbieta Tabakowska – Uniwersytet Jagielloński,

Marjolijn H. Verspoor - University of Groningen,

Krystyna Waszakowa – Uniwersytet Warszawski,

Jordan Zlatev – Lund University

Book of Abstracts compiled by Justyna Wawrzyniuk and Martyna Awier


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KEYNOTE SPEAKER LECTURE Constructions on the level of utterances: Approaching the variable multimodality of spoken language use Alan Cienki 9

KEYNOTE SPEAKER LECTURE The Cognitive Commitment: not words, but deeds Dagmar Divjak 11

KEYNOTE SPEAKER LECTURE Variation in the Experience of Metaphor Jeannette Littlemore 13

KEYNOTE SPEAKER LECTURE Polysemiotic communication vs. multimodality: narration, pantomime, and metaphor Jordan Zlatev 14

Focus shifts in fictive interaction: a multimodal analysis of films Natalia Alekseenko 15

Multimodal construal of suspense in Denis Villeneuve’s Arrival and Blade Runner 2049 Rafał Augustyn 16

Conceptualization of Donald Trump’s presidential campaign in selected campaign speeches Martyna Awier 18

Amalgamat w badaniu strategii tekstowej wierszy o obrazach Arnolda Böcklina na przykładzie poezji Zofii Gordziałkowskiej Lucyna Bagińska 19

When a movie becomes an argument inherit the wind in the contemporary discourse Shala Barczewska 21

Between the literal and the figurative Bogusław Bierwiaczonek 22

Corpus-based cognitive research of American blogosphere Olesya Chernyavska 23

O użyteczności pojęcia narracja w kognitywnej analizie opisów doświadczenia choroby we współczesnym polskim dyskursie medycznym Marta Chojnacka-Kuraś 24

The scope of cinematic metaphor in television series: two methodological questions Monika Cichmińska 25

Cognitive automaticity in translation and beyond Mikołaj Deckert 26

“Dumb and Dumber” - the illumination of human stupidity (?) Aneta Dłutek 27

“The journey toward a calloused mind” What the blending theory can tell us about David Goggins, the toughest man alive Anna Drogosz 28

Context and cognitive principles in memorial landscape Małgorzata Fabiszak 29

Derywatywy słowotwórcze od rzeczownika empatia w tekstach współczesnej polszczyzny. Analiza semantyczna Marta Falkowska 30

Gest negujący wyrażający wartości skrajne Sonia Gembalczyk 32

Moving metaphorically in cartoons and print advertisements Elżbieta Górska 34

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Analogy and contrast in the structure of Hungarian co-verbial constructions Marcin Grygiel 36

Kognitywna analiza staroindyjskich formuł magicznych. Szanse i wyzwania metodologiczne Krzysztof Gutowski 37

Podobieństwa i różnice konceptualizacji lilii w polskiej i węgierskiej frazeologii Julia Hamsovszki 38

The dynamics of narration as reflected in gesture use Olga Iriskhanova 39

Focus shifts in the evasion speech acts: a multimodal analysis Snezhana Isaeva 41

“She can’t boil potatoes, never mind cook a meal”: analysis of the connector never mind from a constructionist perspective Aneider Iza Erviti, María Sandra Peña Cervel 42

Alternate construals in complement selection by Polish verbal predicates: a corpus-based study Agnieszka Kaleta 43

Meaning extension in Japanese and Czech – contrastive study Petra Kanasugi 44

Normativity and genericity in parent-child interactions – a questionnaire-based research study of Polish-and English-speaking respondents Daniel Karczewski, Marcin Trojszczak 45

A conceptual link between the animal kingdom and the human world: the case of the concept wealth/prosperity Robert Kiełtyka 46

Linguistic creativity tuning: how focusing boosts figurativeness in children’s literature Maria Kiose 47

Grammatical structures as a means of regulating interpersonal relations: A note on the grammar of verbal abuse Agata Kochańska 49

The German emotional lexeme ÄRGER and its counterparts in Russian, Czech, Polish, Upper and Lower Sorbian Jana Kocková, Katja Brankačkec, Karolína Skwarska 50

A quantitative analysis of English and Polish aspectual distinctions: problem solving in data annotation Iwona Kokorniak 52

Multisensoriality, language and cognition – on some consequences of a phenomenological approach to multimodality of perception Piotr Konderak 54

The fish sounds great!: An analysis of pseudo-copular constructions in English Zbigniew Kopeć 56

The concept of Straight in English and Tok Pisin: A Comparative Analysis of Literal and Metaphorical Uses Krzysztof Kosecki 57

Wybrane strategie kompensacyjne stosowane w miejscach trudnych – na przykładzie multimodalnych kazań w duszpasterstwach niesłyszących Lucyna Kościelniak 58

Normatywność wypowiedzi generycznych o charakterze dwoistym. Kształtowanie rzeczywistości społecznej w perspektywie językoznawczej. Aleksandra Kowalewska-Buraczewska 60

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“But it’s the truth, even if it didn’t happen.” Constructed expressions as idealizations in cognitive linguistics Hubert Kowalewski 62

The Rose of Rone: On multimodal patterns of communication in late medieval England Marcin Kudła 63

Wewnątrz- i międzukulturowe zróżnicowanie metafor DEPRESJI Anna Kuncy-Zając 64

Multimodality of the film discourse as means of identity construction Natalia Kyslytsyna 65

Nonverbal representation in argumentative discourse Anna Leonteva 66

Skąd pochodzą nasze skojarzenia? Analiza pierwszych skojarzeń nazw emocji z grupy strachu i radości Agnieszka Libura Marta Dobrowolska-Pigoń 67

Images of images as examples of variations Aleksandra Majdzińska-Koczorowicz 69

Recognizing metaphor: how do non-experts and machines deal with a metaphor identification task? Joanna Marhula, Justyna Polak, Maria Janicka, Aleksander Wawer 70

I will see the job done: metonymic extensions of English verbs of perception Łukasz Matusz 71

Text painting as a conceptual blending operation: A multimodal analysis of selected fragments from W.A. Mozart’s Requiem Agnieszka Mierzwińska-Hajnos 72

South Slavic stative reflexive-dative: a construction grammar view Liljana Mitkovska 73

Life is not all cakes and ale. Translating metaphors with food related component Julia Ostanina-Olszewska 75

Non-prototypical Polish constructions with the verbs ‘dać’ and ‘dawać’ Joanna Paszenda 76

Metaphors in the Service of Ideology – the Language of 2019 European Parliament Election in Poland Katarzyna Pawłowska 78

The role of visual patterns in the production of spoken descriptive discourse: an experimental study of speech, gestures, and gaze Olga Prokofyeva 79

Śmierć w teatrze lalek. Istotne relacje pojęciowe oraz interakcje przestrzeni mentalnych Monika Reks 80

Challenges with metaphor identification in Polish Maciej Rosiński, Joanna Marhula 81

Does Brexit mean Brexit? The analysis of the semantic field of the lexeme ‘Brexit’ Izabela Sekścińska, Agnieszka Piórkowska 82

Affective grounding, imageability and concreteness Mateusz-Milan Stanojević, Vedrana Gnjidić, Anita Peti-Stantić 83

Przysłówkowe kolokacje przymiotnika pięknyw ujęciu kognitywnym Monika Szymańska 84

“This song is like the night after the last day of school” - figurative language in song reviews Marcin Trojszczak 85

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Opposite properties of sensory meanings of wine language Hang Truong, Ivana Bianchi, Roberto Burro 86

Focal gestures in spoken narrative and descriptive discourse Ekaterina Varenik 87

Do all eagles fly high? The generic overgeneralization effect: the impact of fillers in truth value judgment tasks Edyta Wajda, Daniel Karczewski 88

Metaphorical duality between TIME AS A PURSUER and TIME AS AN OBJECT OF PURSUIT Jacek Tadeusz Waliński 89

Wieloaspektowość pojęcia konceptualizacja w gramatyce R. Langackera (spojrzenie z perspektywy użytkownika terminologii kognitywnej) Krystyna Waszakowa 90

Investigating the potential of conceptual metaphors as a diagnostic tool in mental health - a case study of accounts of BD and BPD patients Małgorzata Waśniewska 91

“That’s the metaphor you’re going for?” Deliberate metaphors and humor Justyna Wawrzyniuk 92

Od synonimii składniowej do polisemii konstrukcyjnej (rozważania metodologiczne na przykładzie analizy polskich konstrukcji wyrażających relację przyczynowo-skutkową) Elżbieta Wierzbicka - Piotrowska 93

Nouns in the NP be that-construction: A usage-based quantitative investigation (cancelled) Jarosław Wiliński 95

Metaphor or Metonymy? Conceptual plexity as a driving force in anthropomorphic figurative language construals of Europe Przemysław Wilk 97

Description of force dynamics and cognitive retention in translation Katarzyna Wiśniewska 98

Cross-cultural diversity in spatial metaphors of emotion Ewelina Wnuk Yuma Ito 99

Metonimia jako przejaw ekstensji kategorialnej na przykładzie języka mediów informacyjnych Łukasz Wnuk 100

Where arithmetic comes from - motion schemas in the narrative of numbers Jacek Woźny 101

The form is the message: a comparative cognitive rhetorical study of the philosophical dialogues by Zhuangzi and Plato Mingjian Xiang Anna Bonifazi 102

Comprehension of denomination vs. demonstration by Mandarin speaking children with ASD: Evidence from an eye-tracking experiment Fan Xie, Esther Pascual 103

Performatywność przekazu multimodalnego Małgorzata Zadka 105

Narrative metaphors in perfumery discourse Magdalena Zawisławska 106

Conceptual metaphors in lyrics and music – reinforcement and modification Magdalena Zyga 107

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KEYNOTE SPEAKER LECTURE

Constructions on the level of utterances: Approaching the variable multimodality of spoken language use

Alan Cienki Vrije Universiteit Amsterdam 


Moscow State Linguistic University

Some proponents of the theory of Construction Grammar have been investigating how it might address the nature of spoken language usage as multimodal (e.g., Andrén 2010; Schoonjans 2014; Steen & Turner 2013; Zima 2014; Zima & Bergs 2017). Problems confronted in this endeavour have included the variable frequency with which gesture is used with speech (per speaker, per usage event) and the varying degrees to which gesture is obligatory, depending on the type of verbal expression and the context of use. Following Kendon (2004), “utterance” is proposed as a level of description above that of speech and gesture for characterizing face-to-face communicative constructions. The theory of Utterance Construction Grammar (Cienki 2017) picks up on earlier proposals to consider constructions as prototype categories with more central and more peripheral features (Gries 2003; Imo 2007; Lakoff 1987). The language community’s knowledge of a given utterance construction and that of any language user are discussed as “deep structures” (in a non-Chomskian sense) that provide a set of options (some more central and others more peripheral) for expression. In this sense, any “surface structure” is a metonymic precipitation in context of the construction’s features. Furthermore, these deep and surface structures can be thought of in terms of language users’ knowledge of their potential forms, or in terms of how they are actually used in given communicative usage events (Langacker 2008). For example, what Fried (2015) calls a construct (a concrete utterance token that has actually been produced) is a surface structure as actually used, while a potential surface structure involves the level of all the possible allomorphs of a given utterance construction. Taken together in terms of a more fully elaborated framework, it is hoped that the elements of this approach may help bring Construction Grammar closer to being a truly usage-based theory (Barlow & Kemmer 2000).

References Andrén, Mats. 2010. Children’s gestures from 18 to 30 months. Unpublished PhD dissertation. Lunds Universitet,

Sweden. Barlow, Michael & Suzanne Kemmer (eds.). 2000. Usage-based models of language. Stanford, CA: Center for the

Study of Language and Information.

Cienki, A. 2017. Utterance Construction Grammar (UCxG) and the variable multimodality of constructions. Linguistics Vanguard 3(s1) DOI 10.1515/lingvan-2016-0048.

Fried, Mirjam. 2015. Construction grammar. In Tibor Kiss & Artemis Alexiadou (eds.), Syntax – Theory and analysis: An international handbook (vol. 2), 974–1003. Berlin: De Gruyter Mouton.

Gries, Stefan T. 2003. Towards a corpus-based identification of prototypical instances of constructions. Annual Review of Cognitive Linguistics 1: 1–27.

Imo, Wolfgang. 2007. Der Zwang zur Kategorienbildung: Probleme der Anwendung der Construction Grammar bei

der Analyse gesprochener Sprache. Gesprächsforschung: Online-Zeitschrift zur verbalen Interaktion 8: 22–45 (www.gespraechsforschung-ozs.de).

Kendon, Adam. 2004. Gesture: Visible action as utterance. Cambridge: Cambridge University Press.

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Lakoff, George. 1987. Women, fire, and dangerous things: What categories reveal about the mind. Chicago:

University of Chicago Press. Langacker, Ronald W. 2008. Cognitive Grammar: A basic introduction. Oxford: Oxford University Press. Schoonjans, Stefan. 2014. Modalpartikeln als multimodale Konstruktionen. Eine korpusbasierte

Kookkurrenzanalyse von Modalpartikeln und Gestik im Deutschen. Unpublished PhD dissertation. University of Leuven, Belgium.

Steen, Francis & Mark Turner. 2013. Multimodal Construction Grammar. In Michael Borkent, Barbara Dancygier & Jennifer Hinnell (eds.), Language and the creative mind, 255–274. Stanford, CA: CSLI Publications.

Zima, Elisabeth. 2014. English multimodal motion constructions. A construction grammar perspective. Papers of the Linguistic Society of Belgium 8. 14–29. http://uahost.uantwerpen.be/linguist/SBKL/sbkl2013/Zim2013.pdf

Zima, Elisabeth & Alexander Bergs. 2017. Special issue: Towards a multimodal construction grammar. Linguistics

Vanguard 3(s1). https://www.degruyter.com/view/j/lingvan.2017.3.issue-s1/issue-files/lingvan.2017.3.issue-s1.xml 


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http://uahost.uantwerpen.be/linguist/SBKL/sbkl2013/Zim2013.pdfhttps://www.degruyter.com/view/j/lingvan.2017.3.issue-s1/issue-files/lingvan.2017.3.issue-s1.xml

KEYNOTE SPEAKER LECTURE

The Cognitive Commitment: not words, but deeds Dagmar Divjak

University of Birmingham

Commitment is an act, not a word.

Jean-Paul Sartre

Cognitive linguists are bound by two major commitments: the generalization commitment and the cognitive commitment (Lakoff 1990: 40). While the former refers to our goal of providing a characterization of the general principles governing all aspects of human language, the latter adds that any generalization must comply with what is known about the brain and mind from other disciplines. Work in the Cognitive Linguistic tradition therefore likes to stress that the analyses proposed are “in line with what is known about the mind” and abounds with claims that the proposed analysis would be cognitively realistic, if not cognitively real.

In recent work I have raised the question of whether there is any cognitive reality to our analyses (Divjak 2015, Divjak et al. 2016). Research has shown that traditional linguistic categories do not adequately capture language user’s intuitions about their native language (Dąbrowska 2008 for morphology, Dattner in press for syntax, Divjak et al. 2015 for semantics). Yet these categories form the foundation for work on language across disciplines, including Psychology and Engineering. How does this affect our aspirations? How much of our methodological toolbox needs to be cognitively real for us to be cognitive linguists? Is the cognitive reality of a linguistic category necessary for it to be useful to cognitive linguists? How do we relate to categories that are unlikely to have cognitive relevance? Should we do away with traditional linguistic categories altogether?

In this talk I will present work done as part of the Leverhulme-funded Out of Our Minds project [https://outofourminds.bham.ac.uk]. We set out to change the ways in which languages are described, modelled and taught by taking an interdisciplinary approach involving linguistics, psychology and engineering, with the end goal of proposing a new way of describing language data that yields a cognitively plausible description of speakers’ linguistic knowledge. To achieve this goal, we implement the requirement for cognitive reality in linguistic analysis at the theoretical, methodological and descriptive levels. I will present the results we have achieved so far in the area of morphology, syntax and semantics. All studies use (or derive) cognitively plausible categories for annotation, cognitively plausible models for computational simulation and extensive testing of predictions against behavioural data. By providing researchers across disciplines with linguistic patterns and abstractions that matter to the cognitive systems of speakers, we pave the way for cognitively plausible models of language and for integrative interdisciplinary language sciences.

References Dattner, E. (In press). The Hebrew dative: usage patterns as discourse profile constructions. Linguistics. Divjak, D. 2015. Four challenges for usage-based linguistics. In Daems, Jocelyne, Eline Zenner, Kris Heylen, Dirk

Speelman and Hubert Cuyckens (Eds.). Change of Paradigms: New Paradoxes. Recontextualizing Language and Linguistics. Berlin/Boston: Walter de Gruyter, 297-309. [Applications of Cognitive Linguistics 31]

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Divjak, D., N. Szymor, A. Socha-Michalik. 2015. Less is more: possibility and necessity as centres of gravity in a

usage-based classification of core modals in Polish. Russian Linguistics. International Journal for the Study of Russian and other Slavic Languages 39 (3): 327-349.

Divjak, D., N. Levshina, J. Klavan. 2016. Cognitive Linguistics: Looking back, looking forward. Cognitive

Linguistics 27(4): 447-463. Dąbrowska, E. 2008. The effects of frequency and neighbourhood density on adult native speakers’ productivity

with Polish case inflections: An empirical test of usage-based approaches to morphology. Journal of Memory and Language 58: 931-951

Milin, P., D. Divjak, S. Dimitrijevic & H. Baayen. 2016. Towards cognitively plausible data science in language research. Cognitive Linguistics 27(4): 507-526.

Lakoff, George. 1990. The Invariance Hypothesis: is abstract reason based on image-schemas? Cognitive

Linguistics 1(1): 39 - 74.

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KEYNOTE SPEAKER LECTURE

Variation in the Experience of Metaphor Jeannette Littlemore

University of Birmingham 


Our bodily interactions with the world provide a motivation for many of the metaphorical ways in which we talk about abstract concepts and emotions. For example, we often talk about moving through time as if it were moving through space, allowing us, for example, to ‘look back in anger’. We talk about feeling ‘down’ when we are depressed, and we talk about emotional closeness as if it were physical closeness. Studies have shown that metaphors such as these have the ability to evoke physical (i.e. sensory-motor) responses in readers and listeners and for this reason, they are sometimes described as ‘embodied’. Much of the work on embodied metaphor has tended to assume a single set of universal, shared bodily experiences that motivate our understanding of abstract concepts, and there has been relatively little investigation of the ways in which people’s experiences of such metaphors might vary. Factors such as environment and context, the shape and size of one’s body, age, gender, physical or linguistic impairment, personality, ideology, political stance, religious beliefs, cultural and linguistic background all have the potential to impact on the way in which we use and interact with embodied metaphor. In this talk, I bring these different factors together, and combine theoretical argument with findings from empirical studies, to explore how the variety of ‘human experience’ shapes the ways in which we acquire and use embodied metaphor. By analysing the ways embodied metaphor varies across different individuals and contexts of use, I aim to provide a deeper understanding of the nature of embodied metaphor itself. 


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KEYNOTE SPEAKER LECTURE

Polysemiotic communication vs. multimodality: narration, pantomime, and metaphor

Jordan Zlatev Lund University

Language, gesture and depiction are three universal human semiotics systems, realized in various ways dependent on culture and technology. While each may be used independently, most spontaneous human communication involves the combination of two or more of these (and other) systems, i.e. polysemiotic communication. This allows complex interactions of sign use, where the different expressive potentials of the systems interplay with and balance one another in ways that remain to be explored in detail.

Some research that is relevant for this topic is carried out under the banner of multimodality. “Modality”, however, remains a highly ambiguous notion. For some, it corresponds to the notion of semiotic system (e.g. Forceville 2017). In gesture studies, language itself is considered “multimodal” (Vigliocco, Perniss & Vinson, 2014) and in social semiotics one considers the combination of “modes” such as speech, text, picture, color, music, typography, design etc. (Kress, 2009). Finally, in most of psychology “modality” is used to refer to the different senses: vision, hearing, touch, smell and touch (and possibly others like proprioception), and perception is known to be multimodal.

In our cognitive semiotic approach, we restrict multimodality to the latter “sensory”, sense, and tease it apart from polysemiotic communication (Zlatev 2019). In my presentation, I will illustrate the usefulness of this distinction by reviewing three empirical studies: on unimodal vs. multimodal pantomime (Zlatev et al, 2017), on translating from unisemiotic to polysemiotic narratives (Louhema et al. in preparation) and on unisemiotic and polysemiotic metaphor in street art (Stampoulidis et al. in preparation).

References Forceville, C. 2017. Visual and multimodal metaphor in advertising: cultural perspectives. Styles of

Communication 9(2). 26–41.

Kress, G. 2009. Multimodality: A social semiotic approach to contemporary communication. London: Routledge. Vigliocco, G., Perniss, P., & Vinson, D. (2014). Language as a multimodal phenomenon: implications for language

learning, processing and evolution. Phil. Trans. R. Soc. B, 369(1651), 20130292.

Zlatev, J. 2019. Mimesis theory, learning and polysemiotic communication. Encylcopedia of Educational Philosophy and Theory. Springer.

Zlatev, J. Zywiczynski, P, Wacewicz, S, & van de Weijer, J 2017. Multimodal-first or pantomime-first? Communicating events through pantomime with and without vocalization. Interaction Studies. 18(3), 455-479. 


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Focus shifts in fictive interaction: a multimodal analysis of films

Natalia Alekseenko Moscow State Linguistic University

The following research focuses on the phenomenon of fictive interaction (FI) (Pascual 2006; Pascual 2014) which has become a popular object of scientific studies within cognitive linguistics. FI consists in conceptualizing cognitive, discursive, and linguistic entities in conversational terms with the help of a dialogical frame. Although the phenomenon has been examined in a number of languages in relation to different discourse types (Stec 2007, Brandt Pascual 2016) further research is needed to investigate how the phenomenon plays out in other languages and types of discourse with a view to their multimodality.

The aim of the current work is to investigate FI from multimodal perspective. Film discourse serves as the material of the study. Basically, I look into “the break of the fourth wall” scenes which involve a movie character shifting the focus of attention and addressing the viewer, thus creating a fictive dialogue between them. First, I am interested in modalities that contribute to the realization of FI. Therefore, the main objective is to determine potential verbal and non-verbal markers of FI, i.e. the means by which FI is built, and study their correlation. For instance, verbal markers can indicate dialogical nature of the utterance under review (e.g., direct address, second person pronouns etc.) whereas non-verbal ones indicate its orientation to the viewer (e.g. the character’s gaze).

Second, we seek to explore the forms FI can take in film discourse, for the length and complexity of FI cases vary drastically: in some instances it is confined to an utterance, in others it can represent an extended monologue of a character directed towards the viewer. Film creators may resort to FI for different reasons, hence the variety of the pragmatic functions FI can perform.

The research also takes into consideration the processes of perspectivization that FI activates. The change of the viewpoint is regarded as one of the most important markers of FI. In films FI shifts the perspective from internal to external, which can also be achieved through different modalities: verbally, by means of a character’s gaze, camera movement, zoom-in and zoom-out, etc.

Abbreviated References: Brandt, L. & Pascual, E. (2016). “Say hello to this Ad”: The persuasive rhetoric of fictive interaction in marketing.

In: The Conversation Frame: Forms and Functions of Fictive Interaction. John Benjamins Publishing Company, 493-527.

Pascual, E. (2006). Fictive interaction within the sentence: A communicative type of fictivity in grammar. Cognitive Linguistics 17(2), 245 267.

Pascual, E. (2014). Fictive interaction: the conversation frame in thought, language and discourse. Amsterdam/Philadelphia: John Benjamins.

Stec, K. (2007). Wait till you hear the best part: fictive interaction in narrative : Undergraduate honors thesis,

Department of Linguistics. University of California, Berkeley.

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Multimodal construal of suspense in Denis Villeneuve’s Arrival and Blade Runner 2049 Rafał Augustyn

Uniwersytet Marii Curie-Skłodowskiej w Lublinie

This paper aims at analysing the selected examples of visual, audio-visual and verbal representations of meaning presented in two science-fiction films directed by Denis Villeneuve – Arrival (2016) and Blade Runner 2049 (2017). The focus of this paper is on how cognitive linguistics tools (such as embodiment, image schemas, metaphor, metonymy and blending) can explain the ways in which certain aspects of meaning emerge in multimodal film setting, where image is the dominant mode of presentation, supported by other modalities such as the verbal (dialogues or written language) and auditory inputs (sound and music composed for the film), whereby the last two can be used either as prominent or liminally ostensive stimuli in the film.

In particular, the paper examines how these three modalities (visual, auditory, verbal) interact to create a cognitively coherent atmosphere of mystery and suspense which is present in the analysed science-fiction dramas. The two source materials selected for analysis are both science-fiction films directed by the same person, but are vastly different with regard to their plot and discussed themes; also, other teams were responsible for cinematography and music. The methodology applied in this study combines the elements of cognitive film analysis (cf. Bordwell 1989; Thompson 1999; Coëgnarts & Kravanja 2012, 2015; Coëgnarts 2017) with cognitive linguistic analysis, focusing in particular on multimodal metaphor (Forceville 2016) and conceptual blending (Fauconnier & Turner 2002; Brandt 2013).

As a result of this study, we distinguished a number of specific patterns of visual and multimodal conceptual integration, which can give rise to or strengthen the atmosphere of suspenseful mystery permeating the examined films, as intended by the film director. These include, among others:

- the camera shift from long to close-up shots for metonymic construals of concepts that are crucial for the film plot, but presented only implicitly;

- the use of scenes where image and dialogue are presented asynchronously or even non-simultaneously; - quick alternation of different types of shots to introduce emotional tension accompanied by non-

diegetic sounds with oscillating pitch and change in lighting (e.g. hard high-key lighting vs. soft backlighting);

- the use of generally subdued colours and simplistic soundscapes for better focus, while salient objects/concepts/events are highlighted by the use of saturated colours and change in sound volume, frequency and timbre;

- repetition or slight alteration of visual imagery and accompanying musical themes for better plot continuity/coherence.

These and other patterns can be found in both analysed films, although their distribution, intensity and frequency are different.

References: Bordwell, D. (1989). A Case for Cognitivism. Iris 9, 11-40. Brandt, L. (2013). The Communicative Mind. A Linguistic Exploration of Conceptual Integration and Meaning

Construction. Newcastle u. Tyne: Cambridge Scholars Publishing.

Coëgnarts, M. (2017). Cinema and the embodied mind: Metaphor and simulation in understanding meaning in films. Palgrave Communications 3, 1-15

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Coëgnarts, M., & Kravanja, P. (2012). Embodied Visual Meaning: Image Schemas in Film. Projections: The Journal

for Movies and Mind 6(2), 84-101. Coëgnarts, M., & Kravanja, P. (eds.) (2015). Embodied Cognition and Cinema. Leuven: Leuven University Press. Fauconnier, G., & Turner, M. (2002). The Way We Think: Conceptual Blending and the Mind’s Hidden

Complexities. New York: Basic Books. Forceville, Ch. (2016). Visual and multimodal metaphor in film: charting the field. In K. Fahlenbrach (ed.),

Embodied Metaphors in Film, Television and Video Games: Cognitive Approaches, 17-32. London: Routledge. Thompson, K. (1999). Storytelling in the New Hollywood: Understanding Classical Narrative Technique.

Cambridge: Harvard University Press. Villeneuve, D. (Director). (2016). Arrival [Motion picture]. USA: FilmNation Entertainment. Villeneuve, D. (Director). (2017). Blade Runner 2049 [Motion picture]. USA: Alcon Entertainment/Columbia

Pictures. 


17

Conceptualization of Donald Trump’s presidential campaign in selected campaign speeches

Martyna Awier Uniwersytet w Białymstoku

Conceptualization is a cognitive process that involves accessing encyclopaedic knowledge and conceptual processing, which gives rise to the emergent novel conceptions. According to Cognitive Linguistics, language shapes reality and particular linguistic choices determine a person’s conceptualization of a given issue. Metaphor, known for its productivity and subliminal character, shapes reality and posits a seminal tool for the process of conceptualization. George Lakoff and Mark Johnson’s groundbreaking Theory of Conceptual Metaphor assumes that diffuse concepts are understood in terms of more concrete and tangible ones. Conceptual Metaphor Theory reveals that human cognition is dependent on conceptual system of metaphors. Correspondingly, politics is also based on conceptual system and metaphorical reasoning. Metaphor can be employed to achieve ends which may not be readily detectable at a superficial level. As a result, politicians treat language as a platform that facilitates the communication of their policies and aspirations. Conceptualization and peculiar language choices are especially important in the context of political discourse and campaign elections.

The study aims to present how Donald Trump conceptualized his presidential campaign. The analysis of conceptualization of the politician’s message demands a successful recruitment of cognitive theories on Critical Discourse Analysis and Critical Metaphor. For the purpose of investigating the effectiveness of Donald Trump’s campaign message, I have compiled a corpus of ten speeches made by the politician ranging from January 24th, 2015 to October 20th, 2016. This time allowed me to examine Trump’s election campaign message and arrive at generalizations concerning his electoral political discourse. I resorted to the corpus research tool, i.e. the Sketch Engine and Metaphor Identification Process. The implementation of these tools facilitated the research and enabled me to establish metaphoricity of analyzed corpora. The results of the study show that the President used metaphorical expressions frequently. Therefore, I could create a scrutiny of prolific conceptual metaphors that unfolded in Trump’s discourse.

The analyzed data explicitly prove that Trump resorted to conceptual metaphors. The study investigates overarching conceptual metaphors underpinning the President’s discourse, including FORCE, MORALITY or DISEASE metaphors: POLICY OF HILLARY CLINTON IS A DESTRUCTIVE FORCE, CORRUPTION IS IMMORAL, CLINTON’S FOREIGN POLICY IS A LETHAL DISEASE. The speeches show that Trump frequently employs these metaphors to propel a reluctance towards the policy of “other” candidates and create the need for an instant change. The analysis proves that Trump draws on Lakoffian Strict Father Model.

References: Charteris-Black, Jonathan. 2004. Corpus Approach to Critical Metaphor Analysis. Basingstoke: Palgrave MacMillan. Evans, Vyvyan and Melanie Green. 2006. Cognitive Linguistics: An Introduction. Edinburgh: Edinburgh University Press. Lakoff, George. 2002. Moral Politics. How Liberals and Conservatives Think. Chicago: University of Chicago Press. Van Dijk, Teun. 1997. “What is Political Discourse Analysis?”. In Bloommaert, Jan and Chris Bulcaen (eds.) Political

Linguistics. Special issue of Belgian Journal of Linguistics 11, 11-52.

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Amalgamat w badaniu strategii tekstowej wierszy o obrazach Arnolda Böcklina na przykładzie poezji Zofii Gordziałkowskiej

Lucyna Bagińska Uniwersytet Warszawski

Celem artykułu jest, po pierwsze, wykazanie, że amalgamat jako narzędzie metodologii kognitywnej można zastosować do przejrzystego zobrazowania sposobu konstytuowania się świata przedstawionego utworu poetyckiego, inspirowanego dziełem plastycznym, a po drugie, do adekwatnego porównania dwóch różnych strategii tekstowych wierszy o obrazach, pozwalającego w tej operacji wyeliminować intuicyjność. Wprawdzie, zdaniem teoretyka literatury, Adama Dziadka, ekfraza i hypotypoza stanowią różne realizacje strategii tekstowych utworów o obrazach, ale dylemat genologiczny polega na dotychczasowym braku rozstrzygnięcia, czy są one odmiennymi gatunkami, czy wariantami tego samego gatunku. Zilustrowanie złożonych relacji między komponentami świata przedstawionego tych wierszy a dziełem plastycznym oraz sposobem jego odczytania przez autorkę tekstu (zgodnie z założeniami wyznawcy hermeneutyki, Gorffrieda Bohema) będzie więc stanowiło przyczynek do próby rozstrzygnięcia tego dylematu.

W tym celu najpierw zostanie przedstawiona teoria amalgamatów jako narzędzi metodologii kognitywnej. Następnie zostanie zaprezentowana definicja ekfrazy w tradycyjnym jej rozumieniu z komponentami kompozycyjnymi (unaoczniającym i narratywizacyjnym) oraz sposobem funkcjonowania tych elementów składowych, zarówno w odniesieniu do źródłowego tekstu kultury (artefaktu), jak i wzajemnie między nimi. W końcu relacje te zostaną przełożone na schemat integracji pojęciowej, uzupełniony wykresem graficznym, który uwypukli różnice między ekfrazą a hypotypozą.

Materiałem do badań są utwory poetyckie Zofii Gordziałkowskiej, tworzącej na przełomie XIX i XX. wieku. Zrodziły się one z fascynacji autorki dziełami plastycznymi szwajcarskiego artysty Arnolda Böcklina, tworzącego w tym samym czasie, w którym poetka napisała „Bocklina w poezji”. Tematyka twórczości malarza oscyluje od mitologicznej i biblijnej do współczesnej szwajcarskiemu artyście, wpisując się w nurt malarstwa symbolicznego.

Bibliografia:

Bajda, J. (2010). Poeci to są słów malarze: Typy relacji między słowem a obrazem w książkach poetyckich Młodej Polski. Wrocław: Wydawnictwo Uniwersyteckie.

Bartmiński, J. (2007). Językowe podstawy obrazu świata. Lublin: Wydawnictwo UMCS.

Bertho, S. (1998). Les Anciens et les modernes: la question de l’ekphrasis chez Goethe et chez Proust. Revue de litterature comparee,72(1), 53–62.

Boehm, G. (2014). O obrazach i widzeniu: Antologia tekstów (M. Łukasiewicz & A. Pieczyńska- Sulik, Tłum.). Kraków:

Universitas. Fauconnier, G. &Turner, M. (2002). The Way We Think: Conceptual Blending and the Mind’s Hidden Complexities. Nowy

Jork: Basic Books. Gogler, P. (2004). Kłopoty z ekfrazą. Przestrzenie Teorii,3/4,137–152.

Langacker, R. (2009). Gramatyka kognitywna: Wprowadzenie (E. Tabakowska i in., Tłum.). Kraków: Universitas. Lessing, G. E. (1962). Laokoon, czyli o granicach malarstwa i poezji (H. Zymon-Dębicki, Tłum.). Wrocław: Universitas. Libura, A. (2007). Amalgamaty kognitywne w sztuce.Kraków: Universitas.

Markowski, M. P. (1999). „Ekphrasis”: Uwagi bibliograficzne z dołączeniem krótkiego komentarza. Pamiętnik Literacki,90(2), 232–245.

Schweizer, N. R. (1985). Tradycyjna pozycja Ut pictura poesis (I. Fessel. Tłum.). Pamiętnik Literacki, 76(3), 269–287. Taylor, J. R. (2002). Gramatyka kognitywna(M. Buchta & Ł. Wiraszka, Tłum.). Kraków: Universitas.

Tokarski, R. (1995). Semantyka barw we współczesnej polszczyźnie.Lublin: Wydawnictwo UMCS.

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Tokarski, R. (2001). Typy racjonalności w językowym obrazie świata.W A. Pajdzińska & R. Tokarski (Red.), Semantyka

tekstu artystycznego (ss. 231–245). Lublin: Wydawnictwo UMCS. Tyler, A. (1993). Wprowadzenie do metod antropologii kognitywnej. W M. Buchowski (Red.), Amerykańska antropologia

kognitywna. Warszawa: Instytut Kultury.

Witosz, B. (2009). Ekfraza w tekście użytkowym w perspektywie genologicznej i dyskursywnej. Teksty Drugie,2009(1/2), 105–126.

20

When a movie becomes an argument inherit the wind in the contemporary discourse

Shala Barczewska Uniwersytet Jana Kochanowskiego w Kielcach

There are a variety of theories that describe pieces of culture that become embedded in the fabric and discourse of a given society: memes (Dawkins, [1976] 2006), metonymic referents (Wodak & Cillia, 2016), and discursive events (Jäger & Maier, 2009), among others. However, as all of these theories agree, it is not a factual representation of the event or object that is referenced, but a particular perspective on those events. Nevertheless, this perspective, or rather, these perspectives, for they are rarely singular, affect and reflect cultural memory, comprise shared knowledge and become arguments in and of themselves whenever they enter the current discourse space (cf. Langacker, 2001). Hence, they provide access to the speaker/writer’s idealized cognitive model of the said object or event, one which he/she presumes is shared with the audience.

This paper analyzes contemporary references to the polemic play/movie Inherit the wind (Lawrence & Lee, 1955; Kramer, 1960), hereafter ITW, in movies, TV programs, and online discourses to make an argument. ITW was chosen because of the controversies surrounding not only its theme but also the extent to which the playwrights and director took artistic liberty with the historical events (cf. Larson, 2006; Numbers, 1998). The discursive uses of ITW analyzed in this paper reveal elements of presumably shared knowledge and presupposed ‘correct’ beliefs about the issues addressed within the play/movie: the debate over teaching evolution, the relationship between faith and reason, the relative intelligence of northerners and southerners, etc. These uses suggest that the production has become an understandable, if not entrenched, meme or discursive event in its own right.

It is hoped that this paper not only sheds light on the discursive role(s) of ITW but also serves as a case study of how cognitive approaches to language can be used for such analysis.

References:

Dawkins, R. ([1976] 2006). The selfish gene (30th anniversary ed.). Oxford, New York: Oxford University Press. Jäger, S., & Maier, F. (2009). Theoretical and Methodological Aspects of Foucauldian Critical Discourse Analysis and

Dispositive Analysis. In R. Wodak & M. Meyer (Eds.), Introducing qualitative methods. Methods of critical discourse analysis (2nd ed., pp. 34–61). London: SAGE. Kramer, S. (Producer). & Kramer, S. (Director). (1960). Inherit the Wind. USA.

Langacker, R. W. (2001). Discourse in Cognitive Grammar. Cognitive Linguistics, 12(2), 143–188. https://doi.org/10.1515/

cogl.12.2.143 Larson, E. J. (2006). Summer for the gods: The Scopes trial and America's continuing debate over science and religion. New York: Basic Books. Lawrence, J., & Lee, R. E. (1955). Inherit the wind. Toronto, New York: Bantam Books. Numbers, R. L. (1998).

Darwinism comes to America. Cambridge, Mass., London: Harvard University Press. Wodak, R., & Cillia, R. de. (2016). Commemorating the past: The discursive construction of official narratives about the

`Rebirth of the Second Austrian Republic'. Discourse & Communication, 1(3), 337–363. https://doi.org/

10.1177/1750481307079206

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Between the literal and the figurative Bogusław Bierwiaczonek

Uniwersytet Jana Długosza w Częstochowie

As is well known and usually accepted by most cognitive linguists, words, or more generally, lexical items represent conceptual categories which have prototype structure. This prototype structure is in turn usually represented in the form of radial models with the prototypical sense at the center and its extensions at various distances from this center. Importantly, these extensions are not random, but rather they are motivated by general cognitive mechanisms. Four such basic mechanisms were already identified by traditional semanticists. These were generalization (aka “schematization”), specialization (aka “elaboration”), metonymy and metaphor (cf. Geeraerts 2012). One important contribution of cognitive semantics in identifying those processes is the discovery of the process of image schema transformation responsible for the polysemy of image schematic concepts such as over, suggested by Lakoff (1987). My purpose in this study is to show that there are meaning extensions which cannot be adequately described in terms of any of the known cognitive process and thus call for a new type of cognitive process, which I refer to as syntaphor.

Syntaphor is a cognitive process of meaning extension based on perceived analogy between two categories at the sub-basic level of categorization. The fact that syntaphor depends on perceived analogy makes it similar to metaphor. What makes it different from metaphor is that the two categories (source and target) do not represent two ontologically distinct domains and have a single more general, relatively easily identifiable sense, which motivates classifying it as a literal extension of the source (cf. Geeraerts 2012). What makes syntaphor different from image schema transformation is that it subsumes a larger number of domains. In fact, image schema transformation may be considered as a special case of syntaphor.

Moreover, it is suggested that the literal-figurative continuum (cf. Gibbs & Colston 2012) has a non-arbitrary boundary separating the literal from the figurative: the boundary lies at the basic level of categorization.

References: Geeraerts, D. (2010). Theories of Lexical Semantics. Oxford: Oxford University Press. Gibbs, R. & H.L. Colston (2012) Interpreting Figurative Meaning. Cambridge: Cambridge University Press.

Lakoff, G. (1987). Women, Fire and Dangerous Things: What Categories Reveal About the Mind. Chicago: University of Chicago Press.

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Corpus-based cognitive research of American blogosphere Olesya Chernyavska

V. I. Vernadsky Crimean Federal University

This paper describes application of corpus-based methodologies to cognitive studies of the American

English blogosphere language, more specifically the cognitive studies of the language of popular

American career blogs. The growth of blogosphere gives a unique opportunity the to study the way

people use language in their social media communication. Cognitive and corpus-based paradigms are

combined in the research. The present corpus-based study offers applying the corpus linguistics methods

for cognitive analysis of American career blogs which involves the analysis of conceptual structure of

blog posts and basic concepts of American career blogs.

The aim of the research is the investigation of the relationship between the language, cognitive and

socio-psychological experience of the bloggers.

The research is carried out within the framework of the theory of lexical concepts and cognitive

models. Automatically induced constructions from large corpora of blogs have become units for this type

of analysis. Corpus-based tools applied in the research have proved to provide considerable advantages in

comparison with the traditional linguistic research tools. Quantitative and qualitative methods of

cognitive linguistics have been applied in order to identify and explain different aspects of naturally

occurring language units extracted from such corpora. For achieving the goals of the research a corpus

including 604 texts of blog posts (about 500 words each) from popular American career blogs was built.

The language patterns that are frequently used in American career blogs texts have been determined as

well as pragmatic goals of bloggers have been described in the paper. This research highlights the value

of special communication tools used by the bloggers in order to socialize effectively with the audience.

References: Gries, S., Stefanowitsch, A. (2006). Corpora in Cognitive Linguistics. Corpus Based Approaches to Syntax and Lexis.

Trends in Linguistics: Studies and Monographs, Berlin and New York: Mouton de Gruyter. Hunston, S. (2002). Corpora in applied linguistics. England: CUP.

McEnery, T., Hardy, A. (2009) Corpus linguistics. Cambridge: Cambridge University Press Oster, U. (2010). Using corpus methodology for semantic and pragmatic analysis: what can corpora tell us about the

linguistic expression of emotions? Cognitive Linguistics, v. 21, 727-763.

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O użyteczności pojęcia narracja w kognitywnej analizie opisów doświadczenia choroby we współczesnym polskim dyskursie medycznym

Marta Chojnacka-Kuraś Uniwersytet Warszawski

We współczesnej humanistyce (m.in. w psychologii, antropologii, filozofii, literaturoznawstwie) dominującą kategorią poznawczą staje się narracja. Za pomocą tego pojęcia (specyficznie definiowanego w poszczególnych dyscyplinach naukowych) opisuje się sposoby ujmowania rozmaitych doświadczeń i zjawisk przez daną jednostkę; bada się to, jak człowiek interpretuje fenomeny świata, nadaje im zrozumiałą dla siebie strukturę i tworzy własną tożsamość. Co ciekawe, również w medycynie – tej zorientowanej humanistycznie – dostrzega się wartość perspektywy pacjenta, wyrażającej się w jego opowieści o doświadczeniu choroby (koncepcja medycyny narracyjnej R. Charon). W ostatnich latach także polscy badacze z kręgu lingwistyki kognitywnej poruszali problem narracji i narracyjności w samym języku i w niektórych koncepcjach językoznawczych (por. artykuły w tomie Narracyjność języka i kultury, red. D. Filar, D. Piekarczyk, Lublin 2013).

Wziąwszy to pod uwagę, w niniejszym referacie stawiam sobie dwa szczegółowe cele: 1. zestawienie pojęcia narracja z wybranymi terminami stosowanymi w lingwistyce, takimi jak: skrypt, scenariusz, schemat wyobrażeniowy, domena kognitywna i rama (nazywającymi struktury wiedzy w umyśle człowieka i dopuszczającymi – choć w różnym stopniu – ujęcie dynamiczne); 2. rozważenie możliwości (korzyści) stosowania pojęcia narracja w kognitywnej analizie tekstów

dotyczących doświadczenia choroby (wyrażanych z kilku perspektyw: pacjenta, lekarza specjalisty i opiekuna), należących do współczesnego polskiego dyskursu medycznego.

Dotychczasowe analizy opisów doświadczeń choroby bazują na koncepcji metafory pojęciowej G. Lakoffa i M. Johnsona (uwaga badaczy skupia się na dwóch podstawowych metaforach: CHOROBA TO WOJNA i CHOROBA TO PODRÓŻ). Rekonstruowane w różnych językach (m.in. w angielskim i szwedzkim) domeny źródłowe i docelowe tych metafor są statyczne, odtworzenie ich struktur sprowadza się do wymienienia elementów, ich uporządkowania i pokazania powiązań między domenami. Wydaje się, że ani metafora pojęciowa, ani nawet koncepcja amalgamatów kognitywnych G. Fauconniera i M. Turnera nie daje możliwości ukazania dynamiki doświadczenia utraty zdrowia i postawy człowieka wobec choroby na różnych jej etapach. Taką możliwość stwarza poszerzenie dotychczasowych ujęć tych opisów o kategorię narracji, która pozwala uchwycić takie aspekty wypowiedzi o chorobie, jak: rozwój wydarzeń w czasie, różni bohaterowie i łączące ich relacje, ich systemy wartości, cele, motywacje, możliwe komplikacje, trudności, szanse na realizacje intencji itd. Narracja akcentuje ponadto podmiotowość narratora, opowiadającego, konkretnego człowieka i w efekcie pozwala mówić o różnych narracjach (np. pacjentów wobec lekarzy specjalistów lub różnych pacjentów i różnych specjalistów między sobą), o modelach narracyjnych w obrębie współczesnego dyskursu medycznego. Bibliografia:

Bartmiński Jerzy, 2013, Narracyjny aspekt definicji kognitywnej [w:] Narracyjność języka i kultury, red. D. Filar, D. Piekarczyk, Lublin, s. 99-115.

Chojnacka-Kuraś Marta, Kiedy WALKA staje się PODRÓŻĄ. O przeobrażeniach metafor opisujących doświadczenie chorowania z uwzględnieniem typu i fazy choroby, [w:] „Prace Filologiczne” LXXIII, s. 33-48.

Filar Dorota, 2013, Narracyjne aspekty językowego obrazu świata: interpretacja marzenia we współczesnej polszczyźnie, Lublin.

Tokarski Ryszard, 2013, Semantyka, onomazjologia i narracja o świecie, [w:] Narracyjność języka i kultury, red. D. Filar,

D. Piekarczyk, Lublin 2013, s. 117-128. Trzebiński Jerzy, 2002, Narracja jako sposób rozumienia świata, Gdańsk.

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The scope of cinematic metaphor in television series: two methodological questions Monika Cichmińska

Uniwersytet Warmińsko-Mazurski

The aim of the present paper is to discuss the scope of cinematic metaphors (as discussed by Müller 2018) used in television series. Cinematic metaphors used on the small screen can be classified using different factors; for example, Forceville (2008) differentiates between multimodal metaphors with a local focus and embedded metaphors, while Fahlenbrach (2016) proposes the classification into audiovisual key metaphors and audiovisual sub-metaphors. We would like to discuss two proposals concerning possible classification of cinematic metaphors, which, we believe, could be successfully applied in the analysis of television series.

We are convinced that there is a need to distinguish between metaphors which are condense (for lack of a better term), that are realized within a long shot or a scene, which are clearly marked (Whittock 1990) and in which all or most of the cinematic tools (acting, setting, costumes, lighting, framing, camera work, sound, etc.) are used to signal the metaphor to the viewers, and between metaphors which are scattered, that is metaphors which tend to appear throughout the whole series (a season or a number of seasons), but which are not marked so clearly, and would possibly be recognized as less important for the series comprehension and interpretation, but which are, in fact, as important as other key metaphors. The discussion will be illustrated with examples of the use of the metaphors of FAMILY in two television series: House M.D and The Big Bang Theory, which will illustrate the concepts under discussion and, hopefully, will help support their validity.

The second question to be discussed concerns the influence a genre might have on classifying a given cinematic metaphor as a key metaphor for the series under discussion. It seems that most contemporary “quality” television series hardly ever represent one genre, but are usually referred to as hybrids (Stadler and McWilliam 2009). To illustrate, House M.D. is usually categorized as “a television medical drama”; if we put emphasis on “the medical”, the metaphors of FAMILY do not seem that important; however, if we focus on “the drama”, and follow Mittell’s approach that “nearly every dramatic program (…) can be considered a form of serial melodrama” (Mittell 2015: 244), the FAMILY metaphors seem crucial for understanding the complex relationships among the main characters. On the other hand, The Big Bang Theory, classified as a television sitcom (with some elements of the so-called “hang-out” film), places relationships – and metaphors of relationships - in the centre of the viewers’ attention, hence evokes no doubts as to which metaphors qualify as key metaphors for the series.

References: Fahlenbrach, K. (2016). Audiovisual Metaphors as Embodied Narratives in Moving Images. In K. Fahlenbrach (ed.),

Embodied metaphors in film, television, and video games: cognitive approaches, (pp. 33-50). New York and London:

Routledge C. Forceville (2008). Metaphor in pictures and multimodal representations. In R.W. Gibbs (Ed.), The Cambridge handbook

of metaphor and thought (pp. 462-482). Cambridge: Cambridge University Press

Mittell, J. (2015) Complex TV. The Poetics of Contemporary Television Storytelling. New York and London: New York University Press.

Müller, C., Kappelhoff. H. (2018). Introduction. In: C. Müller, H. Kappelhoff (eds), Cinematic Metaphor. Experience-Affectivity-Temporality, (pp. 1-120. De Gruyter

Stadler, J., McWilliam, K. (2009) Screen Media. Analysing Film and Television. Allen&Unwin Whittock, T. (1990). Metaphor and Film. Cambridge: Cambridge University Press.

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Cognitive automaticity in translation and beyond Mikołaj Deckert

Uniwersytet Łódzki

This paper looks into cognitive automaticity in trainee translators. I draw on dual-pro-cess theories (e.g. Evans and Stanovich 2013) where two discernible modes of thinking are posited: Type 1 which is fast and automatic, and Type 2 which is slower and more deliberative. I argue that in a subset of translation contexts involving interlingual categorial asym-metry (cf. e.g. Lakoff 1987, Lewandowska-Tomaszczyk 2010, Massey and Ehrensberger-Dow 2017) novice translators exhibit a strong tendency to make Type-1 decisions which can be detrimental to translation quality (Deckert 2017).

For example, in English-to-Polish translation, i.e. in a language pair where the source text might not code gender and the target language would conventionally require gender in-formation to be coded, the sentence (1) Professor Smith received a nomination. is much more likely to be rendered in such a way as to construe the individual as male rather than female, even though no sufficient evidence is textually provided to guide the decision toward that interpretation. I argue that cases like this exemplify robust cognitive automaticity which has to be addressed already at the translator training stage.

To that end, I detail an experimental study conducted with trainee translators at the Institute of English Studies, the University of Łódź in Poland. The study had the following main objectives. First, in Task 1, it aimed to expand earlier work on automaticity and translation by providing new empirical evidence with the use of stimuli analogous to (1) above. The second main objective was to examine the subjects’ tendency to make automatic decisions in translation (Task 1) against such a tendency with respect to non-translational stimuli (Task 2). For Task 2 I used the Cognitive Reflection Test-2 (CRT-2) – an instrument devised by Thomson and Oppenheimer (2016), expanding on the CRT proposed by Frederick (2005). The data from Task 1 and Task 2 offer us a perspective on automaticity in different domains of reason-ing and are tested for correlation of scores.

References: Deckert, M. (2017). “Asymmetry and automaticity in translation”, Translation and Interpret-ing Studies 12: 3,

469–488. Evans, J. St. B. T. and K. E. Stanovich (2013). “Dual-process theories of higher cognition: advancing the debate”,

Perspectives on Psychological Science 8: 3, 223–241. Frederick, S. (2005). “Cognitive reflection and decision making”, Journal of Economic Perspectives 19: 4, 25–42. Lakoff, G. (1987). Women, fire, and dangerous things: What categories reveal about the mind.bChicago:

University of Chicago Press. Lewandowska-Tomaszczyk, B. 2010. “Re-conceptualization and the emergence of discourse meaning as a theory

of translation”, in: B. Lewandowska-Tomaszczyk and M. Thelen (eds.), Meaning in Translation, Frankfurt am Main:

Peter Lang, 105–147. Massey, G. and M. Ehrensberger-Dow (2017). “Translating Conceptual Metaphor: The Processes of Managing

Interlingual Asymmetry”, Research in Language 15: 2, 173–189. Thomson, K. S. and D. M. Oppenheimer (2016). “Investigating an alternate form of the cognitive reflection test”,

Judgment and Decision Making 11: 1, 99–113.

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“Dumb and Dumber” - the illumination of human stupidity (?) Aneta Dłutek

Państwowa Wyższa Szkoła Zawodowa w Płocku

A human being has always been searching for answers to questions concerning the meaning of their existence perceived from various perspectives - philosophical, social, linguistic, religious. Taking into consideration the fact, that Homo sapiens is the only creature characterised with this attribute in its very name, it is no surprise that this aspect of human life is no exception within the scope of research and interpretation. However, if man looks for answers concerning their developed mental processes and abilities, they are also interested in the phenomenon of the opposite nature, i.e. stupidity defined as “behaviour that shows a lack of good sense or judgement. The quality of being stupid or unintelligent. https://en.oxforddictionaries.com/definition/stupidity

If one intends to find an illustration of the features presented above, the choice of the film “Dumb and dumber” by Peter and Bobby Farrelly seems to be fully justified. The comedy shows “the cross-country adventures of 2 good-hearted but incredibly stupid friends.” https://www.imdb.com/title/tt0109686/ The very title suggests that stupidity is to be the essence of the plot, thus it seems possible to find there some iconic features and conceptualisations of stupidity. The title also implies the first problem of the interpretation of the state of being stupid. According to the ontological metaphors suggested by Lakoff (1980, 1990), Johnson (1980), and others, MORE IS BETTER. However, could this conceptualisation be employed to read the title of the film? Is it better to be dumb or dumber? And one more question – since the heroes are stupid but good hearted, being dumber implies being a better person? The creators of this comedy used a whole range of various means highlighting the stupidity of the two men. The research question is whether these film elements follow the socially accepted framing of the concept in question (behaviour, facial expressions, kitsch, etc.). Furthermore, the language of the dialogues, when analysed independently of the action, seems to be quite normal meaning wise. This incompatibility of the picture and text evokes doubts whether the heroes understand the situation in the socially employed way. These are not the words but pictures that mostly highlight the stupidity. Moreover, dumb also means unable to speak thus this is not the voice that counts here.

The question is whether being stupid is, as the definition above suggests, the state of showing a lack of intelligence or common sense or just framing certain elements of reality in a way different from the socially accepted concepts and their interpretations.

Selected references: Gazdik, I. 2018. The Power of Stupidity in TELICOM XXX.2 – Second Quarter 2018. pp. 33- 39 Lakoff, G.,

and M. Johnson. 1980. Metaphors We Live By. Chicago: The University of Chicago Press. Lakoff, G. 1990. Women, Fire and Dangerous Things: What Categories Reveal about the Mind.bChicago-London:

The University of Chicago Press. Marina, J. A. 2010. Porażka inteligencji czyli głupota w teorii i praktyce. Wydawnictwo WAM: Kraków. Ronell, A. 2002. Stupidity. Urbana and Chicago: University of Illinois Press.

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https://en.oxforddictionaries.com/definition/stupidityhttps://en.oxforddictionaries.com/definition/stupidityhttps://www.imdb.com/title/tt0109686/

“The journey toward a calloused mind” What the blending theory can tell us about David Goggins, the toughest man alive

Anna Drogosz Uniwersytet Warmińsko-Mazurski

David Goggins is a retired US Navy SEAL, an American ultramarathon runner, ultra-distance cyclist, triathlete, a former world record holder for the most pull-ups done in 24 hours, motivational speaker, and author of the self-help memoir Can't Hurt Me released in 2018. His talks available on You Tube typically receive enthusiastic responses from the viewers, who openly say how they managed to change their lives under his influence. This paper intends to look at the impact that David Goggins has on many people from the perspective of the blending theory.

In his book, speeches and interviews, Goggins tells his life-story of transformation from a bullied and clueless person to “the toughest man on earth” with the explicit intention to help those of low self-esteem and victim mentality. He explains that in order to become tougher and successful he has created a mindset, which from the perspective of the blending theory can be interpreted as a complex integration network. This integration network includes, among others, the following input spaces: the conventional metaphor LIFE IS A JOURNEY, through which Goggins describes his life from the troubled childhood to what he is now, the elaborated personification of the mind, which on the one hand is conceptualized as an antagonist that kept him from developing his true potential, and on the other as a calloused, indestructible warrior, when his true potential becomes revealed, “the cookie jar”, which is the image metaphor describing memories of past difficult situations in which he suffered but in which he also prevailed, and “the mirror of accountability”, the material anchor, in the sense of Fauconnier and Turner (2002), for an honest conversation with himself, for self-assessment and self-motivation.

The impact that he has had on many readers and viewers, as judged by their personal comments on YouTube, can be discussed from the perspective of “the curse of knowledge”. The standard understanding of this notion coming from cognitive science is as “our tendency to project our knowledge and facility into our blended conceptions of other people” (Turner 2014: 47), which assumes the direction of projection from us to other people as a way of making sense of their behaviour or what they say. However, for the purposes of the analysis of Goggins’ impact, a reversed direction of projection must be assumed, which means that his readers/listeners project his winning mindset onto themselves and the resulting blend makes them feel and act as tougher individuals.

References: Fauconnier and Turner (2002) The way We Think. Conceptual Blending and the Mind’s Hidden Complexities. New York:

Basic Books.

Turner (2014) The Origin of Ideas. Blending, Creativity, and the Human Spark. Oxford: Oxford University Press.

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Context and cognitive principles in memorial landscape Małgorzata Fabiszak

Uniwersytet Adama Mickiewicza w Poznaniu

In terms of theoretical underpinnings, this talk draws on three sources: (1) Discourse Historical Approach to discourse analysis (Reisigl and Wodak 2001), (2) Conceptual Metaphor Theory (Johnson 1987, Lakoff and Turner 1989, Lakoff and Johnson 1999), in particular as applied to multimodal data (Forceville 2006, 2008); and (3) Multimodal Critical Discourse Analysis (van Leeuven 2005, Feng – O’Halloran 2013, Abousnnouga – Machin 2013). This combined approach allows to uncover the cognitive principles motivating the material semiotic practices of meaning making in collective memory sites through a careful analysis of contextual factors (cf. Reisigl and Wodak 2001 and Kövecses 2015), visual semiosis and image schemata, conceptual metonymy and metaphor.

The role of context and cognitive principles in the semiotic potential of the memorial landscape is discussed on the basis of three illustrative examples: The Memorial Site in Bełżec, The Memorial to the Murdered Jews of Europe in Berlin, and the 9/11 Memorial in New York City. The socio-cultural and historical context of the three cases selected for analysis differs in several respects: the physical location, the instigators of commemoration, the architects and the commemorated victims. Despite these differences, there are certain cognitive principles underlying the commemoration design that recur in all three. For example, the image schema MASS-COUNT motivates the listing of the individual names of the victims in all three sites. There are also features characteristic for only one of them, such as the reflecting water pools in the NYC memorial, which contribute to the meaning construction of the site through the metonymies WATER FOR PURIFICATION and WATER FOR HEALING.

The results of the analysis go beyond a juxtaposition of three case studies and provoke a reflection on the role of context and of cognitive principles in the memorial landscapes.

References

Abousnnounga, Gill & David Machin. 2013. The language of war monuments. London: Bloomsbury. Feng, Dezheng & Kay O’Halloran 2013. The visual representation of metaphor. A social semiotic approach. Review of Cognitive Linguistics 11(2): 320-335.

Forceville, Charles. 2006. Non-verbal and multimodal metaphor in a cognitivist framework: Agendas for research. In G.

Kristiansen, M. Achard, R. Dirven & F.J. Ruiz (Eds.), Cognitive Linguistics: Current Applications and Future Perspectives. Berlin/New York: Mouton de Gruyter. 372-402.

Forceville, Charles. 2008. Metaphor in pictures and multimodal representations. In R.W. Gibbs (Ed.), The Cambridge

handbook of metaphor and thought. Cambridge: Cambridge University Press. 462 482. Johnson, Mark. 1987. The Body in the Mind: The bodily basis of meaning, imagination, and reason. Chicago: University

of Chicago Press. Kövecses, Zoltán. 2015. Where metaphors come from. Reconsidering context in metaphor. Oxford and New York: Oxford

University Press. Lakoff, G. & M. Johnson. 1999. Philosophy in the Flesh: The embodied mind & its challenge to Western thought.

New York: Basic Books.

Reisigl, M. & R. Wodak. 2001. Discourse and discrimination: The rhetoric of racism and antisemitism. London: Routledge. van Leeuven, Theo. 2005. Introducing Social Semiotics. Abingdon: Routledge.

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Derywatywy słowotwórcze od rzeczownika empatia w tekstach współczesnej polszczyzny. Analiza semantyczna

Marta Falkowska Uniwersytet Warszawski

Celem referatu jest przegląd użyć leksemów powiązanych słowotwórczo z rzeczownikiem empatia i składających się na gniazdo słowotwórcze skupione wokół tego rzeczownika (Grzegorczykowa i in. 1999; Jadacka 1995; Jadacka, Bondkowska 2001). Zaproponowana ana-liza jest częścią większego projektu badawczego poświęconego m.in. semantyce rzeczownika empatia oraz wyrazów względem niego bliskoznacznych w tekstach współczesnej (tj. powojennej) polszczyzny. Materiał ilustracyjny zaczerpnięto przede wszystkim z korpusów współczesnej polszczyzny (NKJP oraz Monco Frazeo.pl – Pęzik 2012 oraz NFJP – Wawrzyńczyk, Wierzchoń 2017; Wierzchoń 2010) i uzupełniono o konteksty znalezione w tekstach internetowych. Pierwsze poświadczenia rzeczownika empatia w polszczyźnie pochodzą z lat 50. i 60. XX wieku, od tego czasu popularność tej jednostki oraz liczba jej użyć w tekstach niespecjalistycznych sukcesywnie wzrastają (Tabakowska 2012; Lewandowska-Tomaszczyk, Wilson 2019). Obecnie obserwujemy proces wyłaniania się gniazda słowotwórczego, którego centrum jest interesujący mnie rzeczownik, a do którego należą następujące jednostki: empata, empatyk, empatka, empatyczność, empatyczny, empatycznie, empatyzować. Grupa jednostek słowotwórczo powiązanych z rzeczownikiem empatia nie jest jeszcze z pewnością zamknięta i stabilna: skład leksykalny gniazda oraz zakres semantyczny poszczególnych jednostek kształtują się głównie pod wpływem potrzeb nominacyjnych użytkowników polszczyzny (Waszakowa 2017). Uwagę zwracają w szczególności następujące zjawiska: 1) nieostra granica znaczeniowa między rzeczownikami empatia i empatyczność, 2) współistnienie w gnieździe dwóch nazw subiektów (por. empata, empatyk), 3) niska frekwencja i nie do końca ustabilizowane wymagania składniowe niektórych jednostek (por. empatyzować). Wszystkie te kwestie są przedmiotem

szczegółowych rozważań w mojej pracy. Ogólniejsze pytanie, na które odpowiada ukierunkowana

kognitywnie analiza, dotyczy tego, jakie potrzeby komunikacyjne i poznawcze użytkowników języka

zaspokajane są dzięki pojawieniu się w polszczyźnie jednostek powiązanych słowotwórczo z rzeczownikiem empatia, tj. w jaki sposób kompleks pojęciowy dotychczas istniejący zostaje

rozbudowany i uzupełniony dzięki nowym jednostkom leksykalnym.

Źródła: Monco Frazeo.pl – http://monco.frazeo.pl/ NFJP – http://nfjp.pl

NKJP – http://nkjp.pl

Bibliografia: Grzegorczykowa, R., Laskowski, R., Wróbel, H. (red.). (1999). Gramatyka współczesnego języka polskiego.

Morfologia. Tom 2. Wyd. 3 poprawione. Warszawa: Wydawnictwo Naukowe PWN.

Jadacka H., 1995, Rzeczownik polski jako baza derywacyjna. Opis gniazdowy, Warszawa. Jadacka, H., Bondkowska, M. (2001). Słownik gniazd słowotwórczych współczesnego języka ogólnopolskiego. Tom

2: Gniazda odrzeczownikowe. Kraków: Universitas.

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http://monco.frazeo.pl/http://nfjp.pl/http://nkjp.pl/

Lewandowska-Tomaszczyk, B., Wilson, P. (2019). Compassion Cluster Expression Features in Affective Robotics

from a Cross-Cultural Perspective. In: Klempous, R., Nikodem, J., Baranyi, P.Z. (Eds.). Cognitive Infocommunications, Theory and Applications Topics in Intelligent Engineering and Information 13, Springer, 201-225. https://doi.org/10.1007/978-3-319-95996-2_10

Pęzik, P. (2012). Wyszukiwarka PELCRA dla danych NKJP. In: Przepiórkowski, A., Bańko, M., Górski, R., Lewandowska-Tomaszczyk, B. (red.). Narodowy Korpus Języka Polskiego. Warszawa: Wydawnictwo PWN.

Tabakowska, E. (2012). Empatia – w języku, w tekście, w przekładzie. In: Kardela, H., Muszyński, Z., Rajewski, M. (red.). Kognitywistyka 3. Empatia, obrazowanie i kontekst jako kategorie kognitywistyczne. Lublin: Wydawnictwo

UMCS, 153-166. Waszakowa, K. (2017). Kognitywno-komunikacyjne aspekty słowotwórstwa. Wybrane zagadnienia opisu derywacji

w języku polskim. Warszawa: Wydział Polonistyki Uniwersytetu Warszawskiego.

Wawrzyńczyk, J., Wierzchoń, P. (2017). Podstawowe informacje o „Narodowym Fotokorpusie Języka Polskiego”. Poznań: Uniwersytet im. A. Mickiewicza.

Wierzchoń, P. (2010). Lingwochronografia na usługach słowotwórstwa gniazdowego. Kwartalnik Językoznawczy, 1(2), 50-64.

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Gest negujący wyrażający wartości skrajne Sonia Gembalczyk

Uniwersytet Jagielloński

Wyrażenia przeczące (z uwzględnieniem ich werbalno-niewerbalnej istoty) miewają wiele zadziwiających realizacji w postaci m.in. polaryzacji, sprzeczności, ironii czy negatywnego potwierdzenia (Larrivée, Lee 2016). Zgodnie z podejściem skoncentrowanym na kontekście użycia, gesty (głównie rąk, ale i głowy) pełnią rolę integralnego czynnika współdziałającego ze słowami w tworzeniu znaczenia (Kendon 2004; McNeill 2005; Bavelas, Gerwing, Healing 2014). Celem referatu jest omówienie formy i kontekstów występowania jednego z osobliwych wariantów gestu uznawanego za negujący, czyli przeczenia za pomocą kręcenia głową, stosowanego przez użytkowników języka polskiego. Metoda analizy poszczególnych wypowiedzi uwzględnia ich multimodalny charakter, a zatem dotyczy szeregu różnych środków semiotycznych współtworzących znaczenie (Kress 2010). Wśród badanych kilkunastu warstw wypowiedzi (Wittenburg i in. 2006) znalazły się: płaszczyzna tekstu realizowanego werbalnie, gesty rąk, ramion, głowy, znaczące ruchy całego ciała (a zwłaszcza te, które są związane z wyznaczaniem dystansu interpersonalnego), mimika, kierunek spojrzenia, a także wybrane elementy prozodii. Materiał badawczy celowo jest niejednolity i stanowią go nagrania audiowizualne z udziałem studentów, fragmenty programów telewizyjnych oraz filmy dostępne w kanałach internetowych. Różnorodność źródeł pochodzenia próbek badawczych podyktowana jest potrzebą śledzenia wspomnianych wyżej rozmaitych kontekstów występowania gestów o podobnej formie i zbliżonym znaczeniu, a pełniących pewien zakres funkcji (Müller 2014).

Dotychczas w literaturze badawczej znanych jest co najmniej kilka nieprototypowych kontekstów użycia tego znaczącego ruchu, jakim jest przeczenie głową m.in. jako wzmocnienie dla przymiotnika w stopniu najwyższym, dla wyrażenia skrajnej aprobaty, jako nośnika implikowanej negacji niewyrażonej werbalnie czy jako wzmocnienie wyrażeń, dla których nie ma wyjątków (Kendon 2002). Referat skupia się na weryfikacji dwóch hipotez: pierwszej – o wspólnej, nadrzędnej dla kilku nietożsamych typów negowania kategorii, której naturę określa cecha skrajności (w szczegółowych realizacjach dążąca czasem do nieskończoności i niesprecyzowania) oraz drugiej – o możliwości istnienia niejednorodnego źródła cielesnego prawdopodobnie dwóch różnych gestów, których efekt wizualny przedstawia się identycznie: jako przeczenie głową.

Bibliografia: Bavelas, J., Gerwing, J. , Healing, S. (2014). Hand and Facial Gestures in Conversational Interaction [w:] The

Oxford Handbook of Language and Social Psychology, T. M. Holtgraves (red.), DOI:10.1093/oxfordhb/9780199838639.013.008 (dostęp: 10.07.2017)

Kendon A. (2002). Some uses of the headshake, Gesture 2, 2 (2002), s. 147–182. Kendon A. (2002). Gesture: Visible Action as Utterance. Cambridge: Cambridge University Press.

Kress G. (2010). Multimodality. A social semiotic approach to contemporary communication. London, New York: Routledge.

Larrivée, P., Lee, Ch. (red.) (2016). Negation and Polarity. Experimental Perspectives. Cham, Heidelberg, New

York, Dordrecht, London: Springer. McNeill D. (2005). Gesture and Thought, Chicago, London: University of Chicago Press.

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Müller C. (2014). Gesture as „deliberate expressive movement” [w:] From Gesture in Conversation to Visible

Action as Utterance. Essays in honor of Adam Kendon, M. Seyfeddinipur, M. Gullberg (red.), Amsterdam/Philadelphia: John Benjamins Publishing Company, s. 127-151.

Wittenburg, P., Brugman, H., Russel, A., Klassmann, A., Sloetjes, H. (2006). ELAN: a Professional Framework for

Multimodality Research [w:] Proceedings of LREC 2006, Fifth International Conference on Language Resources and Evaluation.

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Moving metaphorically in cartoons and print advertisements Elżbieta Górska

Uniwersytet Warszawski

Since motion constitutes our basic perceptual and motor experience it is not surprising that it underlies metaphorical thought that is expressed verbally (Lakoff 1993; Grady 1997; Rice 2004; Özaçalişkan 2005; Foolen et al. 2015) as well as in other modes of expression (Johnson and Larson 2003; Kolter et al. 2012; Szawerna 2017). Modality-independent nature of metaphor is now a well-documented area of research on multimodal communication (Forceville & Urios Aparisi 2009; Pinar Sanz 2013; Forceville 2016). In this presentation, considering a sample of cartoons and print ads, I will focus on the interaction of metonymy and metaphor in expressing motion-based metaphorical thought in multimodal discourse. The method of analysis will draw upon the dynamic approach to metaphor (Müller 2008; Kolter et al. 2012), multimodal approach to metonymy (Mittelberg &Waugh 2009; Mittelberg & Joue 2017), and conceptual theory of metaphor (Lakoff and Johnson 1980, 1999) and of metonymy (Kövecses & Radden 1998). I will aim to show that the two spatio-visual genres of cartoons and print ads, despite their static composition, can receive a highly dynamic construal by resorting to the verbal mode and/or metonymic cuing of some aspect of motion (via, e.g. the PATH FOR MOTION or the INSTRUMENT FOR MOTION metonymy) or various techniques that suggest motion, such as visual vectors, body postures, gestures (Arnheim 1974; Kress & Van Leeuwen 2006; Szawerna 2017) or pictorial runes (Forceville 2011). In more general terms, the discussion will contribute to research on thinking-for-multimodal communication.

References Arnheim, R. (1974). Art and visual perception. A psychology of the creative eye. The new version. Berkeley: University of California Press. Forceville, Ch. (2011). Pictorial runes in Tintin and the Picaros. Journal of pragmatics, 43, 875–890. Forceville, Ch.

(2016). Pictorial and multimodal metaphor. In N-M. Klug & H. Stöckl (Eds.), Handbuch Sprache im Multimodalen Kontext, (pp. 242–261). Berlin: Mouton de Gruyter.

Forceville, Ch. & Urios-Aparisi E. (Eds.) (2009). Multimodal metaphor. Berlin & New York: Mouton de Gruyter.

Foolen A., Lüdke U. M., Racine T. P. & Zlatev J. (Eds.). (2012). Moving ourselves, moving others. Motion and emotion in intersubjectivity, consciousness and language. Amsterdam: Benjamins.

Grady, J. E. (1997). Foundations of meaning: Primary metaphors and primary scenes. Unpublished Ph.D. dissertation, Univeristy of California, Berkeley.

Johnson, M.L. & Larson S. (2003). Something in the way she moves—metaphors of musical motion. Metaphor and symbol, 18(2), 63–84.

Kolter, A., Ladewig S. H., Summa M., Müller C., Koch S. C. & Fuchs T. ( 2012). Body memory and the emergence of

metaphor in movement and speech. An interdisciplinary case study. In S. C. Koch, Fuchs T., Summa M. & C. Müller (Eds.), Body memory, metaphor and movement, (pp. 201–226). Amsterdam: Benjamins.

Kress, G. & Van Leeuwen T. (2006). Reading images. The grammar of visual design. London & New York: Routledge. Kövecses, Z. and G. Radden (1998). Metonymy: Developing a cognitive linguistic view. Cognitive linguistics, 9(1), 37–77.

Lakoff, G. (1993). The contemporary theory of metaphor. In A. Ortony (Ed.), Metaphor and thought, (pp. 202–251). Cambridge: Cambridge University Press.

Lakoff, G. & Johnson M. (1980). Metaphors we live by. Chicago: University of Chicago Press.

Lakoff, G. & Johnson M. (1999). Philosophy in the flesh: The embodied mind and its challenge to western thought. New York: Basic Books.

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Özaçalişkan, Ş. (2005). Metaphor meets typology: Ways of moving metaphorically in English and Turkish. Cognitive

linguistics, 16(1), 207–256. Mittelberg, I. & Joue G. (2017). Source actions ground metaphor via metonymy: Toward a frame-based account of gestural

action in multimodal discourse. In B. Hampe (Ed.), Metaphor, embodied cognition and discourse, (pp. 119–137). Cambridge:

Cambridge University Press. Mittelberg, I. & Waugh L. R. (2009). Metonymy first, metaphor second: A cognitive-semiotic approach to multimodal

figures of thought in co-speech gesture. In Ch. Forceville & E. Urios-Aparisi (Eds.), Multimodal Metaphor, (pp. 329–356). Berlin &New York: Mouton de Gruyter.

Pinar Sanz, M. J. (Ed.) (2013). Multimodality and cognitive linguistics. Special issue of Review of cognitive linguistics 11(2). Amsterdam: Benjamins.

Rice, S. (2004). Moving for thinking: The pervasiveness of motion imagery in ideation and emotion. In B. Lewandowska-

Tomaszczyk & A. Kwiatkowska (Eds.), Imagery in Language. Festschrift in Honour of Professor Ronald W. Langacker, (pp. 343–359). Frankfurt am Mein: Peter Lang.

Szawerna, M. (2017). Metaphoricity of conventionalized diegetic images in comics. A study in multimodal cognitive linguistics. Frankfurt am Main: Peter Lang.

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Analogy and contrast in the structure of Hungarian co-verbial constructions Marcin Grygiel

Uniwersytet Rzeszowski

Co-verbial constructions consist of verbs, or their derivates, accompanied by a limited number of prefixes or particles that modify their meaning (Grygiel 2018). These modifying elements are often referred to as preverbs, verbal prefixes or co-verbs (e.g. Booij and van Kemenade 2003).

The use of an elaborate system of co-verbial constructions is the hallmark of the Hungarian language and one of the biggest challenges a learner of this language has to face (Varga 1996, Szili 2000). For example, Ladányi (2004) and Sinkovics (2006) provide numerous examples to prove that the use of novel and unusual applications of co-verbial constructions in Hungarian has accelerated in recent decades. Furthermore, Sinkovics (2006) claims that some of these new constructions have almost become fashionable among language users. According to Kiss (2017), in a longer perspective, the expansion of co-verbial constructions led to the dwindling of the Hungarian tense system and reduced it to only two grammatical tenses used today. Co-verbial constructions, however, perform not only numerous syntactic but also important from the langauge production point of view, lexical functions as well.

In this study, I will try to show that the use of co-verbial constructions is motivated by very basic cognitive mechanisms known as analogy and contrast. Co-verbial constructions often form contrastive pairs and intricate systems of semantic extensions based on similarity are developed as a result of their operation. The analysis of selected Hungarian co-verbial constructions carried out for the needs of this study reveals that the use of co-verbs is motivated by a limited number of central, prototypical, spatial meanings, and a web of interrelated metaphorical senses is derived from them. These include kinesthetic relations such as UP/DOWN, TO (TOWARDS)/FROM (AWAY), INTO/OUT OF, TOGETHER/APART, OVER/UNDER. They can also involve numerical relations, manipulation of objects, movements of body parts or the translocation of the whole body in various directions or with reference to fixed landmark. The analysis shows that by means of analogy and contrast verbal meaning is modified and extended in the build-up of co-verbial constructions. Their semantic functions can be expressed in the form of spatial co-ordinates that perform a similar role to grammatical cases in the declension of nouns.

References Geert Booij and Ans van Kemenade. 2003. Preverbs: An introduction. In Geert Booij & Jaap van Marle (eds.)

Yearbook of Morphology 2003. Dordrecht: Kluwer, 1-12. Grygiel, Marcin. 2018. Co-verbs in specialized texts. In Marcin Grygiel, Marta Rzepecka, Edyta Więcławska (eds.)

Specialist Communication in Education, Translation and Linguistics 2., Rzeszów: Wydawnictwo UR, 152