Metaphors in Advertising Discourse
metaphor in tennis reports网球赛事报道中的隐喻
DOI 10.1515/text-2012-0033 Text&Talk 2012; 32(6): 703 –726Rosario CaballeroThe role of metaphor in tennis reports and forumsAbstract: The present paper describes the role of metaphor in the commentary generated after Wimbledon’s 2008 final and articulated in two genres within tennis discourse: post-match reports and the online forums opened after them. The starting assumption is that metaphor is sensitive to the discourse context(s) where it is used, and should be approached accordingly. In this regard, genre provides a good vantage point to gain insight into how metaphors are used and, more interestingly, enriched, re-elaborated, and, presumably, entrenched within a given community through repeated use. By focusing on the role of metaphor in discussing such engaging topics as a tennis match and the players in it, the paper attempts to shed some light into the empathetic and evaluative potential of meta-phor as a discourse strategy as well as the importance of communicative interac-tion and language in the elaboration, expansion, and entrenchment of certain metaphors in discourse communities such as the one built around tennis. Keywords: metaphor; sports media genres; evaluation; metaphor expansion.Rosario Caballero: Departamento de Filología Moderna, Facultad de Letras, Universidad de Castilla-La Mancha, Avda. Camilo Jose Cela s/n, 13071 Ciudad Real, Spain.E-mail: MRosario.Caballero@uclm.es1 I ntroductionOn 7 July 2008, Rafael Nadal won his first Wimbledon title in a match that lasted nearly five hours and glued 13.1 million spectators to their TV sets in the United Kingdom alone. Like many other fans, I watched the match and re-lived it through the abundant literature on what is regarded as one of the greatest Wimbledon fi nals ever. Its quality and impact in the tennis world is suggested by reference to the match as “battle royal,” “clash of titans,” or “the changing of the guard” – all of them unmistakably metaphorical.Here I explore the role of metaphor to comment upon this match in the tennis community. Most data come from tennis reports retrieved from Wimbledon’s o fficial site, online tennis and general sports sites, and newspapers. Since reports704 Rosario Caballeroare often accompanied by a forum where readers discuss the topics dealt with by journalists, I compiled a corpus of 11 discussions after the same number of reports in the first corpus. Because metaphorical language occurs abundantly in both genres, a combined analysis was regarded as the best way to gain insights into the role of metaphor in the co-construction of a tennis match by the journalists cover-ing the event and their readers.Reports and their corresponding forums are interesting objects of inquiry both as discourse artifacts and sources of metaphorical data. Thus, although sports reports are devoted to providing a post-match commentary, fans seldom read them in order to obtain information about what happened. Rather, they read reports in order to relive the match and compare their impressions with those of the experts – a vicarious and highly emotional experience that often involves us-ing metaphors similar to those found in the journalists’ texts. The following posts from a forum on illustrate the readers’ interaction with and in the genre:(1) [Journalist’s name] some of the pieces you’ve penned about [Nadal] latelyhave left me angry and defensive. this one, on the contrary, brought tears to my eyes. you captured the occasion, you evoked the emotion, you did per-fectly right by your protagonist, and i thank you.(2) I know I promised myself I wouldn’t read the press, but I’m a glutton for pun-ishment.(3) C ertainly, I wouldn’t change the ‘Fed Reign Over’ storylines but it might callinto question the crowning of Nadal as the new king.Here tennis fans acknowledge their interaction with the report genre (1), empa-thetically react against the literature generated by the match (2), and use similar metaphorical language to the one found in reports (3).Of course, this author–reader interaction is also afforded by conventional print media, usually in the form of letters. What makes online reports and the forums after them particularly interesting is that the interaction is faster and more dynamic: the comments above were posted within the hour of publish-ing the report, which may have an impact on how metaphor is interpreted and exploited by its readers. By including forums in my analysis, then, I not only de-scribe how tennis is metaphorically construed or how such views are fed to tennis fans, but I also attempt to gain some insight into how and why certain metaphors are disseminated, re-elaborated, and, presumably, entrenched in the tennis c ommunity.Metaphor in tennis 705 The paper is organized as follows: after surveying the literature on sports metaphors, I describe the genres and methodology used to explore tennis meta-phors. This is followed by a description of the metaphors in my data and a discus-sion of how they are used by journalists and their audience.2 S port and metaphorSport has drawn the attention of scholars from disciplines such as sociology, a nthropology, and cultural studies, all of which have stressed its impact on con-temporary society and its role in promoting social values like perseverance, h onor, courage, etc. Sport is also a domain of experience highly accessible and intelligible and, hence, is often invoked in our metaphorical construal of various life spheres. For instance, scholars have described the persuasive role of sports metaphors in politicians’ dealing with such controversial issues as war (Jansen and Sabo 1994; Chilton 1996) and party and national policies (Semino and Masci 1996; Gidengil and Everitt 1998) or the cultural and ideological implications of sports metaphors in the construal of minorities and gender (Gannon 2001). In these studies popular sports like football, soccer, or boxing are seen as reflect-ing sociocultural practices, hence the array of issues articulated by them, e.g., the masculinization of certain spheres of society or the construction of social i dentities.Interestingly, studies where sport itself is metaphorized bring forth similar concerns. For instance, Mitrano (1999) describes how metaphors equating loss with death and divorce or likening a team’s owner to a prostitute reveal the emo-tional bond between people and their hockey team, and how those metaphors contribute to building their sense of empowerment and self-esteem. However, there are few studies exploring the metaphors involved in sports performance per se, and these usually focus on mass sports such as football, soccer, or basketball (Kellett 2002; Nordin 2008; Vierkant 2008) rather than tennis – still regarded as a somewhat elitist sport.Among the scant research on tennis metaphors, we find Charteris-Black (2004) and Schmidt (2004). The latter explores the metaphors in the spoken com-mentary of the Official Wimbledon Film summarizing the 2002 event, particularly tennis tournaments are routes you walk along and tennis is war in-stantiated by expressions like advance, (be)back on track, defense, or warrior.11 small capitals indicate conceptual metaphors, and their verbal instantiations are presented in italics. These appear within double quotes when belonging to the examples under discussion.706 Rosario CaballeroCharteris-Black (2004: 113–134) describes how sport is a struggle for sur-vival, instantiated by battle, fight, kill, or war, is used in newspaper reports deal-ing with soccer, rugby, cricket, and tennis. This is presented as a higher order conceptual key subsuming the generic metaphor sport is war and the more spe-cific football is war, tennis is war, etc. These metaphors are explored from a critical discourse analysis, and discussed as helping create and reinforce social systems based upon competition.Charteris-Black’s emphasis on the textual and rhetorical dimension of meta-phor reflects scholars’ growing interest in the linguistic aspects of metaphor in contrast to the strong cognitive bias adopted in cognitive metaphor theory (here-after, CMT) after the work of Lakoff and Johnson (1980). Of course, describing how a metaphor like tennis tournaments are journeys underlies the construal of such goal- and stage-oriented events is important. However, explaining how p eople actually use this metaphor in discourse interaction requires paying a ttention to how it is textually instantiated in agreement with a number of con-textual factors. Unfortunately, the situatedness of metaphor is often obscured by the formulaic notation of metaphorical mappings. This is addressed in Sec-tion 4.3 T ennis reports and forumsIn order to explore the role of metaphor in tennis discussions, I built two corpora. The first is an 80-text report corpus (88,310 words) retrieved on 7–8 July from– Wimbledon’s official site ()– online tennis sites (, , , , , )– general sports sites (, , , , /sport2/hi/tennis)– newspapers (The Times, The Guardian, The New York Times, The Telegraph, The Mirror, The Daily Mail)The forum corpus consists of 11 forum discussions (173,522 words) retrieved on 7 –10 July from , , and Tennis 606 on the BBC sports site.The report–forum combination is interesting genre- and metaphor-wise. In-deed, both genres may illustrate what discourse analysts variously call genre s ystems (Bazerman 1994), sets (Hyland 2007; Paltridge 2007), or colonies (Bhatia 2000), i.e., the set of genres that are closely related in the discourse practices of aMetaphor in tennis 707 given community. The system of genres pivoting on a tennis match comprises pre-match predictions and their corresponding forums, the live commentary (TV or radio), as-it-happens (online) narratives, post-match interviews, newspaper re-ports, and online blogs and forums. This organic view of genres is particularly evident in electronic media, where genres are often linked to the extent that their boundaries are often blurred – which suggests that what happens in one genre needs to be set against those other genres related to it.3.1 T ennis reportsReports are written by specialized journalists who assess tennis matches for an audience which, in general, does not approach the texts for the sake of informa-tion. Put differently, although reports necessarily incorporate a narrative of what happened at a particular time and location, they are an intrinsically exegetical, as opposed to factual and “objective,” and vicarious discourse practice.As to the genre’s rhetorical structure, the reports in the corpus illustrate two types. The first follows the typical format of media texts, and opens with catchy headlines and leads fulfilling an informative plus evaluative role, i.e., economi-cally blend the who, what, when,and where questions of a tennis match, and elaborates the why and how in the main text. Thus, after providing the result of a match in the headline and/or lead, a typical report usually expands this informa-tion in the first paragraphs of the main text. This is followed by a more detailed recount of the players’ performance plus a description of the atmosphere of the stadium or any other noteworthy information, and sometimes the post-match r eactions of the players. Finally, the texts close with an evaluative paragraph which usually echoes the assessment articulated in the headline and/or lead (see also Laybutt 2009). Table 1 shows a report from The Times.Reports of the second type resemble newspaper features in that they provide a longer and more personal narrative of the match at issue. These may appear in the newspapers where the shorter reports are published (usually shortly after re-ports written immediately after the match) or on sports Web sites. Although the basic information structure does not change, the texts are less constrained struc-turally: authors organize them in agreement with their personal liking and, inter-estingly, their audience’s, which makes it difficult to abstract a “stable” common textual pattern. Reports of this kind are a regular feature of tennis Web sites: for instance, offers them under a section called Racquet Reaction and in two regular columns or blogs written by specialized journalists and called Con-crete Elbow and Tennisworld, respectively.708 Rosario Caballero3.2 F orumsForums after sports reports are interactive spaces where fans respond to thej ournalists’ commentary, provide their own views on the match under review, and even post articles dealing with the same topic. In order to participate in such forums, readers fill in a dialog box inviting them to “Leave a Comment” after pro-viding a name and, sometimes, an e-mail address.Posters are a multifarious collective regarding age and gender – the number of female posters contradicting folk views of sport as a masculine affair. More-over, although posters often use a pseudonym, eventually they get to know each other, bonds are created, and there is an unmistakable feeling of “belonging” – as suggested by a greeting such as “Mornin’ Tribe!” from a well-known tennis pun-HeadlineHero emerges from shadows after epic final Opening paragraphHad there ever been a men’s final such as this, the longest in history in this cherished place? The two best players in the world went at each other hammer and tongs, spikes and staffs, and it was Nadal [. . .] who took the most precarious walk of his life, having beaten Roger Federer, thefive-times champion, 6-4, 6-4, 6-7, 6-7, 9-7 in four hours and 48 minutes of such drama, such raw emotion, in such trying circumstances, that this was heroism of a glorious kind.Comments on players (reaction after winning, players’ quotes; 4 paragraphs)Nadal became the first man since Bjorn Borg in 1980 to win [. . .] You could only feel for Federer [. . .]Narrative of match (8 paragraphs)The rain breaks seemed to come at advantageous times for the Swiss, leading 5-4 in the third set when Nadal had been within one shot of being 5-3 ahead himself [. . .]Final paragraph: Closing evaluationFederer could not resist the onslaught,succumbing in the fifteenth game when he pushed a forehand long. Nadal served for the match,missed match point No 3, but steadied and enticed a forehand error by Federer on the fourth. All hail Rafa the Remarkable.Key moments and statistics (Optional)Table 1: Report’s structureMetaphor in tennis 709 dit, and the frequent insertion of tennis-unrelated, personal comments when dis-cussing matches and players. Finally, because of their very nature and purpose, forums do not follow a pre-established rhetorical pattern. Thus, after the journal-ist’s report, the forum is open and readers post at will.4 M ethodology and dataMy view of metaphor follows the standard CMT definition of metaphor as map-ping knowledge from one domain of experience (the source) onto a different d omain (the target) which is construed in terms of the former. This conceptual mapping may be linguistically realized in various ways.In order to decide whether an expression is metaphorical or not, I consider whether it illustrates any domain incongruity in reference or attribution – both often suggested by incongruous collocation, as in a “cantering service hold” where a word typically used about horses like cantering is used to qualify a tennis game. Put differently, a given expression was considered metaphorical whenever it involved the understanding of and/or reference to any aspect of a tennis match, tournament, or player in terms belonging to an experiential domain other than tennis. This is the case of defeats described as the reign falling, matches referred to as battles, shots qualified as spitting cobras, and players described as steeple-chase stallions.The metaphorical data in the corpus were then classified according to the metaphorical source domains. For instance, terms such as battle, surrender, weapon, or soldier were tagged as instantiating the metaphor tennis is war, and king, dethrone, regime change, usurp, or new sheriff in town were tagged as draw-ing upon authority or power. A look at the latter terms, however, reveals a char-acteristic of many expressions in the corpus: although they are all informed by an authority “general” metaphor, they specify it in particular ways. Accordingly, I grouped my data in several metaphorical themes, and further decomposed these into the more specific metaphors suggested by their instantiations (e.g., players are rulers suggested by new sheriff in town or tournaments/titles are k ingdoms illustrated by a verb like dethrone).2A final issue concerns expressions that could instantiate more than one meta-phor. For instance, “The baton passes” opening one report may exemplify the authority theme (baton as a symbol of office or authority), a race metaphor2 Semino (2008) uses scenarios to refer to figurative schemas more specific than metaphorical domains, and Charteris-Black (2004) distinguishes between lower-order conceptual metaphors and higher-order conceptual keys.710 Rosario Caballero(baton as the stick passed among relay runners), or a music metaphor (baton as the wand used by orchestra conductors). Common to all three terms is the “command” meaning of those three scenarios, which means that they are fully compatible with the topic introduced, i.e., the end of Federer’s supremacy in Wimbledon at Nadal’s hands. Simply put, the metaphorical expression is suc-cessful discourse-wise regardless of the formula used to classify it. However, since researching metaphor requires classifying and formalizing data, I included it within the authority set as the remaining text elaborated upon this metaphor (e.g., the report ends with “For now, while Federer tends to his wounds, he must salute the new emperor”).4.1 M etaphorical data in reports and forumsThe corpus yielded 3,723 metaphorical instances, 2,295 from the report corpus (61.6%) and 1,428 from forum discussions (38.4%). The largest number in both illustrates motion, violence, and authority themes and their corresponding metaphors, as summarized in Table 2.The texts also abound with language that portrays matches, games, sets, and, above all, points as three-dimensional, physical things. This is recurrent in ten-nis discourse at large, and involves such conventional expressions as hold, break, save, or drop serve, as well as the more innovative grab, hand, seize, snatch, find, throw/chuck away, or steal. All of them are used to express points, games, and sets “gained” or “lost” in a match, as shown in the following:(4) F ederer, who had not dropped a set before the final, had to fight back from twosets down and saved three match points.(5) F ederer handed Nadal a third set point. This time Nadal found the first serve[. . .] to collect the opening set.(6) A fter chucking away a 3-0 lead in the second set, it looked as though [Federer]did not even want to be on Centre Court.Players themselves may also be presented as inanimate things:(7) F ederer [. . .] was stretched to five sets by Nadal.(8) A s Nadal took the second set, the Fed Express was heading to Heathrow A irportfor the last plane to Basel.Metaphor in tennis 711Themes Metaphors Total TR/TF% TR/TF motion tournaments are paths/routes/itinerariesjourney, route, road, trajectory, way,destinationwinning is progression in spaceadvance, sneak, race, sprint, progress, roll,wobble779/58934%/41.2%violence tennis is warbattle, war, gun, surrender, combat, knight,weaponstennis is struggle for survivalannihilation, dead, massacre, succumb,survivetennis is a fightgladiators, street-fighter, duel, tilt, tussle473/43720.6%/30.6%3d-things points/sets/games/matches are 3dentitiesbag, collect, drop, earn, erase, grab, hand,seize, robplayers are machines/vehiclesFed Express, warranty expire, machine, gaintraction398/10417.3%/7.3%authority/ power tennis is a struggle for dominancechanging of guard/regime, shift inpowerbase, ruleplayers are rulersnew sheriff in town, lord, sultan, dominiontournaments/titles are kingdomsreign, (de)throne, majestic, newly-crowned,king193/1118.4%/7.8%arts music, epic, poetry, actors, stage, theatre,Baryshnikov, balletic, pirouette129/18 5.6%/1.3%language answer, splutter, read, lexicon, conversation-changer41/10 1.8%/0.7%sports tennis is boxingboxers, heavyweights, puncher, thrust &parry, heavyweight, hooka match is a racemarathon, the finish line, get back on track,race, torch39/12 1.7%/0.8% Table 2: Metaphor in tennis reports (TR) and forums (TF)712 Rosario CaballeroThis reified portrayal of players falls into diverse degrees of specificity, from the “malleable,” yet vague view in (7) to the more specific mechanic image in (8) in-stantiating players are vehicles. The humorous, albeit conventional, reference to Federer as Fed Express or Fedex plays with his surname while evoking then otions of first-class, speed, and reliability characterizing both a well-known US cargo company and his game style.In turn, in tennis it is frequent to find backhands, forehands, serves, etc., qualified as vicious , timid , wicked , big , nasty, or ferocious . Such personification cases are used to qualify positively the players’ shots:Themes MetaphorsTotal TR/TF % TR/TF animals territorial, tiger on the prowl, bull, stallion, hound36/27 1.4%/1.9%religion anoint, gods, cathedral, hallowed, congregation32/15 1.3%/1%peopletournament/match is a personbrought to his knees, be X games old, genteel, hailtennis is a personcruel, stubborn, reign, celebrate the birth, embraceshots are people timid, vicious, wicked25/71.1%/0.5%nature players are forces of naturecyclone, a force of nature, hurricane match is a natural phenomenonstorm, sea-change, cyclonic, electricity 23/81%/0.6%mythology colossus, giants, Achilles, Pantheon 17/80.7%/0.6%magic magic, genie out of the bottle, spellbinding14/60.6%/0.4%miscellaneaheat: furnace of competition, summer-sweltercraftsmanship: carve out/warp point, carve gemsound: booming serve, wail/rattle points light: Fed’s tennis flickered, Nadal illuminated tennis96/764.2%/5.3%total2,295/1,428100%Table 2 (continued)(9) I just can’t comprehend why Fed doesn’t use his vicious back hand slice moreoften(10) N adal serving 2-1 bends a nasty lefty serve for an acePersonification may also involve more innovative, rhetorically charged expres-sions often concerned with Wimbledon itself:(11) W hile Nadal collapsed onto the court after winning his fourth match point,it was the House of Federer that was brought to its knees after a glorious five-year run.(12) R ather than mocking Wimbledon, as many a claymeister has done, the Span-iard embraced it.Of course, some of the metaphors in the corpus also occur in genres other than reports or forums within tennis discourse. What is interesting, however, is the particular ways in which such metaphors appear in the corpora under explora-tion, which points to the – somewhat neglected – context-boundedness of meta-phor and the weight of background information in exploring – and interpreting – it.Thus, Wimbledon is the classiest and, certainly, most traditional and code-governed Grand Slam in the ATP (Association of Tennis Professionals) calendar. This was also the first time after Borg in 1980 that a player won Roland Garros and Wimbledon in succession. Moreover, this – and the previous two – finals con-fronted two players considered to be the best on clay and grass: the five-time Wimbledon champion Federer versus the four-time Roland Garros champion Nadal. The latter’s victory not only ended Federer’s dominance on grass, but also provoked a change in the two top positions in the ATP ranking – held by these two players since 2006. Most metaphors in the corpus reflect this situation in various ways.5 C onstruing Wimbledon’s final through metaphorA cursory look at the media coverage of Wimbledon’s final shows the repeated reference to the match as a marathon and a battle and the unanimous qualifica-tion of the result as the dethroning of the king of grass. Put differently, the com-mentary on the match relies heavily on the motion, violence, and authority/ power themes.5.1 m otion metaphorsmotion motivates the largest number of metaphorical data in the corpora, from conventional tennis terms (e.g., ATP race, tournament draw) to descriptions of tournaments as if they were roads or paths along which players advance (in)to different stages (rounds) until reaching their goal (winning). This dynamic ren-dering relies upon expressions such as on course, make it as far as, stand in one’s way, progress, journey, or reach, as well as the more salient and suggestive instan-tiations shown below:(13) [Federer] showed little resemblance to the revered gentleman whose six-match journey to the final had seemed but a pleasant stroll through an English country garden.(14) S o long as Nadal is still standing, though, it’ll be a long slog for everyone else.(15) [T]he top two players in the world [. . .] made a mutual march toward history:Federer was bidding to break [Borg’s] record [. . .], while Nadal was aiming to become the first man since Borg in 1980 to sweep Roland Garros and Wim-bledon in succession.(16) T he Spaniard now is King. His quest achieved, he drops limp to the hallowedsod.Nouns like stroll, slog, march, and quest go beyond expressing the notion of win-ning as spatial progression; rather, their use is contextually relevant. Thus, c omparing Federer’s “journey” to a “pleasant stroll” in (13) alludes to his easy, “leisure” way of winning. This ease component is absent when discussing Nadal in (14), a player renowned for his stamina and relentlessness. Hence, defeating him is a “slog” rather than a pleasant walk. In turn, “made a mutual march” in (15) alludes to the implications of winning Wimbledon for both players – elaborated in the co-text. Together with stressing the purposeful and steady progress of both players’ careers, the expression evokes notions of warfare – a metaphor thor-oughly exploited in tennis commentary. Finally, although the main sense of “quest”is ‘search’ or ‘pursuit’, it also refers to knight expeditions in medieval r omances. The use of a term packed with adventure, religion, and chivalry con-notations is relevant in that it conjures up Nadal’s efforts and history on grass –including his two previous defeats to Federer in Wimbledon – while paying an oblique tribute to the noble, “knightly” status of Wimbledon.Many motion instantiations are similarly context-bound. Thus, although wins, losses, and partial match results are often reported by means of be+ p ar t icle/phrase combinations or verbs like lead, fall, or hold, these appear hand in hand with more salient language, as shown in the following examples from tennis forums:(17) A ll Roger can do is get back on the horse and come out swinging again.(18) I’m doubly happy [Rafa’s] begun to “branch out” from clay.(19) R afa didn’t pull Roger off his pedestal; he just climbed up and joined him on it.Other interesting cases involve manner of motion verbs and “way” constructions. The former appear in commentaries like “Federer cruised through his service games”, “Nadal galloped to 0-40”, “Federer then slipped to 0-40” or “all credit to Nadal for keeping his nerve despite wobbling in the 4th set”, all of which provide a vivid rendering of what happened in the final. In turn, “way” constructions u sually report on Nadal “bludgeon[ing] his way to 5-2 up”, “pummel[ling] his way toward history”, or “blast[ing]his way to a commanding 5-2 lead”, whereas F ederer is presented as “serv[ing] his way out of trouble”, “claw[ing] his way back from two sets down”, or “work[ing] his way back to contention”. These instantia-tions capture the players’ game style and their performance in the match. Thus, verbs like pummel, blast, and bludgeon befit Nadal’s muscular game and high-light his ferocity in the final. In contrast, Federer had to struggle to overcome a two-set deficit (encoded in work and claw) and often relied on his powerful serve to do so (i.e., “served his way out of trouble”). While the expressions are perfectly intelligible for tennis fans, they may not be so for people knowing noth-ing about tennis or this particular match, which stresses the contextual specific-ity of a large amount of the metaphors in the corpus – and, by the same token, any other metaphor.5.2 v iolence metaphorsDespite views of tennis as a gentlemanly sport, violence is a recurrent theme in tennis discourse: shots are often described as blistering, brutal, or devastating; matches are clashes; and winning is crushing, destroying, or thrashing the oppo-nent. This all-encompassing theme can be broken down into more concrete meta-phors in agreement with the “type” of violence involved.。
Deliberate_Metaphor_in_Political_Discourse—Based_o
Journal of Literature and Art Studies, June 2023, Vol. 13, No. 6, 410-416doi: 10.17265/2159-5836/2023.06.004Deliberate Metaphor in Political Discourse—Based on Xi Jinping’s Diplomatic DiscourseXU Hui, ZHOU JingWuhan University of Technology, Wuhan, ChinaSince Steen proposed the theory of deliberate metaphor, many scholars have studied this linguistic phenomenonfrom different perspectives. Deliberate metaphor, based on language and cognition, introduces communicationinto metaphor research and can be seen as an extension of conceptual metaphor. Deliberate metaphor isessentially a discourse strategy, which uses metaphorical expressions to make listeners consciously compare thetarget domain with the source domain and establish an online cross-domain mapping. In view of this, the authortakes Xi Jinping’s diplomatic speeches published in FMA as research corpora, and systematically analyzes howdeliberate metaphors play their persuasive and communicative functions in political discourse, and finally delvesinto whether deliberate nature in political metaphors affects people’s attitudes and beliefs, thus conducting crossfusion research on cognitive rhetoric and political discourse.Keywords: deliberate metaphor, political discourse, diplomatic discourseIntroductionAs the second-largest economy in the world, China has received unprecedented and considerable attention. In the new situation of complicated international relations, how to construct the Diplomatic Discourse System of great powers with Chinese characteristics and effectively promote the diplomatic process of great powers with Chinese characteristics is an urgent task. Therefore, the study on Chinese diplomatic discourse has increasingly become a hot issue for researchers at home and abroad. Diplomatic discourse, institutional in nature, belongs to a special kind of political discourse, which refers to the languages and speech acts adopted by diplomatic subjects to express their international strategies and foreign policies in specific situations and times (Hu & Li, 2018). However, the abstractness of political terms often makes people unable to clearly understand the essence of political discourse. Consequently, politicians tend to use metaphor as an important tool to explain complex political concepts and convey their covert political intentions, so that the audience will unconsciously accept and support their viewpoints. Deliberate Metaphor Theory (DMT) is an emerging theory in the academic field of cognitive metaphor, which holds that metaphor is “not only embodied in language and thought, but also manifested in communication” (Steen, 2011a), which has built a bridge for the country’s top leaders to express China’s diplomatic concepts appropriately and vividly. Telling China’s diplomatic storyXU Hui, postgraduate, School of Foreign Languages, Wuhan University of Technology.ZHOU Jing, Ph.D., Associate Professor, School of Foreign Languages, Wuhan University of Technology.DELIBERATE METAPHOR IN POLITICAL DISCOURSE—BASED ON XI JINPING’S DIPLOMATIC DISCOURSE 411through deliberate metaphor is helpful to spread China’s diplomatic voice and promote the “China’s Input” to solve international problems. However, the research related to deliberate metaphor still lags behind in this area. As a new theory based on conceptual metaphor theory and discourse practice, deliberate metaphor theory deserves to be a powerful tool to study diplomatic discourse.The Origin and Development of Deliberate Metaphor Theory Deliberate metaphor originated from a metaphor paradox in contemporary metaphor research: British philosopher of science Mmy Hesse put forward the conclusion that “all languages are metaphors”. The latest research has come to a different conclusion. For example, after systematically counting metaphorical words in a large-scale corpus, discourse analysts find that only 14% of the words express metaphorical meanings in specific contexts (Steen et al., 2010). This poses a serious challenge to Conceptual Metaphor Theory (CMT): If only 14% of the words people use are metaphors, are metaphors still what we live by?However, the assumption that every linguistic metaphor triggers a cross-domain mapping at conceptual level has received much criticism by scholars over the past 15 years (Bowdle & Gentner, 2005; Glucksberg 2001; Glucksberg & Haught, 2006). The fact that not every linguistic metaphor would actually be processed as a metaphor on the conceptual level was termed “the paradox of metaphor” by Steen (2008). Follow-up studies (Gentner & Bowdle, 2001; Bowdle & Gentner, 2005) suggest that some metaphors, especially conventional metaphors which are the kernel for discussion within the frame of CMT (Lakoff & Johnson, 1980), are quite often processed by categorization rather than by comparison. To resolve this paradox that language items can be processed as metaphorical on the linguistic level but may not be processed as metaphors on the conceptual level, Steen (2008, 2010, 2013, 2015, 2017) proposed a new model of metaphor that takes a third dimension into consideration to the current two-dimensional model which regards metaphor as a phenomenon of language and thought. The new communicative dimension makes it a possibility to study metaphors in discourse from a pragmatic perspective (Steen, 2008). Some metaphors are just “the way to say it” (Cameron, 2003) and do not exhibit a clear communicative function. In contrast, some metaphors are used deliberately in order to fulfill a particular kind of function in the discourse event and are termed as deliberate metaphor by Steen (2008). Deliberate metaphors are used to change the addressee’s perspective on the referent or topic by the speaker inviting the addressee to look at the target domain from the perspective of the source domain. The theory of intentional metaphor opens a new perspective for the mainstream conceptual metaphor theory, and opens a new chapter for the integration of discourse analysis with cognitive linguistics, psycholinguistics and sociolinguistics (Sun & Chen, 2017).As a new three-dimensional model of metaphor, deliberate metaphor combines conceptual, linguistic and communicative dimensions, which is a great supplement to the development history of CMT. Metaphors can be divided into deliberate metaphors and non-deliberate metaphors from the dimension of intentionality. Most conventional metaphors are non-deliberate metaphors, while novel metaphors generally belong to deliberate metaphors. Though the concept of deliberate/non-deliberate metaphor is distinguished from conscious/unconscious metaphor, novel/conventional metaphor and direct/indirect metaphor, there is evidence and explanation for their inter-relatedness.DELIBERATE METAPHOR IN POLITICAL DISCOURSE—BASED ON XI JINPING’S DIPLOMATIC DISCOURSE 412Research Methods and Data CollectionAs the communication between China and the world has become increasingly frequent, the website of Ministry of Foreign Affairs, as one of the significant channel to propagating and expressing the political positions of China, has been attached great significance. Therefore, Xi’s diplomatic speeches published on the website of Ministry of Foreign Affairs in the year of 2022 and their English versions are collected as corpora in this study. Preliminary metaphor identification is performed with the aid of corpus-processing tool Wordsmith 7.0, and deliberate metaphor identification is carried out on the basis of the Metaphor Identification Procedure Vrije Universiteit (MIPVU, Steen et al., 2010) and Deliberate Metaphor Identification Procedure (DMIP, Reijnierse et al., 2018) and some deliberate metaphor signals throughout the entire text of the speeches.In a given text, the basic procedure of the MIPVU to find linguistic metaphors can be summarized in the following steps. Firstly, the researcher examines the text on a word-by-word basis, identifying the contextual meaning of each lexical unit. Then the contextual meaning is compared to the unit’s other meanings by referring to a dictionary (The Contemporary Chinese Dictionary is used in this study). If the lexical unit has a more concrete and basic meaning, it is compared to the contextual meaning. If the contextual meaning is distinct from the basic meaning, but can be related to it by some kind of similarity, the lexical unit is marked as a metaphor related word (MRW, Steen et al., 2010). MIPVU accounts for both direct metaphors and indirect metaphors. Direct metaphors are usually used deliberately, because the lexical unit is always used in order to be compared to a more basic referent or topic in the text and thereby cross-domain mapping is activated. Such direct metaphors may exhibit in the form of a simile (A is like B), as in “Life is like a box of chocolate”. The phrase a box of chocolate in this example directly refers to the chocolate in a food shop, rather than any transferred meaning of it. That is to say, there are no two senses of a box of chocolate in the example. The basic meaning of a box of chocolate is also its contextual meaning. The specific context of this sentence indicates that we are going to compare the literal meaning of a box of chocolate to the topic life. This kind of comparison makes similes as forms of direct metaphors. However, in a sentence like “He attacked my point of view”, the meaning of the metaphorical unit attack can be understood as “to criticize” which is quite different from its basic sense “physically harm”.The basic meaning is not the intended meaning here, but can be used to understand attack in the example via comparison with its contextual sense.According to Reijnierse et al. (2018, pp. 8-9), the procedure of DMIP can be addressed in the following step: Firstly, read the entire text to get the general meaning of the text; Next, mark all the MRWs in the text using MIPVU; Thirdly, look at the first MRW; Fourthly, check whether the source domain of the MRW is part of the referential meaning of the utterance in which the MRW is used. If the answer is “yes”, mark the MRW as deliberate metaphor and explain how it is used in the discourse. If the answer is not, look at the next MRW and repeat the fourth step. To identify deliberate metaphors in a text with DMIP, the author shall analyze from a framework of three dimensions, and then focus on the communication dimension. In this stage, the author shall looking for some contextual cues signaling the presence of source-domain referent from communication dimension. In this procedure, dictionary may be used to provide some facilitation. In such a way, the author can analyze the MRWs in the source text one by one so as to identify all deliberate metaphors.DELIBERATE METAPHOR IN POLITICAL DISCOURSE—BASED ON XI JINPING’S DIPLOMATIC DISCOURSE 413Analysis of Deliberate Metaphors in Political Discourse The world today is facing unprecedented changes, with irreversible trends in political multipolarity, economic globalization, cultural diversity, and social informatization. The connections and interdependence between countries are deepening, but they also face many common challenges. President Xi Jinping upholds the firm belief in building the Community with a Shared Future for Mankind and steadfastly exports the diplomatic concept of mutual assistance, cooperation and development to countries around the world. In order to better convey China’s concept of great power diplomacy to audiences around the world, he has repeatedly used deliberate metaphors in his diplomatic speeches. This article will analyze several of the most typical cases from different source domains.Deliberate Metaphors Related to Natural EnvironmentExample (1) Human society, like the natural world, has both sunny and rainy days in its development.人类社会发展和大自然一样，有阳光灿烂的日子，也有风雪交加的时刻。
作文反对观点英文表达
作文反对观点英文表达The Art of Crafting Compelling Counterarguments: A Deep Dive Composing a persuasive essay, especially one that argues against a prevailing viewpoint, is an intricate dance. It requires not only a deep understanding of the opposing perspective but also the ability to deconstruct it with finesse and rebuild a convincing counter-narrative. This is where the expertise of a seasoned content writer comes into play. Firstly, we must delve into the heart of the opposing view. We must "walk a mile in their shoes" (To Kill a Mockingbird), understanding the rationale, the emotional drivers, and the historical context that underpin their beliefs. Only then can we identify the chinks in their armor, the logical fallacies, and the unaddressed counter-evidence. This process demands empathy and intellectual honesty, resisting the urge to caricature or belittle the opposing side. Next comes the crucial phase of constructing our counterargument. We need to build a solid foundation of facts and evidence, ensuring every claim is verifiable and sourced from reputable authorities. "A chain is only as strong as its weakest link" (Thomas Reid), so meticulous research and fact-checking are paramount. We must also anticipate potential objections and address them proactively, demonstrating that we have considered all sides of the issue. However, facts alone rarely win hearts and minds. To truly engage our audience, we need to tap into their emotions, weaving a narrative that resonates with their values and aspirations. This involves using vivid language, relatable anecdotes, and powerful metaphors to paint a compelling picture of our perspective. Remember, "the pen is mightier than the sword" (Edward Bulwer-Lytton), and the right words can ignite imagination and inspire action. Furthermore, we must be mindful of our tone. While passion is essential, arrogance and condescension are counterproductive. "You catch more flies with honey than with vinegar" (English Proverb), so a respectful and even-handed approach will garner more support than a combative one. Even when exposing flaws in the opposing argument, we shouldstrive for civility and avoid personal attacks. Finally, we must end with a powerful call to action, leaving our readers with a clear understanding of what we want them to think or do. Whether it's urging them to reconsider their stance, support a particular policy, or simply engage in further dialogue, our conclusionshould be a catalyst for change. In conclusion, crafting a compelling counterargument is a multifaceted endeavor that demands intellectual rigor, emotional intelligence, and rhetorical skill. By understanding the opposing perspective, building a strong case with evidence and empathy, and engaging our audience with powerful narratives, we can effectively challenge prevailing views and contribute to a more informed and nuanced public discourse.。
广告语篇中的隐喻功能
海伦钢琴2023年三季度现金流量报告一、现金流入结构分析2023年三季度现金流入为24,707.7万元，与2022年三季度的20,168.46万元相比有较大增长，增长22.51%。
企业通过销售商品、提供劳务所收到的现金为13,259.8万元，它是企业当期现金流入的最主要来源，约占企业当期现金流入总额的56.01%。
企业销售商品、提供劳务所产生的现金能够满足经营活动的现金支出需求，经营活动现金净增加2,369.4万元。
企业通过增加负债所取得的现金也占不小比重，占企业当期现金流入总额的38.4%。
这部分新增借款有90.53%用于偿还旧债。
二、现金流出结构分析2023年三季度现金流出为22,076.72万元，与2022年三季度的19,264.92万元相比有较大增长，增长14.60%。
最大的现金流出项目为购买商品、接受劳务支付的现金，占现金流出总额的37.23%。
三、现金流动的稳定性分析2023年三季度，营业收到的现金有较大幅度增加，企业经营活动现金流入的稳定性提高。
2023年三季度，工资性支出有所减少，企业现金流出的刚性有所下降。
2023年三季度，现金流入项目从大到小依次是：销售商品、提供劳务收到的现金；取得借款收到的现金；收到的税费返还；收到其他与经营活动有关的现金。
现金流出项目从大到小依次是：购买商品、接受劳务支付的现金；偿还债务支付的现金；支付的其他与经营活动有关的现金；支付给职工以及为职工支付的现金。
四、现金流动的协调性评价2023年三季度海伦钢琴投资活动需要资金1,631.41万元；经营活动创造资金2,369.4万元。
投资活动所需要的资金能够被企业经营活动所创造的现金净流量满足。
2023年三季度海伦钢琴筹资活动产生的现金流量净额为860.49万元。
投资活动的资金缺口是由经营活动和筹资活动共同满足的。
五、现金流量的变化2023年三季度现金及现金等价物净增加额为1,530.09万元，与2022年三季度的1,025.57万元相比有较大增长，增长49.19%。
论弗罗斯特《摘苹果之后》中的死亡隐喻
论弗罗斯特《摘苹果之后》中的死亡隐喻发布时间：2022-07-21T08:53:03.876Z 来源：《时代教育》2022年5期作者：刘沛婷[导读] 乔治·莱考夫和马克?约翰逊于《我们赖以生存的隐喻》一书中指出隐喻不仅仅是一种修辞手法，更是一种思维方式刘沛婷湖南师范大学，湖南长沙 410006摘要：乔治·莱考夫和马克?约翰逊于《我们赖以生存的隐喻》一书中指出隐喻不仅仅是一种修辞手法，更是一种思维方式，在人们的日常语言和活动中无所不在。
诗歌是高度隐喻化的体裁，本文就将以弗罗斯特的短诗——《摘苹果之后》为例，通过挖掘诗歌中的结构隐喻、方位隐喻和本体隐喻，深刻剖析弗罗斯特的死亡观建构，为该诗的解读提供新的维度，也有助于丰富该理论的应用范畴。
关键词:《摘苹果之后》；结构隐喻；方位隐喻；本体隐喻；死亡On death metaphors in Frost’s “After Apple-Picking”Peiting LiuHunan Normal University, Hunan Changsha 410006Abstract: George Lakoff and Mark Johnson put forward in their book Metaphors We Live By that metaphor is not only a figure of speech but a way of thinking, pervasive in everyday language and action. Since poetry is highly metaphorical, this thesis is to explore how Robert Lee Frost construct his insight of death through structural metaphors, orientational metaphors as well as ontological metaphors in his short poem “After Apple-Picking”, with the hope to provide a new dimension for the interpretation of the poem and to expand the application scope of the theory. Key words: “After Apple-Picking”; structural metaphors; orientational metaphors; ontological metaphors; death 1.IntroductionLakoff and Johnson in their monograph Metaphors We Live Вy, point out that metaphor not only can be understood from the figurative perspective, but is the thinking way.[1] Ungerer and Schmid hold that conceptual metaphor, as a cognitive instrument, is not just a stylistically dramatic way of expressing thoughts by means of literary language, but a way of thinking.[2] K?vecses has put that conceptual metaphor is defined as understanding one conceptual domain in terms of another conceptual domain.[3] On the basis of the cognitive approach to the understanding of conceptual metaphor, it can be divided into structural metaphor, orientational metaphor and ontological metaphor. The development of conceptual metaphor theory has brought advance to Linguistics, Anthology, Literature and so on.Robert Lee Frost commands an important place in any list of outstanding poets in the twentieth century. His poem “After Apple-picking” is written in the first person. The speaker is an orchard worker who has picked apples long and hard but is now on the verge of being overwhelmed by fatigue and the depth of the experience. On the edge of falling sleep, he remembers not only the ripe apples successfully picked but also those that fell and were considered damaged and had to be sent to the cider mill. He knows that his sleep will be troubled by the failures more than by the successes. He is not sure about the nature of the sleep he is about to drop into—whether it will be ordinary sleep, more like a hibernation, or more like death.The entire poem is a kind of extended metaphor, in which the activity of harvesting apples represents people’ life and the speaker’s falling asleep suggests human death.As a classical literary work, the study of this poem mostly focuses on its rhythm and writing devices. The analysis of multiple themes and symbols has always been the research hotspot of literature works. Li Yingxue discussed the fuzziness of the meaning of poetry from the perspective of deconstruction, and there are many scholars who explore metaphors in Frost’s other poems.[4] Few people applied it to analyze “After Apple-Picking”. Therefore, this paper is to discuss how Frost structures his thoughts on death metaphorically by describing a laborer’s picking apples. The first three chapters of this thesis illustrate Frost’s views of death through the construction of structural metaphors, orientational metaphors and ontological metaphors in “After Apple-Picking” respectively. At last it is followed by a logical conclusion of this thesis.2.Structural MetaphorsIn structural metaphor, one greatly structured and explicitly delineated concept is applied to structure another. As Lakoff and Johnson point out that one domain of conceptual metaphor is metaphorically structured in light of another. Structural metaphor allows its source domain to offer a comparatively rich knowledge structure for the target domain, that is to say, the cognitive function of structural metaphor is to enable audiences to understand the target domain by the structure of the source domain. The poem “After Apple-Picking” include two key conceptual metaphors: DEATH IS SLEEP and PEOPLE ARE PLANTS.2.1 DEATH IS SLEEPFrost chooses a laborer who is overtired with apple-picking and falls asleep to reflect his insight of death. Hence the poem can be understood as a mapping from a source domain (sleep) to a target domain (death). The mapping is tightly structured. There are ontological correspondences. The dead correspond to those who have a sound sleep. The retrospection before death corresponds to the unconscious state near sleep. The darkness corresponds to the night. The cease of life corresponds to the stillness and motionlessness of sleep. As Lakoff puts it, “people use a concrete source domain to describe an abstract target domain.”[5] Death is an abstract concept, which can be understood vividly through the concept of sleep. The word “sleep”has been repeated five times. “Winter sleep” suggests the emotion of being decayed, forlorn and silent triggered by death because winter, in the metaphoric meanings, has strong associations with death.[6] Another euphemistic expression of death is “long sleep”, which is indicative of its permanence. “Human sleep” is the most evident reflection of conceptualization of death as sleep, showing that human death is what Frost has discussed. In the light of sleep, Frost’s “After Apple-Picking” is no longer a lyrical poem of a worker’s experience on the orchard farm and fatigue aftera day’s labor, but a profound thought on life and death through an extended conceptual metaphor of death as sleep.2.2 PEOPLE ARE PLANTSBoth man and tree are living beings that go through birth and wither, and the achievements of man are kin to the fruits of plants. “Apples I didn’t pick upon some bough” correspond to those unfilled dreams while apples that “struck the earth/ No matter if not bruised or spilled with stubble”correspond to people’s failed pursuits. The scent of apples refers to delight and satisfaction brought by success. In Frost’s poem, the act of apple-picking is a metaphor for the fruits the speaker has achieved in life.[7] It is universally acknowledged that success is what people desire and is something enjoyable. However, the speaker is overtired of the great harvest and wished to rest, which illustrates that the speaker has been bored with worldly sense of accomplishment and hopes to simple have a dream and a “long sleep”. Due to the sweet smell of the apple, the narrator actually falls asleep after fatigue and he enters into “long sleep”(death) with a sense of emptiness resulted from the excessive fruits he has gathered. The speaker’s experience reveals the poet’s meditation on life that it is futile people achieve a great deal of success but eventually own nothing after death. Therefore, the poet don’t ponder on human sleep for no reason but he penetrates the meaninglessness of long tough life struggles.The two root metaphors are carefully chosen to reflect Frost’s philosophy on death. This also confirms the cognitive value of metaphor, that is, vehicles(such as sleep) are usually well known to readers, and their features and structures will be mapped to relatively unfamiliar things when they interact with tenor (such as death) to help readers understand the characteristics and structures of ontology. The characteristics of sleep are mapped to the characteristics of death. Frost’ poem “After Apple-Picking” is not only a pastoral work of rural world in orchard farm but also a thought-provoking poem on death. The end of labor leaves the speaker with a sense of completion and fulfillment yet finds him blocked from success by winter’s approach and physical weariness. The futility that what people achieved as a result resembles fallen apples of no worth leads to fatigue and wish to seek relief in sleep, that is death. Therefore, this seemingly idyllic poem is in fact the ultimate exploration of human destiny through the metaphors of death as sleep and people as plants.3.Orientational MetaphorsOrientational metaphors do not structure one concept in terms of another but instead organize a whole system of concepts with respect to one another.[1] Most of them have to do with spatial orientation: up-down, in-out, front-back, on-off, deep-shallow, central-peripheral. These spatial orientations arise from the fact that we have bodies of the sort we have and that they function as they do in our physical environment. As Lakoff points out that CONSCIOUS IS UP; UNCONSCIOUS IS DOWN. HEALTH SND LIFE ARE UP; SICKNESS AND DEATH ARE DOWN. This poem employs spatial antagonism to construct death metaphor. “The Apple-Picking” involves a development from consciousness to unconsciousness. At the very beginning, the farmer is sober enough on the long two-pointed ladder sticking toward heaven. The spacial position is rather high. After the speaker has been done with apple-picking, rest is badly needed after the arduous labour. He is drowsed off and no longer in his conscious state. Frost adopts simple past tense from line8 to line17, serving as a beginning of the speaker’s dream. In the half unconsciousness of the farmer, the autumn evening bursting with the aroma of the apples has for a moment changed into a winter morning with hoary glass. In farmer’s dream, things “melted”, “fall and break”, which suggests a downward trend. Finally both woodchuck and the farmer fall asleep on the ground. The perspective of the whole poem shifts from heaven to earth, that is from top to bottom, revealing the opposition of space. A pane of glass divides the world into two parts: reality and dream. The transition from reality to dream is the manifestation of change of the speaker’s consciousness. The higher position represents reality and consciousness while the lower dream and unconsciousnessWhat’s more, the positional contrast reveals the opposition of life and death. In the first line of “After Apple-Picking”, the ladder occupies a central position in the whole picture of the poem, acting as a bridge between heaven and earth, life and death. The imagery of heaven and apples evokes the garden of Eden. The act of ascending the ladder symbolized a re-approach to heaven and eternal life while the movement down the ladder symbolizes the descent from heaven to earth, also from life to death[4]. According to Bible, picking apples is considered as corruption and degradation. As baskets of apples fall down and are spiked, they become worthless. This is true of human beings. After the farmer has finished apple-picking, fatigue and emptiness has wrapped him. His vigorous life reaches a pause, which actually means the farmer’s death. Most of fundamental concepts are organized in terms of one or more spatialization metaphors. In Frost’s “After Apple-Picking”, the poet shows the transition from consciousness to unconsciousness as well as from life to death in virtue of the binary opposition of space. The physical basis of such division is that humans sleep and die lying down and stand up when they are awaken. Therefore, the antagonism of life and death is constructed through the opposition of up and down positions, which contributes to the further construction of the root metaphors.4.Ontological MetaphorsOntological metaphor helps us understand those abstract entities through conceptualizing them as these entities and substances which are related to human’s experience. As Lakoff and Johnson point out: “our experience of physical objects and substances provides a further basis for understanding.” Ontological metaphor could be classified into three types, which are entity and substance metaphor, container metaphor and personification.Firstly, an invisible abstract concept, in entity and substance metaphor, is considered as a visible concrete object. Human being expresses abstract concepts as these entities and substances which are related to human’s experience. Death is an abstract concept, which can be understood thanks to another common concept—sleep. The dark and bleak state of death is implied by night in winter. The poet also tries to clarify the hibernation of hamsters and the long sleep of human beings: one is short seasonal rest and the other is an eternal stop of motion. In this way, the characteristics of death are no longer vague. The first root metaphor of death as sleep receives deeper and more detailed illustrations. Similarly, human achievements becomes a measurable entity like apples in “ After Apple-Picking”. Through these well-known common things, the original abstract concept can be elucidated. The essence of metaphor lies in the comparison between two entities.Secondly, container metaphor is a kind of ontological metaphor in which an invisible abstract concept is regarded as a container which has a surface owning scope and range with an in-out orientation. In Frost’s poem, the farmer’s dream and sleep is a container, where he can see “magnified apples”, feel “the pressure of ladder-round”. The farmer’s falling into dreams shows the motion from one space to another space. The state of farmer can be classified into “in sleep” and “out of sleep”, which symbolize death and life respectively.Lastly, personification specifies the physical object as being a man, which can make people to comprehend these different physical objects in light of human characteristics, motivations and activities. In Frost’s poem, apple “struck the earth” and long sleep can “come on” are all personification. They are extensions of ontological metaphors and that they allow us to make sense of phenomena in the world on the basis of our own goals. It is carefully chosen to endow this poem a dynamic effect so that the theme of this poem can be effectively conveyed. All in all, the understanding of a poetic metaphor is a cognitive process.[8] Ontological metaphor makes us understand abstract concepts by use of concrete concepts. The poet uses sleep to explain death, making the abstract concept simplified and concrete. In the poem, the dream not only reflects the structural metaphor, but also reflects the container metaphor. It forms a contrast between “in dream” and “out of dream” so as to further strengthen the difference between life and death. Apple has bruises, and Death actively does come in. These anthropomorphic expressions embody the metaphorical nature of language and the symbolic nature of death. As a result, metaphor of death in this poem has been justified.5.ConclusionThe exploration of the relationship between Frost’s view of death and Lakoff’s cognitive metaphors will undoubtedly help readers to guard against deceptive surface meanings when interpreting and appreciating Frost’s poems, and to explore the profound life philosophy reflected in his poems through metaphorical thinking and active participation.Through dividing metaphors in Frost’s “After Apple-Picking” according to Lakoff’s classification, the way of constructing poem’s theme is evidently revealed. At the first glance, it seems to be a lyrical poem, but it actually a poem of death after further analysis. Frost implicitly depicts life actions as apple picking activities, apples are symbols of human achievements, and death is similar to long sleep, which are structural metaphors, through which the characteristics of abstract concept death can be easily understood. Moreover, the orientational metaphors constitute to the body of this poem. The up-down spatial position divides the farmer’s state into consciousness and unconsciousness, also a reflection of human’s state of life and death. The contrast between in-out categories reflects the whole poem’s structure: it shifts from reality to dream. Since the farmer’s dream is explained as a container, the state of dreaming metaphorically stands for death. Therefore the whole poem is based on structural metaphors of death is sleep and people are plants, which are illustrated with orientational metaphors and ontological metaphors.However, the thesis still has some limitations due to the author’s slim analysis. It can be better with more logical illustrations and evidences. But it is no doubt that the thesis provides a new perspective of discussing Frost’s poem. It expands the application scope of Lakoff’s conceptual metaphor and enriches its practice, and produces referential meaning to literature appreciation. References[1]Lakoff, G & M. Johnson. Metaphors We Live By[M]. Chicago: The University of Chicago Press.1980.[2]Ungerer, F & H. J. Schmid. An Introduction to Cognitive Linguistics.[M]. Beijing: Foreign Language Teaching and Research Press. 2008.[3]K?vecses, Z. Metaphor: A practical introduction[M]. New York: Oxford University Press.2002.[4]李应雪. 一个解构批评的范本——析罗伯特·弗洛斯特诗歌《摘苹果之后》意义的模糊性[J]. 宁夏大学学报(人文社会科学版), 2007(04): 78-81.[5]Lakoff, G. The Invariance Hypothesis: is abstract reason based on image-schemas?[J]. Cognitive Linguistics, 1990(01): 39-47.[6]Huo, Lirong. Comments on “After Apple-Picking”[J]. Overseas English, 2012(01): 196-197.[7]赵志宇. 罗伯特·弗洛斯特的《摘罢苹果》[J]. 文学语言学研究, 2007(02):70-71.[8]胡壮麟. 诗性隐喻[J]. 山东外语教学, 2001(03): 3-8.。
如何抢夺话语权英语作文
如何抢夺话语权英语作文Title: Seizing the Narrative: Strategies for Claiming Discourse Power。
In the ever-evolving landscape of communication, possessing the ability to control discourse is paramount. Whether in personal interactions, public debates, or broader societal narratives, the power to shape conversations can wield significant influence. This essay explores various strategies for seizing discourse power, highlighting the importance of language, perception, and assertiveness.One fundamental approach to claiming discourse power is mastering language. Language is the primary tool through which ideas are conveyed and narratives constructed. A thorough command of vocabulary, syntax, and rhetoric enables individuals to articulate their thoughts persuasively and assertively. By expressing ideas clearly and eloquently, one can captivate audiences and steerdiscussions in desired directions.Moreover, understanding the nuances of language allows individuals to employ persuasive techniques effectively. This includes employing rhetorical devices such as analogies, metaphors, and anecdotes to appeal to emotions and sway opinions. Additionally, being adept at framing arguments allows individuals to control the narrative by presenting information in a manner that aligns with their perspectives. By framing issues in favorable contexts, one can influence how they are perceived and interpreted by others, thereby seizing discourse power.Another crucial aspect of claiming discourse power is perception management. How one is perceived by others greatly impacts their ability to influence conversations. Building credibility, authority, and trustworthiness enhances one's persuasive abilities and strengthens their position in discussions. This can be achieved through consistent demonstration of expertise, integrity, and empathy. Moreover, cultivating a positive personal brand through effective communication and engagement can enhanceone's influence and credibility, thereby increasing their discourse power.Furthermore, assertiveness plays a vital role in seizing discourse power. Assertive communication involves expressing oneself confidently and respectfully, while also actively asserting one's rights and boundaries. By confidently asserting their viewpoints and challenging opposing narratives, individuals can assert their presence in discussions and shape outcomes in their favor. However, it is essential to strike a balance between assertiveness and receptiveness, being open to alternative perspectives and constructive feedback while also standing firm in one's convictions.In addition to individual strategies, collective action can also be employed to claim discourse power. Collaborating with like-minded individuals or groups amplifies voices and increases collective influence. By forming alliances, organizing advocacy campaigns, and mobilizing support, individuals can challenge dominant narratives and push for change. Through solidarity andcollective action, marginalized voices can be elevated, and alternative perspectives can gain traction, thereby reshaping discourse and promoting inclusivity.In conclusion, seizing discourse power requires a multifaceted approach encompassing linguistic proficiency, perception management, assertiveness, and collective action. By mastering language, managing perceptions, asserting oneself confidently, and collaborating with others, individuals can effectively claim control overconversations and shape narratives according to their visions. In doing so, they not only assert their influence but also contribute to the diversity and richness of discourse in society.。
关于广告的英语作文
Advertising plays a pivotal role in modern society,shaping consumer behavior, promoting products,and influencing public opinion.Here are some key points to consider when writing an essay about advertising in English:1.Definition of Advertising:Start by defining what advertising is.It is a form of communication intended to persuade an audience to take some action with respect to products,ideas,or services.2.History of Advertising:Briefly touch upon the history of advertising,from the early days of print ads to the digital age,highlighting the evolution of advertising techniques and media.3.Types of Advertising:Discuss the various types of advertising such as print,television, radio,outdoor,and digital.Explain how each type serves different purposes and reaches different audiences.4.Target Audience:Explain the importance of identifying the target audience in advertising.Discuss how advertisers use demographic,psychographic,and behavioral data to tailor their messages to specific consumer groups.5.Advertising Strategies:Describe common advertising strategies such as brand awareness,product promotion,and direct response.Provide examples of successful campaigns that have used these strategies effectively.6.Ethical Considerations:Address the ethical implications of advertising,including issues like false advertising,manipulation,and the impact on children and vulnerable populations.7.Impact on Society:Discuss the social impact of advertising,including its influence on consumer culture,materialism,and societal values.8.Regulation and Control:Talk about the regulatory bodies that oversee advertising practices,such as the Federal Trade Commission FTC in the United States,and the role they play in ensuring truthful and fair advertising.9.Technological Advancements:Explore how technology has transformed the advertising landscape,with the rise of social media,programmatic advertising,and personalized marketing.10.Future of Advertising:Conclude by speculating on the future of advertising,considering trends such as artificial intelligence,augmented reality,and the potential for more personalized and interactive advertising experiences.11.Personal Reflection:Include a personal reflection on how advertising affects you as a consumer,whether it influences your purchasing decisions or shapes your perceptions of certain brands.12.Conclusion:Summarize the main points of your essay,reiterating the significance of advertising in contemporary society and the need for responsible and ethical practices in the industry.Remember to use clear,concise language and provide specific examples to support your arguments.Additionally,ensure that your essay is wellstructured,with a clear introduction,body,and conclusion.。
The Study of Metaphor in Advertisement 隐喻与广告研究教学内容
T h e S t u d y o f M e t a p h o r i n A d v e r t i s e m e n t 隐喻与广告研究The Study of Metaphor in AdvertisementAbstract：As a language phenomenon and a cognitive behavior，metaphor is widely used in the advertisements for its unique rhetorical function and expressive effects. It not only makes the advertisements concise and vivid but novel and instructive. The metaphor in advertisement can also arouse the audience’s imagination, and make the advertisements more appealing and persuasive. Based on an analysis of metaphor examples from both Chinese and foreign advertisements，this paper holds that metaphor is the necessity of cognitive tool for human beings. Value metaphors，moral metaphors，comparison metaphors as well as the metaphor cognition are also introduced. The paper finally points out that due to linguistic，social and cultural differences，there are subtle distinctions in explaining metaphorical concept.Key words：metaphor；cognition；advertisementNowadays, concerning with advertisement, different people have different opinions. For most of the people, the distinct feature of advertisement is that advertisement is a combination of content and style. That is to say, a good advertisement not only has attraction in content, but also has charm in style. Obviously, the determinative factor of a good or a bad advertisement is whether the use of metaphor is appropriate or not. It can be found that the use of metaphor plays a very important role in advertisement. Without the use of metaphor, absolutely, there is no good advertisement. Therefore, it is necessary to make an analysis and study on this subject.1. IntroductionIntroduction of AdvertisementsAdvertisements have already become a crucial part of our daily life. We are exposed to advertisements whenever we turn on the TV, read newspapers ormagazines, walk on the street or surf on the internet. We are living in a world of advertisements and have been deeply influenced by them. Its popularity has aroused a great amount of interest studying a language of advertisements in different disciplines such as anthropology, sociology, linguistics, literary criticism, and medium studies. Metaphor as one of the important features advertising language has also been studied by many linguists and language learners.1.2 Introduction of metaphorMetaphor has traditionally been considered as rhetorical device and characteristic of language until Lakoff and Johnson put forward the conceptual metaphor theory which contends that metaphors are cognitive mechanisms, whereby one experiential domain is partial mapped onto a different domain. The domain that is mapped is called the source domain, and the domain onto which it is mapped is called the target domain. Lakoff and Johnson claim in their influential book metaphors we live by that “metaphor is primarily a matter of thought and action, and only derivatively a matter of language.” The cognitive treatment of metaphor by Lakoff and Johnson in metaphors we live by is ready a milestone in the study of m etaphor.1.3 The study of metaphorThe study of metaphor pragmatics has already been flourishing in the past decades. Many scholars have attempted to study metaphor in relation to Grice’s Cooperative Principle and Austin’s Speech Act Theory. A more elaborated pragmatic approach to metaphor is found in Searl who was put forward a set of principles to ensure success in communication in the case of metaphorical utterance. In 1986, since Sperber and Wilson first outlined their relevance theory with an attempt to study human communication from the perspective of human cognitive. This theory has been applied to the study of various kinds of communication including the study of metaphor in advertisements.Both Lakoff and Jonson’s approach and Sperber and Wilson’s approach have attached much importance to the study of metaphor in advertisements in recent years. Metaphor occurs first of all on the level of cognition; it is a mapping from a certain source domain onto a target domain, but it cannot be thoroughly understood withoutcontextual environment. Metaphors are context-dependent communicative devices that are used in concrete social-political contexts. However, previous studies were mainly focused on one aspect of them; few studies have been conducted from a cognitive-pragmatic perspective. The author of his thesis attempts to combine the two approaches and tentatively suggests a cognitive-pragmatic a[approach to the study of metaphor on the basis of Lakoff and Johson’s conceptual metaphor theory and Sperber and Wilson’s relevance th eory. It is the author’s hope that the research will provide a more comprehensive and efficient method for studying and understanding metaphor in English advertisements.2. Ontological metaphors in English advertisements.2.1 Applications of ontological metaphors in advertisement.Metaphors play an important role in the language of advertisements. They are considered by many to be the most important and the most efficient device in advertisements. There are several reasons for the advertisements to employ metaphor in advertisements：First, metaphor can makes the advertisements become more interesting and then can attract the people’s attention. Second, by producing metaphorical utterance, the consumers is made to see resemblances between the promoted product or service and the object or properly featured in the metaphor and thus can make the advertisement more powerful. Third, by applying metaphor in advertisement, the advertiser can avoid taking responsibility for certain implicatures arising from the advertisements. Forth, metaphors are economical ways of expressing complex thoughts, for advertisers have only limited amount of space of in print advertising or time in TV commercials because of their expenses, while metaphor is a condensed way of expressing a range of indeterminate implicaures. Therefore, the appropriate application of metaphors in advertisements is an attractive and persuasive way of promoting the sale of products.2.2 Ontological metaphorsOntological metaphors, as one kind of metaphors according to the classification of Lakoff and Johnson, reveal that we understand many abstract experiences in termsof viewing intangible concepts as entities. Identifying these abstract an indefinable non-entitles as substances or entities makes it possible to “refer to them, categorize them, group them, and quantify them and, by this means, reason about them”, and cognitively manipulate them.Since advertisements are usually used to promote the sale of new products or services that are unfamiliar to customers, advertisers need to describe the special qualities and merits of their products or distinctive services. And these descriptions usually contain abstract concepts. In order to refer to, quantify or identify aspects of these abstract experiences, it is essential for advertisers to employ ontological metaphors in advertisements.2.3 Advertisements as Ostensive-inferential CommunicationThe two intentions of ostensive-inferential communicationSp erber and Wilson’s relevance theory was developed on the basis of the analysis of ostensive-inferential communication. According to them, ostensive- inferential communication contains two intentions: informative intention and communicative intention. The informative intention refers to the intention to make manifest or more manifest to the audience a set of assumptions, while the communicative intention refers to the intention to make it mutually manifest to the audience and communicator that the communicator has this informative intention. They claim that their theory applies to human communication in general. And it should follow then that in principle it works for advertising as well since advertising is a form of communication. As advertisement aim to persuade the audience to buy the product or services advertised by communicator or to adopt the ideas advocated by the advertisement, they are certainly communications between the advertiser and the potential consumer, although they different from oral, linguistic communication between two persons in a face-to-face situation.3. Conclusion3.1 To use metaphor in advertisements.English advertisements can encourage competition, guide consumption, promote sales, and transmit information. Metaphor can make language vivid and humorous. Simile, metaphor, pun, personification, parallelism, rhyme are the most frequently used metaphoric devices in English advertisements, which can achieve desired effects of English advertisements. For the use of metaphor in English advertisements, English advertisement composers can use the simplest language to express the most complex meaning, which makes the metaphor fully express its charm.From the analysis and study above, it can be found that the use of metaphoric devices contributes a lot to successful advertisements. Metaphoric devices are the determinative factors in English advertisement. For this reason, advertisers often make use of metaphoric devices to increase the readability and attraction of advertisements and to arouse consumers’ interest of buying products.3.2 The importance to use metaphor in advertisements.Generally speaking, by analyzing and studying the use of metaphor in advertisement, more wonderful advertisements can be appreciated and the quintessence of metaphor can be grasped. Undoubtedly, the use of metaphor in advertisement gives an advertisement another new birth, makes the advertisement lively and impresses the customers greatly.References:[1] FengCuihua, English Rhetoric Daquan. [M].Shanghai: Foreign Language Teaching and Research Press, 1995[2] LiuXiuyu, New Ad Writing Plain English Guide. [M].Beijing: Knowledge Press, 2002[3] SunXiaoli, Examples of English and advertising. [M].Beijing: China Radio and Television Press, 1995。
Olfactory and olfactory-mixed metaphors in perfume ads
.ቤተ መጻሕፍቲ ባይዱ
Introduction
The study of metaphor received a boost with the rise of cognitivism. Its basic claim is that metaphor is not primarily a linguistic matter (embellishment or comparison), but a rather conceptual one (a cognitive process). A metaphor is a view of two disjoint domains of experience perceived as similar ones (Seitz, 1997, 1998a, 1998b, 2002). Hence one ‘target’ domain uses descriptive resources from another ‘source’ domain (Lakoff and Johnson, 1980). Such a view can be manifested linguistically (i.e. in ordinary language) and/or non-linguistically (i.e. painting, photography, films, dance, etc.) (cf. Seitz, 1998a, b, 2002). Consequently, cognitivists differentiate between ‘metaphor’ and ‘metaphorical expression’ (be it verbal or nonverbal), an argument championed by Lakoff and colleagues (Lakoff, 1987; Johnson, 1987). It rests on the open-ended and systematic way in which mundane,
Metaphors in English advertising
Introduction:In English, the word "advertising" derives from the Latin word "advertere"(Barnhart,Steinmetz, 1995:16), which refers to one kind of means that can arouse the mass to pay attention to something in some particular aspects, that is "to inform somebody of something", "to bring into notice" or "to draw attention to something". Advertisers often put some rhetorical forms into their works, so that they can achieve a certain aesthetic effects and add persuasiveness in the final products. Metaphor, as a common rhetorical devices, can be used to show subtle differences between two things, making different matters more vividly in its nature and feature.( Shu,2001). Given this, metaphor has become a basic communication mode of advertising.(Kline&Jhally,1986).Metaphor as one of important features in advertising has also been elaborated, but mostly in a way being considered traditionally as figure of speech, an ornamental device used in rhetorical style and thus confined in the research of rhetoric, literature and stylistics. But this traditional view is challenged by the interaction theory in 1936, which claims that through the interaction between minds and concepts, our concepts came into being . Although this theory recognized the cognitive value of metaphor, it is less influential and powerful than the systematic and coherent views that metaphor is not a mere linguistic device used only for linguistic embellishment ,but a fundamental way of thinking and acting developed by Lakoff and Johnson in 1980. Right through metaphor do advertiser promote their products.The current study is mainly based on this conceptual metaphor theory proposed by Lakoff&Johnson(1980) to interpret how conceptual metaphors are used in English advertisements and what effects conceptual metaphors have on English advertisements .The definition of conceptual metaphor theoryAccording to Lakoff and Johnson，metaphor is pervasive in our daily life, not only in language, but also in thought and action. In other words, metaphor plays a basic role in the way we think and perceive the world.Conceptual metaphors are systematic mapping across conceptual domains (Lakoff, 1993:245): one domain of experience, the source domain, is mapped onto another domain of experience, the target domain. In this way, we understand or experience one thing in terms of the other.What makes this theory distinguished from the traditional metaphor theories is its contribution in the distinction of conceptual metaphor and metaphor expressions. As we mentioned that traditional views held that all metaphors are in the form of A is B , there is no difference in conceptual metaphor and metaphor expression. Actually, the differences do exist. .Lakoff provided many examples of conceptual in his book, such as ARGUMENT IS WAR, TIME IS MONEY. HAPPINESS IS UP etc. The most metaphoric expressions are used to realize conceptual metaphors. Take ARGUMENT IS W AR as example, we have expression of Y our claims are indefensible. He attacked every point in my arguments. I've never won any arguments with him.In brief, conceptual metaphors exist in our conceptual system ,which makes it possible for us to use their corresponding metaphoric expressions to experience and perceive the world.The working mechanism of conceptual metaphorIn Lakoff's cross-mapping model, metaphor is seen as mapping from source domain to target domain.(1)Source domain and target domainIn order to have a good understanding of conceptual metaphor, two basic terms:source domain and target domain should be explained and clarified. According to Langacker, who proposes the theory of domain and provides detailed treatment of it, all linguistic units are context-dependent to some extent, and a context for the characterization of a semantic unit is referred to as a domain. Lakoff defines the term in his first book Metaphors We Live By as a cluster of various background knowledge based on human experience related to the concept. In other words, concepts depend on human experience in reality and it involves some background information.Domain can be further classified as source and target domain. The source domain is the domain from which we draw metaphorical expressions to understand another concept,while the target domain is the conceptual domain that is described and understood. Usually the target domain is abstract and unfamiliar while the source domain is specific and quite familiar. As in the metaphor LIFE IS A STAGE, we use the concept of stage to understand or experience the concept of life, and therefore life is the target domain, while stage is the source domain.(2)Experience basisThere are two versions of "basic realism", one is experientialism and the other is objectivism. According to Lakoff, the sole difference between them is that objectivism defines meaning independently of the nature of and experience of thinking beings，while experientialism characterizes meaning in terms of embodiment.Lakoff criticizes objectivism and argues that human cognition is fundamentally embodied and our world is understood not because it is something objectively given, but it is constructed by our embodied cognition. We understand things based on our experience coming from our body or from the interaction with our physical and social surroundings. Some of the experience is direct, while some indirect, all of which contribute to our understanding of the world. Thus, we can say experience play a crucial role in our way of conceptulization of the world .Experience constructs our conceptual system metaphorically. Most often, we tend to use concrete or simple concepts to understand abstract ones by mapping the properties of one domain onto the other. Some concepts have close relationship with our life and we keep on using it as the source domain. We practice this kind of mapping so frequently that it has become one of our inner mechanisms of thinking and can be activated unconsciously. Once a conceptual metaphor becomes established it will impose its structure on real life through creating new correspondences in experience and will thus be realized (Lakoff,1993).In advertisements, conceptual metaphors grounded in our bodily experience impose their structure in the consumer's real life and make new correlations with the products on advertisements.(3) Cross-domain mappingOne of the most important beliefs in conceptual metaphor theory is that metaphor a mapping from the source domain to target domain. The case for metaphorical mapping has been made by Reddy (1979), Lakoff&Johnson (1980), Lakoff&Turner (1989)，Fauconnier (2001)and the like. Fauconnier (1997: 1)points out "mappings between domains are at the heart of the unique human cognitive faculty of producing, transferrin,and processing meaning." Fanconnier (1997) distinguishes three classes of mapping projection mappings, pragmatic function mappings and schema mappings. Lakoff's conceptual metaphors can be viewed as schema mapping which means we use the structure of some source domains and the corresponding words to talk and think about some target domains which are normally abstract concepts.In conceptual metaphor theory, metaphor mapping is unidirectional, only having mapping from the source domain onto the target domain. There is no mapping from the target to the source domain. The mapping is also partial, which means only parts of the structure of the source domain are mapped onto the target domain. The parts which are mapped in the source domain are called used parts; other parts are called unused parts. After mapping, some parts in the target domain are highlighted, while others remain hiding (Lakoff&Johnson, 1980: 50). This mapping is not arbitrary, in that it is constrained by the image-schematic structure of the source domain.There are three kinds of correspondences in this mapping:①Ontological correspondences, in which the entities in the source domain aremapped onto the entities in the target domain. Take the conceptual metaphor "LOVE IS A JOURNEY" as an example:Source Domain Target Domaintravelers loversdestination goalimpediments difficulties in the relationship②Inference pattern correspondences, in which the inference pattern is mapped onto the inference pattern of the target domain when①is activated. In the example given above, there are following choices when impediments occur: the travelers may try hard to overcome obstacles, or stay there giving up their destination, or choose another path to continue and so on. The scenario of travel maps onto the target domain. There are following choices when difficulties occur in the relationship: lovers may try hard to overcome difficulties, or stay where they are and give up their common goal, or choose another one to begin another relationship and so on. This is how we understand the scenario of LOVE in terms of the scenario of .TOURNEY.③Potential correspondences between the inference patterns: the entities in source domain and the inference patterns are open, so does the target domain. Once systematicity of highlighting and hiding of the conceptual metaphor is activated, novel metaphors based n①and②are born.The classification of conceptual metaphorsThere are various ways to classify metaphors. For our purpose, we need only take a close look at Lakoff's classification. He divides metaphors into conventional metaphors and novel metaphors according to different degrees of conventionality. Metaphors such as"LOVE IS A JOURNEY", "IDEARS ARE FOOD", and "THEORIES ARE BUILDINGS" are all conventionalized metaphors, as they are well established and deeply entrenched in our language (Su Lichang, 2007: 81).These metaphors are so deeply rooted in our language and few people would consider them as metaphorical usage. Novel metaphors refer to the imaginative, creative metaphors that can give us a new understanding of our experience. Lakoff and Johnson (1980) argue that the conventional metaphors possess the much more important cognitive value than novel metaphors，and the same point of view is held by Ungerer and Schmid (1996: 117),"metaphors that have unconsciously built into the language by long-established conventions are the most important ones." Hence,Lakoff and Johnson focus on conventional metaphors and categorize them into three broad kinds as structural metaphors, orientational metaphors and ontological metaphors.(1)Structural metaphorStructural metaphors refer to those in which one concept is metaphorically structured in terms of another (Chang Zonglin, 2005:254). The cognitive domains of these two concepts are different, but their structures remain unchanged, in other words, the structure of the source domain maps onto the structure of the target domain. Then it comes to the question that which concept can be used to structure the other concept. Take TIME IS MONEY as an example: money is a limited resource that can be wasted,spent and invested. The above structure helps mould our way of understanding the concept of time in the following metaphorical expressions: "Spend your time wisely", "Don't waste your time", "I invest a lot of time in her".(2)Orientational MetaphorsOrientation metaphor means that within one concept system, the space orientation is organized on the basis of up and down, inside and outside and fore and after, etc. Human's experience of space is the basic experience gained early in the process ofpersonal growth, and that is why people would naturally try to understand abstract situations like moods and senses with the help of basic conceptions out of this basic experience. Orientation metaphor is commonly seen on the basis of up and down, high and low. For example, happy is up, and sad is down; healthy is up, and weak is down. This is because happiness is always a positive thing, so it is up or high.(3) Ontological MetaphorsThe third kind is our experiences with physical objects especially our own bodies provide the basis for an extraordinarily wide variety of ontological metaphors, i.e. ways of viewing events, activities, emotions, ideas, etc. as entities and substances. For instance, my mind does not work today. It implicates the metaphor MIND IS A MACHINE. Mind is not substantial. It can not be touched and not be visible while the machine is an object.People are familiar with the functions and operations. If there is something wrong, it will stop working. People use a machine to perceive mind indicating the brain is inactive or the thinking is dull because mind is too abstract. The vivid machine decreases the difficulties of understanding.Structural metaphor applied in English advertisementsAs mentioned above, structural metaphor refer to those in which one concept is metaphorically structured in terms of another.。
英语毕业论文选题(完整版)
英语论文选题英语语言学1. A Study of Adverbs in Legal English2.Linguistic Features of Legal English3.On Cultural Context in Legal English Articles4.Sources of Chinese and English Legal Terms5.Characteristics of Legal Terms6.Functions of Languages in Legislation7.Killing and its Hyponyms in Legal English8.Punctuation in Legal English: for instance, comma, period, colon, etc.9.Abbreviations in Legal English10.Transitional Words in Legal English11.The Application of the Fuzzy Words in Legal English法律语言模糊性词语的运用12.The Differences of the Legal Discourse in Chinese and English英汉法律语篇的结构差异13.On Abbreviations in Business English谈经贸英语中的缩略语现象14.On the Multi-discipline of the Economic English V ocabulary论经济英语语汇的多学科性15.On the Features of Business English Letters浅谈外经贸英语信函的写作特点16.Adjusting the Tone in International Business English经贸英语缓和口吻表达方法探究17.The Stylistic Features of the Contract English协议、合同英语的文体特点18.On Modifiers of Nouns in English for Foreign Economy & Trade略谈外经贸英语中的名词修饰语19.The Negative and Active Function of Fuzzy Language in Business Writing论模糊语言在经贸英语写作中的作用20.The Application of PP (Polite Principle) in Business English Communication21.CP（Cooperative Principle）and Business English Interpretation22.Sexism as Reflected in the Chinese and English Languages23.Lexical Items as Means of Cohesion in English Texts24.Remarks on Modern American Slang25.Stylistic Comparison Between Broadcast News and Newspaper News26.News Headlines: Their Features and Style27.A Comparative Study of English and Chinese Prepositions28.Death Metaphors in English29.The Pragmatic Functions of Intonation for Language Acquisition30.The Change of English Word Meaning: Factors and Types31.A Study of Transitional Words and Expressions 过渡词及表达法的研究32.Euphemistic Expressions in Foreign Affairs 外事用语中的委婉表达33.Features of Network English 网络英语的特点34.Influence of Science and Technology on English V ocabulary 科学技术对英语词汇的影响35. Linguistic Features of Abraham Lincol n’s Addresses 论林肯演说词的语言特征36.Linguistic Features of Business Contracts 商务合同的语言特征37.Linguistic Taboos in Chinese and English Languages 谈汉英语言中的禁忌现象55. On the Functions of Ambiguity in English 论英语歧义的功能64. On the Similarities and Differences of the Speeches by Elder and Younger Bush 论老布什、小布什语言风格的异同38.Parallelism in English英语中的排比现象39.Pragmatic Failures in the Cross-cultural Communication 跨文化交际中的语用失误40.Relationship of Age to SLA (Second Language Acquisition) 论年龄与第二语言习得的关系41.Semantic Analysis of Nominalization in EST 科技英语名词化语义分析42.Analysis of the Speech Acts of Characters I Pride and Prejudice《傲慢与偏见》中人物言语行为的分析43.Lexical Relation and Their Cognitive Motivation词汇关系及其认知理据44.An Interpretation of Speech Acts in Death of a Salesman,《推销员之死》言语行为分析45.Effects of Nonverbal Communication on Daily Life 非言语交际对日常生活的影响46.浅析英汉人体隐喻的异同47.论“心”的隐喻认知系统48.从《老友记》的对话看礼貌策略使用的性别差异49.英语中法语借词的历史演变50.英语中“笑”类动词的语义成分分析51.从礼貌的视角比较英汉称赞语52.浅谈英汉中的借词差异及英语借词对汉语的影响53.死亡委婉语的应用及其文化内涵54.探索《傲慢与偏见》中的委婉语55.政治委婉语在伊拉克战争中的使用56.“死亡”委婉语变异的语境分析tin’s Influence on the English V ocabulary in the History P erspective58.The Recognition of Componential Analysis and Its Application59.模糊语的交际/语用功能分析60.The Ways of Expressing Emphatic Ideas in English 英语中强调语气的表达方式61.A study of the Code-Switching in Internet Communication 网络交际中的语码转换研究62.On Metaphors in Advertising English英语广告中的暗喻e of English abbreviations in Chinese news reports汉语新闻报道中的英语缩略语运用e of English abbreviations in Chinese advertisements汉语广告中的英语缩略语运用65.Chinese-English Code-switching in daily communication日常交际中的英汉语码转换66.Chinese-English Code-switching in net communication网络交际中的英汉语码转换67.Gender Differences in English Communication英语交际中的性别差异68.Sexism in English Proverbs英语习语中的性别歧视69.Economy Principle and Noun-Verb Shift 论语言经济原则与名词动词化70.English Abstract Nouns and Their Translation into Chinese 论英语抽象名词及其汉译71.Rules-Breaking in the Language of Advertising 论广告中的反语法规则现象72.A Comparative Study of Ambiguous Sentences in English and Chinese 英汉歧义句对比研究73.A Comparative Study of Spouse-seeking Notice in English and Chinese英汉征婚启事对比研究74.A Comparative Study of Humor in English and Chinese英汉幽默语用研究75.The Formation and Metabolism of English Euphemisms英语委婉语的构造法及其变化规律76.A Brief Research into the Deviation of Punctuation Marks& Aesthetic Value 浅议标点符号的变异使用及其审美功能77.Presupposition and its Application in Advertising 论预设及其在广告语中的运用78.Polite Principles in Business English and Their Use商务英语中的礼貌原则及运用79.An Analysis of the Characteristics of Abbreviations and Their Original Words in OnlineChatroom网络聊天室缩略语及其原词语的特点分析80.A Survey on the Non-Chinese Expressions on BBS of Chinese Universities高校网络媒体BBS 上非汉语词汇用语的调查研究81.Politeness and Business English Letters礼貌与商务英语信函82.A Historical Analysis on Constitution Particularity of American English 从历史角度简析美国英语形成的历史特殊性83.A Contrast Between Chinese and English Compliments中英称赞语对比84.Interpretation of Advertising Language from the Relevance Theory 广告语的关联理论分析85.Pragmatic Strategies in Business Negotiations商务谈判中的语用策略86.An Analysis on Ideational Function of English News 英语新闻的概念功能分析教学法87.Relationship of Age to Legal English Learning88.Legal English V ocabulary Teaching89.The Application of Schema Theory in Reading Comprehension90.Collaborative Learning: Group Work91.Cognitive Approach in Oral English Teaching92.English Songs—An Effective and Supplementary Medium of English Teaching25. Effects of Learner’s Motivation in Foreign Language Learning 外语学习中学习动机的影响27. Error Analysis in English Learning as a Foreign Language 英语学习中的错误分析研究43. Logical Fallacies in English Writing 英文写作中的逻辑谬误46. Needs Analysis of Language Learners 语言学习者的需求分析47. On Attitudes and Motivation in Second Language Learning 论第二语言学习的态度及动机93. Personality Factors to the Success of Foreign Language Learning 个性因素在外语学习中的作用94.The Cognitive and Affective Factors in Task-based English Teaching英语任务型教学中的认知和情感因素95.On the Differences between Children and Adults in the Effects of Mother Tongue on SecondLanguage Acquisition儿童和成年人在母语对二语习得影响方面的差异96.Analysis and Exploration of Oral English Teaching and Learning Method in UniversityClassroom大学课堂中对英语口语教学学习方法的分析和研究97.图式理论在英语听力教学中的应用98.图式理论及其对高中英语阅读教学的启示99.对高中英语课堂阅读现状的调查和分析100.多媒体技术在中学英语教学中运用现状的分析101.浅谈私立高中英语课堂中的师爱教学102.背诵在英语学习中的作用103.言语行为语用能力培养在英语课本中的实现——以《新概念英语》为个案104.关于英语课堂中教师反馈情况的调查分析研究105.用英语电影辅助高中英语教学106.同伴纠错在英语写作课堂中的应用107.大学英语教师课堂话语策略个案研究108.关于高中生英语学习中焦虑问题的调查研究109.论任务式英语口语教学中的合作学习110.合作学习在高中英语写作教学中的应用111.中国大学生英语写作中汉语词法的负迁移112.英语专业学生听力学习中元认知策略使用状况的调查113.语篇衔接以及写作中的衔接错误114.英汉亲属称谓语的差异及其互译115.A Study on the Elements in Improving English Listening Ability under Computer-and-Internet-Assisted Circumstance计算机网络下的英语听力能力提高的元素116.Obstacles in Understanding American English Idiomatic Statements for Chinese Students中国学生对含成语的美国英语表述理解的障碍117.On the Training of English Listening-Awareness英语听力意识的训练118.Effects of Discourse Structure on Listening Comprehension of Aural English 语篇结构对英语听力理解的影响119.Effects of Stereotypes on Intercultural Communication文化成见在跨文化交际中的影响120.The Influence of Web Technology on University English Teaching Modes / English Listening / Oral English / English Lexical Teaching 网络环境对英语教学模式/听力/口语/词汇教学的影响121.Backwash of Tests on English Teaching and Learning测试对英语教学的反拨作用122.The Differences in English Study between Boy Students and Girl Students in Senior Schools 高中男女生英语学习差异的研究文化123.Relationship between Culture and Law124.Cultural Distinctiveness in Legal English Translationparison of Chinese and English Forms of Addresses126.Hierarchies in American and Chinese Address Forms127.The Role Played by the American Blacks in the History of America128.The Cults in Modern American Society129.Chinese and Western Culture Values in Advertising Language130.Deep-structure Transfer in Cross-cultural Communication131.Cultural Differences in Nonverbal Communication132.Religious Cultural Factors Affecting the Differences of Meanings of Words133.A Comparison of Intercultural Usages between Chinese and Western Courtesy Languages 134.19. Cross-culture Failures by Chinese learners of English135.中国英语学习者跨文化交际中的误区136.The Comparison Between Taoism and Transcendentalism道家文化与超验主义的比较研究137.The comparative studies between Buddhism and Christianity on cultural level 佛教与基督教在文化层面上的对比研究138.The Sino-US Cultural Differences Reflected in Movies 看中美电影中的文化差异139.英汉数字习语文化比较140.Linguistic and Cultural Comparison between Chinese“狗”and English “dog”中西“狗”的语言文化比较研究141.中国牡丹和英国玫瑰折射出的文化差异文学142.Hamlet: His Characters as a Humanist143.Parallelism and Contrast of Shakespeare’s Dramatic Language144.On the Structure of Dickens’s Hard Times145.Jane Austen’s Art of Irony and Its Rhetoric Effects146.The High Class as Seen in Thackeray’s Vanity Fair147.From Pastoral Stories to Great Tragic Novels: An Analysis of Hardy’s Novels148.Remarks on wrence’s Psychological Analyses149.Social Reality as Reflected in the Poetry of William Blake150.Edgar Allan Poe and the World Literature151.The Tragic Color of Earnest Hemingway’s Novels152.A Critical Study of William F aulkner’s A Rose for Emily:Its Narrative Techniques and Structure153.Some Features of Steinbeck’s Literary Style154.Emily Dickinson and Her Unique Poetry155.Symbolism in O’Neill’s Major Plays156.The Modern American Society and The Death of the Salesman157.A Comparative Study of Empathy in English and Chinese Poetry158.A Comparative Analysis of Sentence Structures in English and Chinese Poetry159.The Realism of the Adventure of Huckleberry Finn160.Heroism in Hemingway’s Works161.The Light of the Dark：The Greatest Works of Conan and Agatha162.On Wordsworth’s View of Nature163.On the Symbolism of D.H. Lawrence’s The Rainbow164.Analysis of Characters of Don Quxiote165.On the Author and the Major Characters of The Pearl166.Social Reality Reflected in Ode To the West Wind167.Hamlet and His Delay168.The Cuban Culture Contest of The Old Man and the Sea169.Gothic Features in Wuthering Heights170.The Comparison of the Character of Carrie Meeber and Jennie Gerhardt171.The Philosophy of Life in Ernest Hemingway’s The Old Man and the Sea172.Mark Twain---The Pessimist Who Brought Laughter to The World173.Humor and Realism of Mark Twain’s The Celebrated Jumping Frog of California County 174.Robinson Crusoe and the Colonial Empire175.A Probe into the Ambiguity and Symbolization of Eliot’s Poetry176.The Realism of Adventure of Huckleberry Finn177.A Farewell to Arms—A Clear Mirror178.Gone with the Wind and the Awakening of Women179.Hemingway and Hemingway Heroes180.The Sound of Heart-Reverie and Melancholy in Emily Dickinson’s Poemsment on the Biblical Images in Paradise Lost, Paradise Regained, Samson Agonistes parison of Gone with the Wind and The Collector—An Analysis of Women’s Problem 183.Satire in Catch—22184.Love, Equality and Tolerance—On the Nature of Love of Jane and Tess185.On the Endings and Features of O ·Henry's Short Stories186.Paradise Lost—The War in the Heaven187.The Attractions of The Waste Land188.On the Religious Color of Characterization in Uncle Tom's Cabin189.Thoreau's Walden: A Book of Inward Exploration190.Beautiful Women—Analysis of Female Characters in The Merchant of Venice191.The Great Gatsby and the Collapse of the American Dream192.The Influence of Edgar Allan Poe's Life on his Writing193.The Biblical Allusions and Symbols in The Grapes of Wrath194.A Journey of Outward and Inward Exploration—A Brief Analysis of Walden195.The Duality in Robinson Crusoe's Character196.On the Characterization and Writing Techniques in Rebecca197.Wordsworth: Nature's Favorite Son198.Two Aspects Reflected from Robinson Crusoe: Society and Nature199.The Superman Complex in Love of Life200.3. A Comm ent on Hardy’s Fatalism 评哈代的宿命论201.4. A Comparison between the Themes of Pilgrimage to the West and Pilgrim’s Progress 202.《西游记》与《天路历程》主题的比较203.49. On T.S. Eliot’s Mythological Consciousness 论艾略特的神话意识204.On the Tragedy of Loman’s Family in Death of A Salesman 《推销员之死》中罗曼一家的悲剧205.Points of View and the Mode of Discourse in Vanity Fair 论《名利场》的观点及言语方式206.Rhetorical and Narrative Devices in A Farewell to Arms 《永别了，武器》的修辞与描写手法207.Scarlet and Black in The Scarlet Letter 《红字》中的红与黑208.Robinson Crusoe--Representative of the New Capitalist鲁滨逊—新兴资产阶级的代表209.The Women World in The Thorn Birds---Same World，Different Destiny《荆棘鸟》中的女性世界---同一世界, 不同命运210.The Transformation of Buck in The Call of the Wild小说《野性的呼唤》中巴克的转变211.Rebecca Sharp---The Real Heroine in Vanity Fair丽蓓卡·夏泼---《名利场》的真正主人公212.The Conflict between Greed and Human nature ---- on An American Tragedy从《美国悲剧》看贪婪与人性的冲突213.What is Small and What is Big in Great Expectations《远大前程》中的“大”与“小214.A Contrastive Study between "White" and "Black" in The Adventures of Huckleberry Finn 《哈克贝利·费恩历险记》中“白”与“黑”的对比研究215.Black Humor in Catch-22《第二十二条军规》中的黑色幽默216.A Contrastive Study of the Influence of Religion upon Tess and Prynne宗教对苔丝和白兰命运的影响的对比分析217.On Symbolism in Lord of the Flies 象征手法在《蝇王》中的运用218.Analysis of Christianity Theme on The Name of the Rose《玫瑰之名》的宗教主题分析219.Christianity in Uncle Tom's Cabin小说《汤姆叔叔的小屋》中的基督教220.On the Intercultural Conflicts in The Portrait of a Lady《贵妇画像》中跨文化冲突的分析221.On the Theme of Struggle for Survival in Sister Carrie Base on the Character Analysis从人物分析研究《嘉莉妹妹》中人们为生存挣扎的主题222.An Analysis of Scarlett's Intelligence and Capability in Gone with the Wind论小说《飘》中斯佳丽的智慧和能力223.An Analysis of the Image of "Hunter" in Moby-Dick and The Old Man and the Sea《白鲸》和《老人与海》中的“猎者”形象分析224.Naturalism in Sister Carrie by Theodore Dreiser德莱塞《嘉莉妹妹》的自然主义解析225.On the Meaning of Symbols in Beloved析《宠儿》中的象征意义226.Individuality, the Limitation of Ideology and Symbolism in Invisible Man浅析《看不见的人》中的自我个性，意识形态局限性和象征主义227.Female Image Comparison between Scarlett and Meggie斯佳丽与梅吉的女性形象比较228.A Study of Invisible Man from An Existential Perspective从存在主义视角看《隐形人》229.A Feminist Study of the Effect of American Civil War upon the Female World in American Society Seen from Gone with the Wind 从女权主义视角看<<飘>>所反映的美国内战对美国女性世界的影响230.A Social Cultural Contrastive Stuy of Scarlett O'Hara and Wang Xifeng郝思佳和王熙凤的社会文化对比研究231.The Marriage of Mr. Collins and Charlotte Lucas in Pride and Prejudice《傲慢与偏见》中柯林斯与夏洛蒂•卢卡斯的婚姻232.Miserable World in the Humor---A Comparison of the Works of Mark Twain and O. Henry幽默中的悲惨世界---马克吐温和欧亨利作品的比较233.A Comparison of Conflicts in Desire Under the Elms and Thunderstorm《榆树下的欲望》和《雷雨》戏剧冲突的比较234.The Art of Satire in Gulliver's Travels论《格列佛游记》中的讽刺艺术235.Ａcomparative Study of Abbie and Fanyi in Desire Under the Elm and Thunderstorm＜榆树下的欲望＞和＜雷雨＞中爱碧和繁漪的对比研究236.Exotic Flowers in East and West —Comparison between Romeo and Juliet and Liang Shanbo and Zhu Yingtai（中西方的艺术奇葩——比较《罗密欧与朱丽叶》与《梁山伯与祝英台》）237.An Elegy of Humanism—An Analysis of the Causes of The Tragedy of Othello（人文主义的悲歌——《奥赛罗》悲剧成因之探析）238.A Comparison between the Themes of Pilgrimage to the West and Pilgrim’s Progress 《西游记》与《天路历程》主题的比较239.A Comparative Study of Tao Yuan-Min and William Wordsworth240.The Images of the West Wind in Shelley’s Ode to the West Wind 雪莱《西风颂》中西风的意象241.Ode to a Nightingale: An Integration of Aesthetics and politics<夜莺颂》诗歌美学与政治意识的结合242.A Contrastive Study of Images in English and Classical Chinese Poems英诗和中国古典诗歌中的意象比较243.Five Natural Elements in Wordsworth’s Poems华兹华斯诗中的五种自然元素翻译理论与实践244.Translation of Complex Sentence in the Legal Language245.The Influence of Cultural Elements on the Translation of the idioms in Commercial English 试论文化因素对经贸领域中习语翻译的影响mercial English: its characteristics and translation经贸英语的特点与翻译247.The Characteristics of Business Contract Wording in English & its Translation英语经贸契约的用词特点与翻译248.On the Usage and Translation of Prepositions and Prepositional Phrases in Business Contracts in English英语经贸契约介词和介词短语的用法及翻译249.Understanding and Translation of the Divisional Phenomena in English Economic Contracts 英语经贸契约分隔现象的理解与翻译250.Lexical Features of Business Contract English and Its Translation经贸合同英语词法特征及其翻译251.Characteristics and Distinctive English Translation of Words in Business Contracts商务合同英语用词特点及翻译的特色标记252.The Characteristics and the Present Situation of Foreign trade English Translation对外经贸翻译的特点与现状253.On the Translation of Commercial Advertisement谈商业广告的翻译254.On the Role of Social Context in Business English Translation浅议经贸英语翻译中语境因素的作用255.On the Criteria of Translating English in to Foreign- oriented Economy and Trade Affairs试论经贸英语翻译的标准256.Translation Characteristics of Economy and Trade English经贸英语的翻译特点257.Understanding and Translation of the Divisional Phenomena in English Economic Contracts 英语经贸契约分隔现象的理解与翻译258.On the Strategies of the Mistranslation in Business English论经贸英语误译的对策259.Multi-angle Views On Business English Translation经贸翻译的多视角260.A Classification & Translation of Words Denoting Major Positions in Business English经贸英语中主要职务用词的分类与翻译261.The Classification and Translation of the Business English Terms with the Reference of "Money"经贸英语中含有"钱款"意义词汇的分类及翻译262.Word Diction in Economy and Trade Translation经贸翻译的词义选择263.On Translation of English Advertisement广告英语的翻译264.Advertisement English Translation in Cross-cultural Background跨文化背景中的广告英语翻译265.On Translation of the Dates, Amount and Numbers (Figures) in the Economic & Trade Contracts经贸契约中日期、金额和数字的翻译266.Translating Strategy of Modern Business English现代商务英语翻译策略267.Methods and Principles of Trade Mark Translation商标翻译的方法及应遵循的基本原则268.The Language Characteristics and Translation Stragegy of English Advertisements广告英语语言特点及其翻译策略269.How to Correctly Understand & Translate the Compound Words Formed from Here-, There- and Where- in Economic & Trade Contracts 如何正确理解和翻译经贸契约中Here,There-和Where构成的复合词270.On the Rhetoric Character and Translating Method of Advertising English浅析广告英语的修辞特点和翻译方法271.On Metaphors in Business English and Translation商务英语中的隐喻及其翻译272.On "Faithfulness" and "Innovation" in Foreign Trade English Translation外贸英语翻译的"忠实"与"变通"273.The Stralegies of Domestication and Dissimilation on Advertising English Translation广告英语翻译的"归化"和""异化"策略274.Cross-cultural and Cross-linguistic Factors in English Advertisement Translation英语广告翻译中的跨文化、跨语言因素275.Nominalization application in business English letter writing and its translation名词化结构在商务英语信函中的应用和翻译276.On the Art of Rhetoric and Translation Approaches in Advertising English论广告英语的修辞艺术和翻译方法277.Principles of Translating Economic Literature of Enterprises from Chinese to English企业外宣资料汉英翻译原则278.English-Chinese Translation of Trademarks: Its Principles and Strategies英语商标的汉译原则及策略279.The Puns in English and Chinese Advertisements and the Translation of Them英汉广告中的双关语及其英汉互译280.The Pragmatic Analysis and Translation Strategies of Long Sentences in English Business Contracts英语商务合同长句的语用分析及翻译策略281.Influence of Cultural differences on the Chinese-English Translation of Business Writing文化差异对商务汉英翻译的影响282.On Equivalence of Cultural Message in the International Business English Translation国际商务英语翻译中的文化信息等值研究283.On the Principles of Equivalence in Literary Translation284.Cultural Gaps and Untranslatability285.The Chinese V ersion of Jude the Obscure: An Outstanding Example of Artistic Recreation 286.Translating the Style of Literary Works—A Preliminary Study of Wu Ningkun’s Version of The Great Gatsby287.A Comparative Study of Two Chinese Versions of The Merchant of Venice288.A Reading of Fang Zhong’s Translation of The Canterbury Tales289.On the English Versions of Some of Du Fu’s Poems290.Translating the Titles of Chinese Classic Poetry291.How to Deal with Ellipsis in Translating292.The Translation of Trade Marks and Culture293.Onomatopoeia and its Translation294.On the Cross-Culture Pragmatic Failure in English Translation295.On Translating the Passive Voice in Scientific and Technology English into Chinese296.A Comparative Study of Two English Version of the Chang Ganxing297.Review on the Translation of Movie Titles298. A Study of the Translation of Sports Terms 体育专有名词的翻译299. About Transform of Parts of Speech in Translation 论翻译中词性的转换300.On Translation of Computer Terms 论计算机的术语翻译301.On Translation of Tourist Guide 论旅游指南的翻译302. On Translation of Trade Names and Names of Export Commodities 论商标、出口商品名称的翻译303.The Understanding and Translation of Attributive Clause 定语从句的理解与翻译304.On the Translation of Long Sentences and Attributive Clauses in A Tale of Two Cities浅析《双城记》中长句与定语从句的翻译技巧305.The Understanding and Translation of Attributive Clause 定语从句的理解与翻译306.Differences Between Chinese Headline and English Headline as well as Their Translation 论中英文新闻标题的差异与翻译307.On Brand Name Translation Strategies from the View of Consumer Psychology从消费心理学角度浅谈商标翻译策略308."Fu Donghua’s Gone With the Wind and Functional Translation Theory 傅东华的《飘》和功能翻译理论309.The Subjectivity of the Translator in Literary Translation 文学翻译中的译者主体性310.Cultural Differences and Transplantation in Translation文化差异和翻译中的文化移植311.Idioms’Practice and Translation in Advertising 习语在广告中的应用与翻译312.On the Impact of Translation on Chinese Culture--- To Cherish Chinese Culture 翻译对中国文化的影响--- 保护中国文化313.A Comparative Study of Two English Versions of One of Tao Yuanming’s Set Poems Drinking Wine 对陶渊明《饮酒》组诗之一的两个英译本的比较研究314.论儿童文学的翻译315.例析俚语的英译汉。
性别与翻译的隐喻Gender and the metaphorics of translation
• Texts, as well as languages (mother tongue) are figured in feminine terms. • The translator‘s relationship to this mother figure is outlined in some of the same terms that we have already seen– fidelity and chastity– and the fundamental problem remains the same: how to regulate legitimate sexual (authorial) relationships and their progeny (后裔). • Representative example depicting translation as a problem of fidelity to ―mother tongue‖– Schleiermacher • Translator (father) true to mother/language • Otherwise produce legitimate offspring • bastard
• “不忠的美人”是法国翻译家吉尔•梅纳日的名喻。张伯伦 分析了其中隐含的一个“忠实契约”：对妇女而言，她们 必须忠于自己的丈夫；对翻译而言，译作必须忠于原作。 这反映了在婚姻和翻译活动中不公正的“双重标准”：不 忠的妻子和译作会公开受到谴责和审判，而丈夫和原作者 永远不会承担这种罪名。这种观点无疑沿袭了父权系统的 规则，即父系血统是使后代身份合法化的唯一权 威。
particularly to the original‘s author (male), deposed and replaced by the author (male) of the translation； • ② A (male) author– translator’ s relation to his (female) mother-tongue, the language in to which something is being translated. (Female) language must be protected against vilification.
基于蓄意隐喻理论的公司品牌推广隐喻研究评述
商务外语研究15● 版权所有 文责自负 ●基于蓄意隐喻理论的公司品牌推广隐喻研究评述廖 芸（甘肃政法学院人文学院，甘肃兰州730070）摘 要：作为语言学界的一个重要研究领域，国内外学者都对隐喻的研究给予了极大的关注。
Steen 从蓄意隐喻的角度重新审视概念隐喻的分类及其功能，梳理了蓄意隐喻的发展阶段及现状，并以公司品牌推广过程中隐喻的使用为例，从语言、概念、交际三个维度分析了蓄意隐喻。
通过五步分析法研究有关公司品牌推广的商务语篇，阐述了蓄意隐喻的生成及接收过程。
Steen 对公司品牌推广中所使用的隐喻进行了重新归纳分类，有助于我们进一步加深对语言及思维的理解，最终实现其交际功能。
关键词：蓄意隐喻；三个维度；五步分析法；公司品牌推广；述评Review on Corporate Brand Promotion MetaphorBased on Deliberate Metaphor TheoryLIAO Yun(School of Humanities of Gansu Institute of Political Science and Law,Lanzhou, Gansu 730070, China)Abstract: As an important research field in linguistics, scholars at home and abroad have paid great attention to the study of metaphor. Steen re-examines the classification and functions of conceptual metaphor from the perspective of deliberate metaphor, combs the development stages and status quo of it, and takes the use of metaphor in the process of brand promotion as an example to analyze deliberate metaphor from three dimensions, i.e. language, concept and communication. This paper studies corporate brand promotion metaphors in the business discourse through five-step analysis, and elaborates the process of generation and reception of deliberate metaphor. Steen’s reclassification of metaphors used in company brand promotion will further deepen the understanding of language and thinking, and ultimately realize its communicative function.Key words: deliberate metaphor; three dimensions; five-step analysis; brand promotion; review*基金项目：本文系甘肃政法学院2015年度校青年项目：商务英语认知隐喻翻译研究及应用（项目编号：GZFXQNLW017）的研究成果。
如何用英语作文怼人
如何用英语作文怼人Title: A Discourse in the Art of Rebuke。
In the realm of discourse, there exists a delicate balance between civility and assertiveness, where the art of rebuke emerges as a necessary skill. When confronted with opposing viewpoints or faced with the need to counter an argument, it is imperative to wield language with precision and tact. In this essay, we shall explore the nuances of crafting a rebuttal in English, adhering to the principles of clarity, coherence, and effectiveness.Firstly, a successful rebuttal begins with a thorough understanding of the opposing argument. It is essential to engage with the substance of the opposing viewpoint rather than resorting to ad hominem attacks or strawman fallacies. By demonstrating a nuanced understanding of the opposing position, one can establish credibility and lay the groundwork for a compelling counterargument.Moreover, the language employed in a rebuttal should be measured and deliberate. While it may be tempting to resort to inflammatory rhetoric or derogatory remarks, suchtactics often undermine the persuasiveness of one's argument. Instead, a tone of respectful disagreementfosters constructive dialogue and enhances the likelihood of persuasion.Additionally, the structure of a rebuttal plays a crucial role in its efficacy. A well-organized argument follows a logical progression, presenting evidence and analysis in a coherent manner. By delineating key points and providing supporting evidence, the rebuttal gains clarity and persuasiveness.Furthermore, the use of rhetorical devices can enhance the impact of a rebuttal. Metaphors, analogies, and vivid imagery can elucidate complex concepts and appeal to the reader's emotions. However, it is important to wield these devices judiciously, ensuring that they complement rather than overshadow the substance of the argument.In crafting a rebuttal, one must also anticipate potential counterarguments and preemptively address them. By acknowledging opposing viewpoints and offering counterpoints, the rebuttal demonstrates intellectual honesty and thoroughness. Moreover, preemptive rebuttals serve to disarm potential objections and bolster theoverall persuasiveness of the argument.Ultimately, the goal of a rebuttal is not merely to win an argument but to foster intellectual engagement and mutual understanding. By engaging with opposing viewpoints in a respectful and substantive manner, one contributes to the cultivation of a robust and vibrant discourse.In conclusion, the art of rebuke is a nuanced skillthat requires precision, tact, and rhetorical finesse. By adhering to the principles outlined in this essay –understanding, clarity, coherence, and effectiveness – one can craft a compelling rebuttal that engages with opposing viewpoints in a respectful and persuasive manner. In the arena of discourse, let us endeavor to elevate the qualityof dialogue and promote the pursuit of truth and understanding.。
metaphorize的被动用法 -回复
metaphorize的被动用法-回复Metaphorize, when used in the passive voice, means to be transformed into or represented by a metaphor. In this article, we will explore the concept of metaphorize in depth, examining its purpose, significance, and various applications. We will take a step-by-step approach to understanding metaphorize and its implications.PART 1: Understanding MetaphorizeMetaphorize is a verb that describes the process of transforming a concept, idea, or object into a metaphor. A metaphor is a figure of speech that compares two unrelated things, highlighting their similarities in order to create a deeper understanding or to convey a particular message. Metaphors have long been used in literature, poetry, and everyday language to express complex ideas in a more relatable and vivid manner.PART 2: Purpose and Significance of MetaphorizeThe use of metaphors can be a powerful communication tool, as they enable us to convey abstract or intangible concepts in a more concrete and accessible way. Metaphorize allows us to take a concept and transform it into a metaphor, making it easier to graspand understand. By doing so, metaphors can evoke emotions, stimulate imagination, and encourage deeper thinking. They can also create associations and connections between unfamiliar or difficult ideas and more familiar ones, enabling us to understand them in a new light.PART 3: Applications of Metaphorize3.1: Literature and PoetryOne of the most common applications of metaphorize is in literature and poetry. Writers often use metaphors to enhance the imagery and symbolism in their works, allowing readers to engage with the text on a more profound level. For example, in Shakespeare's famous metaphor "All the world's a stage," he compares life to a play, highlighting the transient and performative nature of human existence.3.2: Advertising and MarketingMetaphorize also finds significant application in advertising and marketing. Companies use metaphors to create memorable and persuasive messages that resonate with their target audience. An example of this can be seen in Apple's slogan, "Think different," which metaphorically encourages customers to break free fromconventional thinking and embrace innovation.3.3: Education and LearningMetaphorize plays a crucial role in education and learning, particularly in explaining complex subjects or abstract ideas. By metaphorizing difficult concepts, educators can facilitate understanding and engagement among students. For instance, a physics teacher may use the metaphor of a roller coaster to explain the principles of energy conservation and potential/kinetic energy.3.4: Political and Social DiscourseMetaphorize is also widely employed in political and social discourse. Politicians and activists often use metaphors to shape public opinion and convey their messages effectively. Metaphors can simplify complex policy or social issues, making them more relatable and impactful. Consider Martin Luther King Jr.'s famous metaphor of "I have a dream," which symbolized his vision for racial equality and justice.PART 4: The Process of Metaphorize4.1: Identifying the Concept/ObjectIn order to metaphorize something, the first step is to identify theconcept or object that will be transformed into a metaphor. This can be a concrete object, an abstract idea, or even a feeling or emotion.4.2: Exploring the Characteristics and SimilaritiesOnce the concept or object is identified, it is important to consider its characteristics and similarities with other objects or concepts. This analysis will provide the basis for creating a meaningful metaphor.4.3: Finding the Right Words and ExpressionsThe next step is to find the right words and expressions that will effectively convey the metaphor. This requires creativity and a thorough understanding of both the concept/object being metaphorized and the intended message or purpose of the metaphor.4.4: Crafting the MetaphorFinally, the metaphor can be crafted by combining the identified concept/object with the chosen words and expressions. This process should result in a vivid and powerful metaphor that effectively communicates the intended message or idea.In conclusion, the passive use of metaphorize involves transforming a concept, idea, or object into a metaphor. Metaphors serve as powerful communication tools, enabling us to express complex ideas in a more relatable and accessible manner. From literature to advertising, education to political discourse, metaphorize finds a wide range of applications in our everyday lives. By understanding the process of metaphorize, we can harness the potential of metaphors to convey messages, evoke emotions, and foster deeper understanding.。
审美网红话语中概念隐喻的认知解析
认知域间的基础就是经验。可见，一个概念隐喻要涉 及四个方面，我们可称之为四个基本要素:始发域、目 标域、经验基础和映射⑺。关于概念隐喻，不同学者 从不同的角度对其进行了分类[8'9]o但目前国内的 学者更倾向于Lakoff,Johnson的概念隐喻三分法，即 根据始源域的不同，将概念隐喻分为方位性隐喻(ori entational metaphors)、本体性隐喻(ontological meta phors) 和结构性隐喻(structural metaphors) o虽然国 内大多数学者均认可上述分类,但也有少数学者如徐 先玉3和杨秀杰认为，Lakoff, Johnson的隐喻三 分法不具备统一的分类基础。尽管如此，Lakoff, Johnson对概念隐喻的分类仍然成为国内外学者隐喻 研究的重要基础。
二、审美网红话语的概念隐喻解析
(一)审美网络话语的分类 通过分析整理2018年到2020年9月以新浪微 博为代表的各大网络社交平台上出现的有关审美的 网红话语,根据这类话语本身的属性,将其分为以下 几类： 1.动物类 动物类审美话语将人的某些部位与动物联系起 来。因为女性的某些身体部位显示的形态跟某些动 物的相应部位相似，人们将其作为女性审美的一个参 照点，比如:“天鹅颈” “蝴蝶背”“蝴蝶骨”“蝴蝶臀”
[7] 文旭.语言的认知基础[M].北京:科学出版社,2014：53. [8 ] Goatly, Andrew. The Language of Metaphors [ M ]. London:
Routledge, 1997:34. [9] 束定芳.隐喻学研究[M].上海：上海外语教育出版社，
2003：51. [10] 徐先玉.隐喻分类的思索[J].中国俄语教学,2010(1):81-
advertising
Rhetoric in AdvertisingRhetoric, generally understood as a tool or a method, is the art and study of the use of language with persuasive effect. In advertising, rhetoric is always used to achieve a vivid and unforgettable effect on the consumers so as to attract them and increase their interest in purchasing goods or survice. In common use, there are several rhetoric characteristics in advertising. Metaphor, alliteration, onomatopoetic words, contradictions, duality, personification and pun. In most advertisements we can find one even several rhetoric characteristics mentioned above.Here, I want to focus on the metaphor—the most common and significant rhetoric characteristic in advertising. The metaphor also can be divided into different kind, pictorial metaphor, also called visual metaphor, is one of which. During the process of interpreting a phenomenon as a pictorial metaphor, two elements are concluded: the target and the source. The target and the source are distinguishable which means that the metaphor is “about” one thing instead of the other thing. What’s more, appropriate adjustments should be done to optimize the match between the target and the source.Among pictorial metaphors, there are othervarious metaphors. Such as contextual metaphor,of which the target is visually represented and thesource is suggested. Let’s take this advertisementof Siemens mobile phone as an example. Fromthe picture, we can clearly see a beautiful womanfull of attractiveness and the mobile SIEMENSmobile phon e lays on the woman’s neck. Theslogan is “A girl’s best friend”. From which wecan know the contextual meaning is “SIEMENS mobile phone is necklace”. I think women are the main target of this ad. From this ad, women can gain the informationsuch as the SIEMENS mobile phone is very exquisite like a necklace which is valuable to its owner and the mobile phone can reflect a woman’s taste, makes her more beautiful and attractive. Apart from the main target, I think men will also be attracted by this picture and then may buy a SIEMENS mobile phone for his girlfriend or wife as the mobile phone can make women seem like to have better taste. Anyway, this is an impressive advertisement which can stimulate people in buying the mobile phone. It is a successful example of contextual metaphor. Another example is the ad of Dunlop tyres. In this picture, we can clearly see that the tyres are drawn as lifebuoys which shows the metaphor is “Our tyres are lifebuoys ”. This really is an exquisite ad. Tyres and lifebuoys do have similarities in their shapes but their functions are totally different. Logically speaking, if the tyres are not of high quality, they will bring troubles even danger to people, in contrast, lifebuoys can save people when people in danger. The ad skillfully applied the tyre to the lifebuoy to suggest that the Dunlop tyres are of high quality. From a visual point of view, tyres are notvery spectacularproducts, and there isno huge differencebetween the visualappearance ofDunlop tyres and those of other brands. So the ad not to represent the Dunlop tyres visually but to represent its quality to attract the consumers.Besides the contextual metaphor, simile is another important tool in ads. When using simile, both target and source are represented. While contextual metaphor requires a careful, usually highly artificial construction of separate elements in a single gestalt, simile is less explicit than the context ual. Let’s take the ad of LASSALLE as an example. The metaphorical comparison is rather clear in this picture as nothing in the background detracts from the visual similarity between fish and watch. The simile tells us that the LASSALLE watch is just like fish. In this ad, the watch is placed as astreamline shape just like the fish does which is abeautiful shape. Secondly, as the fish can swim freelyin water, the watch is definitely waterproof. Thesimple image conveys two pieces of informationwhich can easily make people understand that theLASSALLE watch deserves to buy which has bothbeautiful shape and practicality.Another kind is hybrid metaphor which is conveyed visually by conflating target andsource into a single, “impossible” gestalt.Let’s seea public service advertising. This ad really leaves adeep impression on me. A man’s hear is replaced ofgrass. As is known to all, hair is important toeveryone, the function of hair not only makes ourappearance more beautiful but also protects ourheads. Here the man’s head is the symbol of ourearth so actually the ad aims to draw upon theviewer’s knowledge that the grass not onlybeautifies the earth but also protect it as well as us human beings. When we step onthe grass we should think about that if our hair is all pulled how we feel about that?So we should never tramp on the grass and we should protect them as we protect andtake care of our hair.The last kind is integrated metaphor, in which a target can bemanipulated in a way that strongly evokes in perceivers theexperience of something else, but there is no sense of the target’sidentity being violated. The ad of Phillips Razor is a typicalexample. The feature of the Phillips Razor seems like it is eager to shave off his master’s beard.Apart from these metaphors, nonverbal metaphors also exist in advertisements. It is clear that the metaphor is an indispensable part in advertising. Certainly, other rhetoric characters are also rather significant in advertising. The researches on those rhetoric characteristics are becoming more and more popular since ads have already become a necessary part in our daily life. From those researches, not only the advertisers can know how can they make successful advertisements but also our consumers can know what are the successful advertisements and what are the failure ones. Thus, rhetoric in advertising will continue to be the focus of research in future.。
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STUDIES IN LITERATURE AND LANGUAGEVol. 1, No. 6, 2010, pp. 75-81ISSN 1923-1555 [P RINT ] ISSN 1923-1563[O NLINE ] 75Metaphors in Advertising DiscourseLuu Trong Tuan 1Abstract: Metaphors are the mappings of the abstract world into the concrete world through human senses or experiences. In Vietnamese advertisements, brands are metaphorized and brand metaphors can be categorized into ontological and structural metaphors. BRAND IS MOTION is a structural metaphor, and BRAND IS A CONTAINER, BRAND IS A VALUABLE RESOURCE, BRAND IS A COMPANION, and BRAND IS A GLADIATOR are instances of ontological metaphors.Keywords: conceptual metaphors; ontological metaphors; structural metaphors; brand; Vietnamese advertisements1. INTRODUCTIONMetaphors can be used verbally in the headline and/or copy. There are many advantages linked with the use of metaphors in advertising discourse. First, they elicit more cognitive elaboration than literal messages (Toncar and Munch 2001), presumably since individuals need to comprehend the complex message to draw inferences (Mick 1992). Their artful deviations provide intrinsic rewards that come from processing various interpretations of the text (Barthes 1986). Second, resolving such deviations or incongruities leads to favorable attitudes (McQuarrie and Mick 1999). Third, metaphors inject novelty, thus increasing motivation to read and process the ad (Goodstein 1993). Fourth, promotional metaphors, which are usually apt, comprehensive, and memorable, influence consumer beliefs and affect (Ward and Gaidis 1990). Another advantage of metaphors is their centrality to the process of imagination (Goldman 1986; Oliver, Robertson, and Mitchell 1993). According to Zaltman and Coulter (1995): "Without metaphors, we cannot imagine. They are the engines of imagination." Finally, McQuarrie and Phillips (2005) observed that consumers are more receptive to multiple, distinct, and positive inferences about the brand when metaphoric advertising is adopted.Metaphor has been portrayed as “an expression which describes a person or object in a literary way’ (Walter & Woodford 2005) and is the ‘result of some operation performed upon the literal meaning of the utterance…’ (Lakoff & Johnson 1980a: 453). This traditional way of defining metaphor had been used for centuries; and although currently deemed ‘false’ and obsolete (Lakoff 1993: 202), this traditional portrayal of metaphor can still be seen in the dictionary entry.Nonetheless, traditional views on metaphor were ultimately modified when Lakoff & Johnson (1980b) introduced a different approach to understanding and categorizing metaphor with their theory of conceptual 1National University of Ho Chi Minh City Bio Data Luu Trong Tuan is currently an EFL teacher at National University of Ho Chi Minh City. He received his M.TESOL from Victoria University, Australia in 2004. Besides his focus on TESOL, his recent publications such as Language Transfer is Cultural Transfer between Communities, Social Sciences Review , No. 11, 2004, pp. 60-63; and Principles for Scientific Translation, Social Sciences Review , No. 8, 2004, pp. 63-67; and Building Vietnamese Medical Terminology via Language Contact, Australian Journal of Linguistics , Vol. 29, No. 3, September 2009, pp. 315-336 show his interest in language contact and translation areas. *Received 15 July 2010; accepted 29 August 2010metaphor. In this theory, they argue that metaphors pervade our way of conceiving of the world and are encountered extensively in several of our languages, thoughts and actions (p. 3). A reason for such widespread use is potentially that, by definition, conceptual metaphor aids the understanding of the non-physical by contrasting and categorizing abstract concepts with physical reality (Kövecses 2002: 6); this would be hard, if not impossible, to accomplish without the use of metaphor (p. 7).Instances of abstract concepts employed to relate to physical realities include time, for example, that has been defined as a ‘continuum that lacks spatial dimensions’ (‘Time’ 2006). Due to a lack of physical depiction, human beings have had to relate to time with perceivable physical experiences in order to explicate it. In English language, time has been compared with motion, an adversary (Kövecses 2002: 285), a container (Lakoff & Johnson 1980b: 29), as well as money (p. 7). The phrase “spending time” is an illustration of money (use) being compared to time. Since a comparison is being made between concepts that evidently do not share physical properties (money-use, for example, is in no way physically similar to time that does not possess physical properties), these comparisons are utterly ‘metaphorical’.In marketing, a service, as an intangible product, lacks spatial dimensions; however, a product manufactured by a firm is a tangible entity with spatial dimensions. Numerous advertisements, nonetheless, are meant to seed value creation in customers, so market brands rather than products. Brands which lacks spatial dimensions are metaphorically expressed.2. LITERATURE REVIEWMetaphors in advertising literature has been primarily conceptual. Ward and Gaidis (1990) reviewed several models of metaphor comprehension and quality which were grounded in work from psychology and linguistics. Furthermore, Scott (1994) has argued for a theory of visual rhetoric to help researchers frame how meaning is constructed via visual arguments in advertisements. These contributions have provided both a call for, and a fertile ground for research into, the effects of metaphors in the marketing communication context.Those responding to the call have provided valuable insight into the effects of these advertising message strategies. Findings suggest that consumers spend more time looking at and processing ads that contain metaphors (Gray and Snyder 1989). MacInnis, Moorman and Jaworski (1991) argue that as executional cues, metaphors are interesting, they stimulate curiosity about the brand, and consequently, they result in deeper levels of processing. Pawlowski, Badzinski and Mitchell (1998) found that children's cognitive development plays a role in the comprehension of metaphors in ads, which in turn affects memory. They found that although young readers may have difficulty interpreting metaphors, there was a slight advantage in recall and perceptions compared to literal advertisements.A crucial consideration for advertising research is determining if metaphors are correctly interpreted or even understood by consumers. According to Ward and Gaidis (1990), comprehensibility is an important variable in the study of metaphors: "To be effective, a promotional metaphor must be minimally comprehended by its intended audience" (p. 636). Stern (1988) suggests that a significant proportion of the intended audience does not always "get" the intended meaning of the metaphor. Work by Phillips (1997) highlights the magnitude of metaphor comprehension in advertising. Phillips (1997) found that while strong pictorial implicatures (metaphors in which central meaning is manifest and difficult to misinterpret) were interpreted as the advertising creator intended, weak implicatures (those which require "work" by the viewer to interpret) were either misinterpreted, or solicited multiple divergent interpretations.3. ONTOLOGICAL AND STRUCTURAL METAPHORS According to Lakoff and Johnson (1980b), conceptual metaphors penetrate our understanding of the world around us. Metaphors are present in everyday speech, in every language, and are to a certain extent, culture specific (p. 3).76This perspective maintains that one conceptual domain, is comprehended via another conceptual domain, and is expressed as DOMAIN A IS DOMAIN B (Kövecses 2002: 4). DOMAIN A that refers to any abstract concepts (or source domains) is related in some way to DOMAIN B, concrete objects (or target domains). Our understanding of the workings or features of the concrete domains will help us partially relate to the abstract ones (p. 4). This process is unidirectional, or non-reversible; this implies that the target domain can not normally be comprehended via the source domain (p. 6). This is logical, as individuals need to be able to relate the concrete to the abstract in order to understand the less physical world. In addition, this is a highly automated process that is used unconsciously; as Lakoff and Turner (1989) put it,Metaphor is a tool so ordinary that we use it unconsciously and automatically… it isirreplaceable: metaphor allows us to understand ourselves and our world in ways that no othermodes of thought can. (xi)The use of capital letters, when referring to the domains, signifies that conceptual metaphors, being mental categories, are not necessarily expressed in a language. Nevertheless, all metaphorical expressions are written in lower-case letters (Kövecses 2002: 4). This signifies that conceptual metaphors in a language are expressed through metaphorical expressions.Even though all conceptual metaphors function according to the cognitive theory of metaphor illustrated above, there are different categories of classification. The metaphorical expressions structured by conceptual metaphors that will be investigated in this paper fall into two categories: structural and ontological metaphors. The disparity between these two types of metaphor is that structural metaphors include an extremely well-defined target domain that will help structure the abstract source domain (Kövecses 2002: 33). Ontological metaphors, on the other hand, do not have such a well-defined target domain (p. 34). Ontological metaphors purely categorize the abstract source domain into objects, substances, and containers and our understanding of the three is rather limited and quite general (Lakoff & Johnson 1980b: 25). If the mappings of the ontological metaphors were richer than they are, they would be considered structural metaphors (Kövecses 2002: 35).3.1 Ontological metaphorsOntological metaphors are one of the least noticeable types of conceptual metaphor (Lakoff & Johnson 1980b: 28). They enable us to understand our own experiences as regards concrete objects, by picking out certain parts of our own experiences from the whole in order to categorize, group and quantify them. In other words, we ‘impose artificial boundaries’ on abstract entities (Kövecses 2002: 25).BRAND IS A CONTAINEROne concrete reality encountered among the ontological metaphors that relates to brand, is a container, BRAND IS A CONTAINER. In the ensuing advertisement, whereas Yomost yoghurt contains ingredients derived from nature, Yomost brand contains more than that: the brand is a container of rhythms of life.Bản hòa tấu của những hương vị thảo nguyên(A concert of the flavors from the pasture)(Advertisement of Yomust yoghurt)The brands “Vinaphone” and “HTC” contain the entire world:Cùng Vinaphone và HTC Wildfire mang cả thế giới vào điện thoại di động của bạnVinaphone and HTC Wildfire bring the whole world into your cellphone.BRAND IS A VALUABLE RESOURCEAnother conceptual metaphor that structures the view of brand in Vietnamese advertising discourse is the BRAND IS A VALUABLE RESOURCE conceptual metaphor. This conceptual metaphor can be implicitly expressed in advertisements:77Du lịch Việt Nam - Vẻđẹp tiềm ẩn.(Vietnam tourism – the hidden charm)It can be explicitly expressed to highlight that brand value is linked to life:La Vie - Một phần tất yếu của cuộc sống(La Vie – the integral part of life)Ởđâu có sóng ởđó có sự sống.(Where there’s air – there will be life)(Mobifone’s advertisment of 3G)Or via a valuable commodity such as gold:Đầu tư ngay, tay chạm vàng(Invest instantly to touch gold)(Advertisement of The EverRich II apartments)Ensure Gold – Sống khỏe với trái tim vàng(Ensure Gold – Live healthily with a gold heart)BRAND IS A COMPANIONBrand, furthermore, is metaphorized as a companion who understands and supports customers in their quest for their own values in their life as well as their career. Take the following advertisements as examples: Tay trong tay trên đường thành công(Hand in hand on the journey towards success)(Advertisement of Fiat car in Tuoi Tre (Youth) Newspaper on October 16,2001)Người bạn đường dũng mãnh đang đến(A strong companion is approach)(Advertisement of Ford car in Tuoi Tre (Youth) Newspaper on June 5, 2001) In the examples above, even though “tay trong tay” can be understood as “Fiat car user’s hand on the car’s steering wheel” (in Vietnamese language, “tay” has two homonyms: “tay” implying “hand” and “tay” implying “steering wheel”) and “người bạn đường dũng mãnh” (a strong companion) can be discerned as “Ford car”, both Fiat and Ford mean to transfer their brand values to their customers and promote them to higher levels in society as well as push them towards opportunities. “Dũng mãnh” (strong) here denotes the power of the brands.The subsequent examples show that brand values are made prominent and obscure the concreteness of the products (FPT, S.J.C.) or services (AIA).FPT - Cùng đi tới thành công.(FPT – Towards success together)Gửi trọn niềm tin cho người dẫn đường tận tụy(Place all the trust on the guide)(Advertisement of AIA Insurance Company in Tuoi Tre (Youth) Newspaper onApril 13, 2001)S.J.C. – Người bạn chuẩn mực và tin cậy(S.J.C – A trustworthy friend)BRAND IS A GLADIATOR78An extension of ontological metaphors subsists in the form of personification. Personification is expressed in conceptual metaphors through a source domain that has been ascribed human characteristics (Lakoff & Johnson 1980b: 34).In the conceptual metaphor BRAND IS A GLADIATOR, we have traveled from comprehending BRAND IS A PERSON to comprehending brand in a specific way; we now acknowledge how to think about and act towards it (Lakoff & Johnson 1980b: 34). Brand values in the ensuing advertisements are personificated into gladiators fighting against any harms towards the beauty and the peace of human life: Mosfly – Hạ gục nhanh, tiêu diệt gọn(Mosfly – Defeat briskly, eradicate thoroughly.)OMO- Đánh bật 99 vết bẩn(OMO – Eliminate 99 sorts of dirt)Xóa đi dấu vết thời gian(Erase the traces of time)(Advertisement of DeBon in Heritage (Di Sản) magazine, issue December and January2001)3.2 Structural metaphorsUnlike ontological metaphors, the target domains in structural metaphors are understood through the intricate makeup and detailed knowledge we have of the source domains (Kövecses 2002: 33).The three versions of the BRAND IS MOTION conceptual metaphor that will be investigated in this paper embrace:1) The brand is deemed a point towards which the observer (customer) moves, as illustrated in the following ad in which customers move toward Vfresh brand:Trái tim ơi, để chắc ai đó thật sự quan tâm đến bạn, hãy tìm tôi(Heart! To be sure that person whole-heartedly cares for you, please find me.)(Vfresh soy milk)2) The observer (customer) is a point towards which the brand moves, as San Miguel brand is boldly rushing towards customers shaking things around:Long trời lở tuyết(Heaven shakes and snow falls)or Ajinomoto travels around the world to visit every customer:Vòng quanh thế giới, Ajinomoto.(Around the world, Ajinomoto)and Yomost brand moves towards you, carrying his love:Hãy để cánh bướm Yomost nối nhịp yêu thương(Let the Yomost butterfly connect heartbeats)3) The brand, in certain cases, moves, and customers move along. The advertisement below suggests consumers should move along the continuous technological innovation of Sony:Sony – luôn đi trước thời đại(Sony – always go ahead of time)794.CONCLUDING REMARKSMetaphors are the mappings of the abstract world into the concrete world through human senses or experiences. 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