Browsing by Subject "Metaphor"

Now showing 1 - 13 of 13

Open Access
15 yüzyıldan 18 yüzyıla kasidelerde ideal hükümdar portresi ve hükümdarın metaforik sunumu
(2013) Onay, Ebru
Originated from the question how the sovereignty of sultan affected and shaped the mind of “Homo-Ottomanicus”, this project focuses on the portrayal of the Ottoman sultans in qasidas in general and the metaphorical presentation of them in particular. With a specific emphasis on the importance of the perspectives qasidas can provide for the research, a number of qasidas written for the reigning sultan by Ahmad Pasha, Bâkî, Nef’î, and Nedîm in their Turkish divans have been examined in the thesis. It is observed that in qasidas the sultan is generally depicted as fair, generous, benign, and good warrior and this feature was a result of the circle of equity inherited from Persian- Arabic- Indian ruling tradition -or rather an idiosyncratic amalgamation of them. With a specific eye to the functions of the comparisons and analogies between the Ottoman sultans and heroes from Persian and Islamic mythologies, the importance of comparisons and analogies in strengthen of the power of the sultans is discussed. This being done, I attempt to examine the metaphorical presentation and representation of the Ottoman sultans in selected qasida examples from aforementioned poets. In this main part, George Lakoff and Mark Johnson’s influential work on metaphor, Metaphors We Live By, is applied as theoretical frame. Lakoff and Johnson assert that metaphors are not merely simple linguistic devices to add some aesthetic value to our statements and literary expressions but rather an intrinsic component of our cognitive process, hereby, could provide us an elusive resource to get a better understanding of mind, and the ways it functions. On the bases of this argument, the metaphorical employment of the language in selected qasidas are examined to get the climate of mind in terms of the relationship between sultans and their subjects in the Ottoman Empire. It has been observed that in concerning qasidas from four divans, the sultan is generally portrayed as “aloft” and “ahead” while the subject is portrayed as “beneath” and “behind”. Furthermore, the sultan is depicted in these poems as a “shadow” offers protecting, “a sanctuary” to take refuge in, and an “aesthetic creature” or an “ornament” with the power to embellish its surroundings. The frequency of using these metaphors is changing over the concerning periods whereas in Nedîm’s Divân the number of the “ornament metaphors” for the sultan increases significantly compared to the other three divans. After discussing the possible reasons and meaning of this turn in metaphorical employment, the project compares its findings with the conventional arguments regarding the Ottoman sultans in European centred readings. It is claimed that as the representative of authority and power, the Ottoman sultan is depicted contradistinctively as “protector-shelter” in qasidas rather than as “the despotic father” that the European centred readings have claimed him to be so far.
Open Access
Atasözlerinde metaforların işleyişi
(Geleneksel Yayıncılık, 2010) Erdem, Servet
Metaforların atasözlerinde nasıl işlediği üzerine yapılan bu çalışma, metafor gibi anlamın örtülmesini sağlayan bir edebi sanatın atasözlerinde neden kullanıldığı sorusuna yanıt getirmeyi amaçlamaktadır. “Seçme” ve “yer değiştirme” işlemi olarak tanımlanan metafor, bir örtmeyi- anlamın örtülmesi- beraberinde getirir ve iletinin karşıdakine hemen, etkili bir şekilde aktarılmasını amaçlayan atasözleri için bu ilginç bir durumdur. Metaforların atasözlerinde kullanım nedenleri, onların bu söz formlarında nasıl işlediklerini de ortaya koymaktadır. Metaforun atasözlerindeki kullanımının şiirdekiyle karşılaştırmalı olarak incelenmesi bu iki alandaki kullanımın birbirinden farklı olduğunu göstermektedir. Atasözlerindeki metaforlar, bir gelenek içinden gelmezler. Denilebilir ki her metafor burada tek kullanımlıktır. Bu nedenle, atasözlerindeki metaforların çözülmesi atasözünün kullanıldığı bağlama -sosyal duruma- göre olacaktır. Atasözlerindeki metaforlar, bir gösteren ve gösterilen ilişkisiyle işlemektedir; ancak burada “gösteren”in işaret ettiği “gösterilen” kümesi klasik şiirde olduğundan çok daha geniştir. Böylelikle atasözlerinde metafor kullanımı bu özlü söz formlarının daha fazla durum için kullanılabilmesini sağlamaktadır. Bu çalışmaya göre, atasözlerinde metafor kullanımının iki büyük nedeni vardır: biri “söz ekonomisi” ve diğeri “etkinin güçlendirilmesi”.
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Büyük yazınsal günah
(1979) Yavuz, Hilmi
Open Access
A critique of Davidsonian theories of Metaphor
(2022-01) Gürsoy, Zeynep
With their rich imagery and unique effects they generate, metaphors have been used in a variety of discourse. But what are their functions in language and communication? Which mechanisms govern the metaphorical interpretation? These fundamental questions fueled dissensus between different theories of metaphor in philosophical and linguistic frameworks. In the emergence of this ongoing debate, Davidson’s rejection of a special category of metaphorical meaning and his characterization of metaphor in terms of a special effect had an influential role. Lepore and Stone side with the Davidsonian tradition. By stressing the creativity of the user against the conventionality of content, they argue that metaphorical content is open-ended and semantically indeterminate. Moreover, Lepore and Stone ground these arguments in their distinction between imagination and convention, as well as in the notion of conversational record, which are fundamental to their inquiry-based model of language and communication. In this thesis, I present a critique of Davidsonian theories of metaphor, by particularly focusing on their argument from open-endedness. I argue that we must distinguish between two types of metaphors: poetic/creative and ordinary. I claim that ordinary metaphors are not open-ended in the way Lepore and Stone understand them to be. By offering a new interpretation of open-endedness, I illustrate how literal content can, in this regard, be similar to metaphorical. To solve potential challenges of my radical view, rather than providing a pragmatic or contextualist account, I turn to Fillmore’s notion of frames and illustrate the role of information, embedded in lexical items, on our understanding of literal and metaphorical content.
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Death of/as metaphor
(1966) Brooks, Peter
Open Access
Differential translation: A proposed strategy for translating polysemous language in German philosophy
(John Benjamins Publishing Company, 2017) Hawkins, S.
Translators of German philosophy into English must often choose whether to express concrete or abstract meanings for polysemous German keywords. This article discusses "differential translation," a widely underestimated strategy for representing polysemous words in translation. Disavowing both untranslata-bility and the necessity of terminological equivalence, this strategy integrates signs of polysemy into the reading experience by presenting foreign keywords in brackets after their differing, context-dependent meanings. The article discusses how translators have already responded and how they might respond even more constructively to passages where Edmund Husserl, Martin Heidegger, and Hans Blumenberg, respectively, choose words that link abstractions to images: by presenting existence as both foundational and ground-like (gründlich), time as both fluctuating and fluid (strömend), and common sense as both obvious and nearby (naheliegend). Encountering differentially translated texts would challenge future scholars to evaluate the unity of the concepts behind the words. © John Benjamins Publishing Company.
Open Access
The invention of wine and its meaning as a myth
(2008) Akgül, A.
Hasan Özdemir's article, entitled, "Şarabi{dotless}n İcadi{dotless} ve Dört Vasfi{dotless}" (The Invention of Wine and Its Four Characteristics) is one of the most interesting applications of Historic-Geographic Theory. In this article, Özdemir carries out a thorough piece of research on "the tales of the invention of wine" which spread different regions of the world. He also tries to find an "ur-form" of them. In these tales, Noah decided to plant a vineyard and Satan came to see him and then Satan took a peacock, a monkey, a lion and a pig, slit their throats and sprinkled the vine-stock with their blood. For this reason, people who drink wine begin to resemble to those animals in proportion to their amount of drinking. In other words, as long as a person drinks a wine, he/she will resemble to a peacock, a monkey, a lion, a pig, respectively. Özdemir claims that these tales are formed in The Near East and then they are transmitted to Europe. On the other hand, they can also be analyzed by using Structuralist Theory. The theory depends on some "binary oppositions" such as "syntagm/paradigm or metonymy/metaphor" and each dichotomy includes two fundamentals of language. Claude Lévi-Strauss, who is regarded as one of the foremost structuralist anthropologists, generally reduces "myths" to binary oppositions. Lévi-Strauss asserts that myths have a meaning which is supposed to be conveyed to the new generations, but, according to Strauss, the meaning is always embedded in dichotomies like "syntagm/paradigm or metonymy/metaphor" which can be inferred by using the elements of the myths. Tales of the invention of wine have also a universal binary opposition: good/bad. The dichotomy, in these tales, is reproduced as Noah/Satan. While Noah tries to make beneficial things like grape-juice or grape molasses, Satan wants to make harmful things like wine. If a scholar wants to extend these kinds of binary oppositions to the animal world which is mentioned in these tales, he/she would discover another interesting dichotomy: peacock/pig. Since the pig is close to human beings in terms of genus, people become anxious when they look like pigs, however, the peacock is not close to a human being in terms of genus; therefore people do not care about resembling to peacocks. The closeness between pig and human being makes the difference between humans and animals blurred and this creates anxiety that human beings resemble pigs when they drink too much.
Open Access
Kenneth Waltz talks through Mark Rothko: visual metaphors in the discipline of international relations theory
(De Gruyter Mouton, 2019) Güner, Serdar Ş.
Semiotics constitutes an untapped and interdisciplinary source of enrichment for the discipline of International Relations (IR) theory. We propose two visual metaphors to that effect to interpret the figure depicting the central claim of structural realism (SR) offered by late Kenneth Waltz who is one of the most disputed, read, and inspiring IR theorists. The figure is the tenor of both metaphors. The vehicles are two paintings by Mark Rothko, namely, “Green and Tangerine on Red” and the “Number 14.” The metaphors generate innumerable meanings for the tenor and eliminate the criticism that SR is a static and an ahistorical theory. Thus, they benefit the Discipline characterised by academic cleavages on the meaning of theory, science, and production of knowledge.
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Linguistic models and recent criticism: Transformational-generative grammar as literary metaphor
(1990) Henkel, Jacqueline
Open Access
Oktay Rifat şiirinde güneş'in üç hali
(2005) Akgül, Alphan
The poetic transformation, which Oktay Rifat (1914-1988) has experienced since his titled Perçemli Sokak (1956), corresponds to a process moving from “language” towards “perception”. After this work Rifat used the “sun” as an object of analogy reducing it to “similarities” and after Çobanıl Şiirler (1976), he used the “sun” as a natural object of “perception”. Rifat’s employment of “nature” by reducing it to similarities turns into a unique style, which corresponds to the styles of interpretation of not only archaic societies but also of despotic ones. After Perçemli Sokak the relationships of similarities may be observed through the concepts of equivalence principle and metaphor. In his poems in which the tenor and the vehicle appear together, Rifat produces a plurality that is reduced to similarities. Because in these poems the sun is treated equivalently with the things that are likened to it in terms of any one of their specific characteristics. In this sense, according to their occurrences in Rifat’s poems, equivalences such as “sun-shepherd”, “sun-father”, “breasts-sun”, “sunmillet”, “sun-sword”, and “sun-memory” are typical. The usage of “sun” reduced to such similarities can only be observed in the poems “Denklem” and “Kaval” in Elifli (1980), and “Gün Doğuyor” in Denize Doğru Konuşma (1982), all of which were published after Çobanıl Şiirler. In Rifat’s “sultan poems” in Yeni Şiirler (1973), what prevails is the employment of the metaphorical language. In these poems, the sun is in close relationship with the “palace metaphor”, which Ahmet Hamdi Tanpınar considered to be a concept that can be identified with the general structure of the Ottoman Poem. The fact that this concept of “palace metaphor” is based on the similarity relationships between the qualities of the “sun” and the “sultan”, made it possible to establish a similarity with “sultan imagery”, emphasized by the “sultan poems” in Yeni Şiirler. The parallelism which is compatible with the content of the “palace metaphor”, constructed between the burning effect of the sun and the mortality of the sultan, is reproduced in Rifat’s poem in order to create a “singular” discourse by constructing the metaphors of sultan, using the words “executioner”, “cruel”, “hyena” and “lion”. The expression “orange bird”, in “The Earthquake of 1509 ”, may be added to this singular discourse in terms of its correspondence with the image of “Sultan” in Ahmet Paşa’s (d.1496/7) “Güneş Kasidesi”. After Çobanıl Şiirler, however, Oktay Rifat may be said to have shifted from the employment of equivalence principle and metaphor into a kind of poem in which the use of metonymy is dominant. In the applications of metonymy, the sun is represented not by the things that resemble it, but by any of its natural qualities that correspond to its different appearances in nature. The sun’s metonymic usage, by being reduced to its different appearances in nature, made it possible to produce a “plural” discourse.
Open Access
The riddle as an act of creating metaphor
(2002) Cankara, M.
This essay is on the relationship between riddles and metaphors. The concepts employed to examine this relationship are borrowed from Roman Jakobson.
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Siyah (bir metafor olarak karga)"
(1998) Sarı, Ahmet
Open Access
Slang : an anonymous product of folk literature
(2006) Terzioğlu, Öykü
In Ottoman Turkish, the terms "lisan-i hezele" (language of vulgar people) and "lisân-erâzil" (language of the ignoble) are used to correspond to the meaning of the word "argo" (slang), the usage of which is still not generally approved of. The discussion about whether to classify slang, having numerous unfavorable connotations, as an anonymous product of folk literature will constitute the essential point of this text; the esthetical characteristics of slang besides its social functions will therefore be surveyed, taking as a point of departure the analogy made by G. K. Chesterton between slang and poetry in terms of their common denominator which is the use of metaphor. Putting it all together, it will be held that slang actually is a product of folk literature, in that it echoes how peoples think, make sense of things and how they act, in a truely aesthetic manner assisted by the use of literary devices which, according to George Lakoff reflect their thinking patterns.