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or a well equipped and trained army), but also luck are important to
achieve victory. In the present data the words from the lexical fields of
both games of luck and chess are used. Like in Clausewitz, they highlight
the significance of luck in war, but they are also used to refer to a phase
of war (‘gambit’, ‘protracting the game’). The last example motivated by
the Source Domain GAME is particularly interesting as it combines game
imagery with the literal and a metaphoric use of the word ‘front’. This can
be an evidence of the activation of a mixed metaphor (WAR IS A GAME +
POLITICS IS WAR).
The geometrisation of war is related to the drawing of tactical
maps, where, like in most cartography, the world is reduced to a handful
of geometric symbols. Such reduction, naturally, dehumanises the soldiers
to lines and points, hiding the fact that it is real people who are wounded,
mutilated or killed on these ‘lines’ and ‘points’. The idea of scale also
clearly links war with geometry and cartography, allowing a distant perspective, enabling the authorities to compare one war to another as well as
encouraging the WAR IS BUSINESS point of view. It disregards the individual perspective, where death and suffering are petrifying, unwanted experiences regardless of the number of people they may affect. 120 Chapter IV The concept of ‘balance’ is inherently linked to the concept of
‘force’. Talmy (2000) identifies balance of strengths as an element of the
force-dynamic frame. It is therefore not surprising that BALANCE tends to
appear as a source when force-related targets are intended. Stockwell
(2002), for example, notes that Shakespeare’s Richard II is constructed
around the BALANCE metaphor, which functions as a megametaphor or
discourse-structuring metaphor in the play. In the Falklands war data,
BALANCE underlies expressions concerned with the political dispute
which may lead to war, so that these expressions may be regarded as referring to ‘politics’ as well as ‘war’. In any case, though, the result of the
weighing of political pros and cons here is war. This balancing, apart
from being intrinsically related with FORCE, is the major scheme underlying the WAR IS BUSINESS metaphor.
The activation of the Source Domain of NATURAL FORCE highlights the intensity of war; simultaneously it hides the human agent, apparently removing the responsibility for war brutality from the authorities
who decided to launch it.
RAPE, like POLITICS, ARGUMENT and WAR is a particular realisation
of the scheme of conflict based on the concept of force, which makes it a
suitable input for mappings. Its use highlights the violent nature of war
and implies that it is illegitimate.
The DISEASE metaphor in this case implicates a certain intensity
and lack of control.
2.1.3. Other rhetorical strategies
The qualitative analysis has also isolated a group of semantically related
words which played an important role in the construction of the wa...
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