These words were not linguistic realisations of any

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Unformatted text preview: rumps 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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This essay was uploaded on 02/24/2014 for the course LING 1100 taught by Professor Friedman during the Fall '09 term at Cornell University (Engineering School).

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