This is how one of the acts of this play ends we dont

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Unformatted text preview: those metaphors which do not cluster in chains within one text, but constitute single instances in a particular text. They reappear, cross-textually, in the discourse on the given topic over time. I call these metaphors isolated metaphors, and the section is named so as well.3 The qualitative analysis of each subcorpus ends with a section on other rhetorical strategies deemed important for the given topic. They may but do not necessarily have to involve metaphorical expressions and is called Other rhetorical strategies. As these three types of rhetorical strategies were not always identified in the investigated texts, the analysis of the texts concerning various conflicts may consist of a different number of subsections. 2 The rationale behind the structure of data presentation is repeated here after Section 2.7. of Chapter One for to facilitate the reading of the present chapter. 3 My isolated metaphors operate at the level of text and should not be confused with Lakoff – Johnson’s (1980: 54) idiosyncratic metaphors which operate at the conceptual level. Isolated metaphors in my sense, are lexical realisations which do not create a chain, do not influence paragraph structure. On the conceptual level they can come from a rich, well-elaborated, complex metaphor. A qualitative analysis of war news 113 2.1.1. Paragraph-structuring metaphors The qualitative analysis of data, consisting in the close reading of all the collected texts, showed that, on the whole, the activated metaphors had little influence on the structure of the article. Only one commentary, that by Zdzisław Antos entitled “Falklandy-Malwiny: Groteska czy dramat” [The Falklands–Malvinas: A grotesque or a drama] from April 30th – May 2nd 1982, exploited the conceptual metaphor WAR IS A THEATRE extensively. A major part of the article was structured around this metaphor, so that its lexical realisations played a clear discursive function, as evidenced in the following sentences: (1) Tak kończy się jeden z aktów sztuki, o której jeszcze nie wiemy, czy okaże się groteskowym widowiskiem, czy krwawym dramatem o nie ustalonym jeszcze tytule. ‘This is how one of the acts of this play ends. We don’t know yet if this play will turn out to be a grotesque show or a bloody drama of an as yet unknown title.’ (Mappings: Stages of War are Acts of a Play, War is a Play, War is a Grotesque Show, War is a Bloody Drama4) Ale na razie oglądamy w telewizji niezwykłe widowisko ‘So far we have been watching an unusual show on television.’ (This is not a metaphorical expression. It refers to the farewell ceremony for the British fleet setting off to the South Atlantic. It does, however, elaborate the details of the vehicle.5) Wspaniała okazja do nakręcenia historycznych, batalistycznych filmów. ‘A wonderful opportunity to make historical battle films.’ (Again, this is an elaboration of the Vehicle.) Największy show od czasu brytyjsko-francuskiej wyprawy do Suezu w 1956 roku. ‘The biggest show since the British-French expedition to Suez in 1956.’ (Mapping: War is a Spectacle) Widowisko ma kostiumowe akcenty. ‘The show has costume overtones.’ (Mapping: War is a Spectacle) (2) (3) (4) (5) 4 Following the convention introduced in Lakoff – Johnson (1999) I will capitalise the first letters only when positing the possible conceptual mappings. 5 See Barnden (2007), footnote 1, this chapter. 114 Chapter IV (6) skompletowanie rekwizytów ‘the collecting o...
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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.

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