Aspects of Physical and Cultural Embodiment in Language
This volume has its origins in an international conference on emotions organized by the Polish Association for the Study of English and held at the University of Wrocław in April 2015. In the course of the conference, it became clear that emotions are productively explored with relation to motion for the reason that emotion(s) and motion(s) constitute profoundly intertwined dimensions of physical and cultural embodiment reflected in language. The relationship between motion(s) and emotion(s) became the underlying theme of this volume, which comprises nineteen contributions presenting exploratory and applicative accounts of (e)motion(s) situated in topical research areas of linguistic theory, second language acquisition, and translation studies.
Cumulative representations of diegetic motion events in comics: A linguistic analysis
Abstract: In this paper, situated in the burgeoning field of multimodal cognitive linguistics, I examine the so-called polyptychal and polymorphic motion signs — two kinds of conventional signs deployed by creators of comics as visual representations of episodic motion events — and demonstrate that their visual structure is in many ways similar to, but also different from, the semantic structure of episodic nouns, which was previously theorized from the cognitive linguistic perspective as imposing a cumulative construal on episodic events, whereby the successive phases of an episodic event are not captured as taking place in a serial order, that is, one after the other, with only one phase occurring at any given moment in the course of the event, but are instead conceived of as co-occurring components of an abstract object. In the course of this exploration, I interpret the analogies observable between the visual structure of polyptychal and polymorphic motion signs and the semantic structure of episodic nouns as motivated by the commonality of their function and argue that the principal disanalogy observable between them is ultimately based in the differences concerning the material constitution of these visual and linguistic signs. By providing this account of polyptychal and polymorphic motion signs, I offer a modest contribution to the cross-section of comics scholarship and cognitive linguistics. Specifically, I contribute to comics scholarship by formulating a principled analysis of the visual structure of two conventional means of capturing motion in comics and by framing this analysis in terms of cognitive grammar...
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