Speaking in Parables: a Study in Metaphor and Theology
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Waking up from «Conjecture» As Well As from «Dream»
DOSSIER WAKING UP FROM «CONJECTURE» AS WELL AS FROM «DREAM» A presentation of AIME Text: Bruno Latour GAD Distinguished Lecture, American Anthropology Association meeting, Chicago 21st of November 2013 1 Abstract As every ethnographer knows, in addition to the many blunders every one of us commits in the course of our feldwork, there exist also graver mistakes when we sense a mistaken regime of reality granted to an entity. It is at those moments, usually the most revealing in the course of our inquiries, when we try to repair broken relations by some innovative move to defne the status of the contrasting realities that have been open to misinterpretation. During the last quarter century I have attempted, quite systematically, to increase the number of templates by which the so-called Moderns account for themselves; not, to be sure, in their ofcial representation (they remain staunch adepts of the Object-Subject Operating System and will swear that they are obedient naturalists), but by looking for the many occasions where they express dissatisfaction with such an ofcial view of themselves. What I think I have documented are the protestations by many diferent people that a skewed template is being used to account for the mode of existence of the agencies that are most attached to them. Keywords: method; ontology; modernism; inquiry; physical anthropology; diplomacy «Thus there would be two natures, (the world is made of objects and subjects, period) with the one is the conJecture bewildering number of entities they have never ceased to and the other is the dream» encounter or to generate along their path. -
Mastering the Metaphor
Mastering the Metaphor ACBS World Conference IX Colleen Ehrnstrom, Ph.D. Boulder, Colorado, USA www.actskillsgroup.com Many thanks to Chad Emrick and Carl Baccellieri and the Boulder ACT consultation group for their advice and feedback regarding this workshop. We utter about one metaphor for every 10 to 25 words, or about six metaphors a minute (Geary, 2011). Metaphors are represented in this presentation in both written and visual form. Metaphor: Picture is worth a 1000 words (embedded in computer metaphor) 1. Learn where metaphors fit into the infrastructure of the ACT model 2. Understand the basic science of metaphors 3. Know and apply the guidelines for using metaphors in therapy 4. Watch therapists use metaphors in the therapeutic context 5. Practice using some ACT metaphors in the therapeutic context Mechanistic versus Contextual Metaphor: Bank of a stream– Where does the bank end and the water begin? Functional Contextualism – given the context, what is the function? Metaphor: Google maps v floorplan – do you want to drive there or live there? Suffering is related to language Metaphor: Your words slice through me like knives RFT is the science behind ACT Metaphor: Driving a car without knowing the mechanics of it Pliance (“plys”) – compliance with verbal rules that are socially supported. Plys are typically our first introduction to rules. Examples: Eat 5 servings of fruits and vegetables to stay healthy Wear a coat – it is cold outside Metaphor: Go the extra mile What are your plys about doing ACT in the therapy room?? Plys are more prevalent because they do not require direct experience. -
The Use of Metaphor in Poetry
THE USE OF METAPHOR IN POETRY structure 3.0 - Aims and Objectives 3.1 Introduction 3.2 Traditional definition of metaphor 3.3 Distinction between simile and metaphor 3.3.1 Changein the trditidndunof metaphor 3.3.2 Difference between traditional and modern uses of metaphor 3.4 Simile and metaphor in a chain 3.4.1 Comptex metaphors 3.4.2 Symbd and conceit 3.5 Varieties of metaphor 3.5.1 Contemporary concept ofmetaphor 3.5.2 USe of me!apbor in modern poetry 3.6 imageas metaphor 3.7 Analogical and contextual notions of metaphor 3.8 Summing up 3.9 Activities: aids to answers 3.10 Glossary 3.0 AIMS ANI) OBJECTIVES This Unit discusses the use of metaphor in poetry. After going through it, you wiU learn that metaphor, like simite, is based on comparison between two dissimjlar the; the language we use being metaphoric in origin, some of our expressions have lost their original metaphoric character and have become dead metaphors; the traditional definition of metaphor as shortened simile has become modified in that metaphors.are not &&ed tidm simple logical comparisons; 0 dilethe traditional use ofwetaphor is for bringing out the points of similarity between two things, the mderh use of it is to make it serve as a ceqtral concept of the poem; in many poems the simik and the metaphor are indeed combined as in a chain. This suggests that though a siml is at the root of every metaphor, it is metaphor that - makes the poem vivid and symbolical; if the suggestecf-resemblane of the things compared is far-fetched or arbitrary, the metaphor acquires the character of a symbol or a conceit; * poets no longer consider a wtaphor as a distinct rhetorical element but associate it with other stylistic elements as 'metaphors'; * metaphor has become a condition of poetry and a means for the evocathn of connota~imand assoeiationscentral to the poem; in mdmpoetry,metaphar implies a transaction between contexts and kelps the overt meanings of images toacquire metaphoric significance; and . -
History and Practice English Magic
The History andof Practice English Magic C Folklore and fairies, magic and madness, as seen through the mirror of Susanna Clarke’s acclaimed fantasy novel, Jonathan Strange and Mr Norrell by John Reppion n March 2006 my wife, Leah, and I flew over to Dublin, Ireland for the first time in either of our lives as guests at the third annual Phoenix Convention (or P-Con, as most people Iknew it). The guest of honour that year was Susanna Clarke – author of Jonathan Strange & Mr. Norrell which had, at that point, already been out for eighteen months and won a Hugo Award. I, a chronically slow reader at the best of times, had not yet started reading the 800ish page novel, and I think that Leah was only part of the way through it. Nevertheless, we found that we got on well with Susanna and her partner, sci-fi writer Colin Greenland – who were both lovely, charming and funny – and the brief time we spent together over the course of the con was very enjoyable. It was perhaps two years later that I finally finished reading Jonathan Strange & Mr. Norrell. I have on 98 DARKLORE Vol. 9 The History and Practice of English Magic 99 only a couple of occasions in my life finished a book and at once turned published on The Daily Grail (www.dailygrail.com), now collected, to the front to begin reading it again. I thought about doing that with polished, and presented here for your consideration. Strange & Norrell but I am, as I have said, a very slow reader. -
Old Norse Mythology and the Ring of the Nibelung
Declaration in lieu of oath: I, Erik Schjeide born on: July 27, 1954 in: Santa Monica, California declare, that I produced this Master Thesis by myself and did not use any sources and resources other than the ones stated and that I did not have any other illegal help, that this Master Thesis has not been presented for examination at any other national or international institution in any shape or form, and that, if this Master Thesis has anything to do with my current employer, I have informed them and asked their permission. Arcata, California, June 15, 2008, Old Norse Mythology and The Ring of the Nibelung Master Thesis zur Erlangung des akademischen Grades “Master of Fine Arts (MFA) New Media” Universitätslehrgang “Master of Fine Arts in New Media” eingereicht am Department für Interaktive Medien und Bildungstechnologien Donau-Universität Krems von Erik Schjeide Krems, July 2008 Betreuer/Betreuerin: Carolyn Guertin Table of Contents I. Abstract 1 II. Introduction 3 III. Wagner’s sources 7 IV. Wagner’s background and The Ring 17 V. Das Rheingold: Mythological beginnings 25 VI. Die Walküre: Odin’s intervention in worldly affairs 34 VII. Siegfried: The hero’s journey 43 VIII. Götterdämmerung: Twilight of the gods 53 IX. Conclusion 65 X. Sources 67 Appendix I: The Psychic Life Cycle as described by Edward Edinger 68 Appendix II: Noteworthy Old Norse mythical deities 69 Appendix III: Noteworthy names in The Volsung Saga 70 Appendix IV: Summary of The Thidrek Saga 72 Old Norse Mythology and The Ring of the Nibelung I. Abstract As an MFA student in New Media, I am creating stop-motion animated short films. -
A Rhetorical Model for Homiletics. Rodney Kennedy Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 The piE stemic Power of Metaphor: A Rhetorical Model for Homiletics. Rodney Kennedy Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kennedy, Rodney, "The pE istemic Power of Metaphor: A Rhetorical Model for Homiletics." (1990). LSU Historical Dissertations and Theses. 5063. https://digitalcommons.lsu.edu/gradschool_disstheses/5063 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Workers in the Vineyard
Workers in the Vineyard This parable (Mt 20:1-16) is about several workers who are hired by a land owner, over different periods of time. In the evening, the workers who are hired first expect to be paid more than those hired later. But the owner pays all of the workers equally. Land Owner: Most of the productive land was held by large-scale elite owners. From the First Temple period through the Second, a pronounced shift in the patterns of land tenure took place, shifting from smallholders producing the Mediterranean triad of grain, grapes and olives for subsistence to large estates orientated to large-scale production and export crops. The owner in this parable is one of the wealthy sub-elites who owned large estates and converted the land to viticulture dedicated to the production of export crops. Laborers: The social order consisted of a patron-and-client society of unequal relationships with the estate owners assuming the role of patrons and those who have lost the land becoming their clients. In such a relationship the client’s wellbeing is determined by the closeness of rapport he maintains with the patron. The landless laborers in the parable did not belong to the ambit of such a relationship. They were outside of any assured protection and regular work opportunity and, hence, more vulnerable to be deprived of their basic wages even on rare occasions when they found a work to do. Early workers: The working hours of the Israelites were 12 and was counted from 6:00 A.M. -
Detecting Novel Metaphor Using Selectional Preference Information
Detecting novel metaphor using selectional preference information Hessel Haagsma and Johannes Bjerva University of Groningen The Netherlands Abstract costs an arm and a leg.’ and the Dutch ‘Dit lesboek kost een rib uit het lijf.’ (lit. ‘This textbook costs a Recent work on metaphor processing often rib from the body.’) to be mapped to the same mean- employs selectional preference information. ing representation, which should not include refer- We present a comparison of different ap- ences to any of the body parts used in the idiomatic proaches to the modelling of selectional pref- erences, based on various ways of generaliz- expressions. ing over corpus frequencies. We evaluate on In this paper, we focus on one area of figurative the VU Amsterdam Metaphor corpus, a broad language processing, namely the detection of novel corpus of metaphor. We find that using only metaphor, and especially the utility of selectional selectional preference information is enough preference features for this task. By doing this, we to outperform an all-metaphor baseline clas- hope to answer a two-fold question: can selectional sification, but that generalization through pre- preference information be used to successfully de- diction or clustering is not beneficial. A pos- tect novel metaphor? And how do generalization sible explanation for this lies in the nature of the evaluation data, and lack of power of se- methods influence the effectiveness of selectional lectional preference information on its own preference information? for non-novel metaphor detection. To bet- ter investigate the role of metaphor type in 2 Background metaphor detection, we suggest a resource with annotation of novel metaphor should be 2.1 Types of metaphor in language created. -
Tales of the Narts: Ancient Myths and Legends of the Ossetians
IntRODUctION THE OSSETIAN EpIC “TALES OF THE NARTS” VASILY IvANOVICH ABAEV 1 w CYCLES, SubjECTS, HEROES In literary studies it is established that the epic poem passes through sev- eral stages in its formation. To begin we have an incomplete collection of stories with no connections between them, arising in various centers, at various times, for various reasons. That is the first stage in the formation of the epic. We cannot as yet name it such. But material is in the process of preparation that, given favorable conditions, begins to take on the out- lines of an epic poem. From the mass of heroes and subjects a few favorite names, events, and motifs stand out, and stories begin to crystallize around them, as centers of gravity. A few epic centers or cycles are formed. The epic enters the second stage of cycle formation. In a few instances, not all by any means, it may then attain a third stage. Cycles up to now unconnected may be, more or less artificially, united in one thematic thread, and are brought together in one consistent story, forming one epic poem. A hyper- cyclic formation, if one can use such a term, takes place. It may appear as the result of not only uniting several cycles, but as the expansion of one favorite cycle, at the expense of others less popular. This is the concluding epic phase. The transformation to this phase is frequently the result of individual creative efforts. For instance, the creation of the Iliad and the Odyssey Opposite page: A beehive tomb from the highlands of North Ossetia. -
Ockham's Razor, Truth, and Information
Ockham's Razor, Truth, and Information Kevin T. Kelly Department of Philosophy Carnegie Mellon University [email protected] March 11, 2008 Abstract In science, one faces the problem of selecting the true theory from a range of al- ternative theories. The typical response is to select the simplest theory compatible with available evidence, on the authority of \Ockham's Razor". But how can a ¯xed bias toward simplicity help one ¯nd possibly complex truths? A short survey of standard answers to this question reveals them to be either wishful, circular, or irrelevant. A new explanation is presented, based on minimizing the reversals of opinion prior to convergence to the truth. According to this alternative approach, Ockham's razor does not inform one which theory is true but is, nonetheless, the uniquely most e±cient strategy for arriving at the true theory, where e±ciency is a matter of minimizing reversals of opinion prior to ¯nding the true theory. 1 Introduction Suppose that several or even in¯nitely many theories are compatible with the infor- mation available. How ought one to choose among them, if at all? The traditional and intuitive answer is to choose the \simplest" and to cite Ockham's razor by way of justi¯cation. Simplicity, in turn, has something to do with minimization of entities, de- scription length, causes, free parameters, independent principlies, or ad hoc hypotheses, or maximization of unity, uniformity, symmetry, testability, or explanatory power. Insofar as Ockham's razor is widely regarded as a rule of scienti¯c inference, it should help one to select the true theory from among the alternatives. -
Narrative and Metaphor As Conceptual Tools for Understanding Evolution Theory
Narrative and Metaphor as Conceptual Tools for Understanding Evolution Theory Paper for the Proceedings of the International Conference „Innovazione nella didattica delle scienze nella scuola primaria e dell’infanzia’ 21-22 Novembre 2014 Università degli Studi di Modena e Reggio Emilia. Jörg Zabel Institute for Biology Biology Education Johannisallee 21-23 04103 Leipzig, Germany e-mail: [email protected] phone: +49 (0) 341 97-36641 fax: +49 (0) 341 97-36899 http://www.uni-leipzig.de/~biodidak/ Abstract Human beings ‘make sense of the world by telling stories about it’ (Bruner 1996, p.130). Thus, meaningful narrative explanations cannot simply be replaced by scientific conceptions that are contradictory to the learner's experimental realism (Gropengiesser 2003). This is specifically relevant in those domains of science where conceptual change in favour of scientific explanations is difficult to achieve, e.g. the theory of evolution. Learners tend to make sense of the phenomena in their own, non-scientific way that includes intentional and teleological explanations. This paper focuses on the role of a so-called ‘narrative mode of thought’ (Bruner 1996) for meaning making in the science classroom. We present results from a study in lower secondary school (age 12-13 ys.), exploring how students make sense of adaptation phenomena. Before and after a teaching sequence on the theory of evolution, students explained the evolution of modern whales from their terrestrial ancestors by writing narrative or non-narrative texts on the issue. Text analysis, combined with student interviews, revealed students' conceptions and their individual methods of making sense of adaptation phenomena. -
THE GOOD SAMARITAN AS METAPHOR Robert W
THE GOOD SAMARITAN AS METAPHOR Robert W. Funk University of Montana ABSTRACT The parable of the Good Samaritan is commonly under stood as an example story, offering an example of what it means to be a good neighbor. But the parable does not invite the hearer to view it as an example of what it means to be a good neighbor. Rather, it invites the auditor to be the victim in the ditch, as a careful reading indicates. The "meaning" of the parable is the way auditors take up rôles in the story and play out the drama. As a drama into which the hearers are drawn, the parable suggests that in the Kingdom mercy is always a surprise. 0. Literary and biblical critics have always deemed it an important matter to determine the kind of language being used in any text to be interpreted. In some cases it is crucial. For example, the argument over whether the parable of the Good Samaritan is a parable or an example story can be settled only in conjunction with determining the nature of the language. The view advocated here is that the Good Samaritan is metaphorical and there fore not an example story (cf. Funk: 199-222). This understanding runs counter to both the ancient and the modern traditions of interpretation. Dominic Crossan has joined the battle on the side of metaphor, while Dan Via has supported the older view with structuralist arguments (Semeia 1, 1974). The Good Samaritan is a particularly interest ing case because the story is felt to be a powerful symbol in the Jesus tradition and yet it is taken literally by most interpreters.