This groundbreaking collection of essays by a host of international authorities addresses the many aspects of the Danse Macabre, a subject that has been too often overlooked in Anglo-American scholarship. The Danse was once a major motif that occurred in many different media and spread across Europe in the course of the fifteenth century, from France to England, Germany, Scandinavia, Poland, Spain, Italy and Istria. Yet the Danse is hard to define because it mixes metaphors, such as dance, di ...

Mixing metaphors in speech, writing, and even gesture, is traditionally viewed as a sign of inconsistency in thought and language. Despite the prominence of mixed metaphors, there have been surprisingly few attempts to comprehensively explain why people mix their metaphors so frequently and in the particular ways they do. This volume brings together a distinguished group of linguists, psychologists and computer scientists, who tackle the issue of how and why mixed metaphors arise and what communicative purposes they may serve. These scholars, almost unanimously, argue that mixing metaphors is a natural consequence of common metaphorical thought processes, highlighting important complexities of the metaphorical mind. Mixing Metaphor, for the first time, offers new, critical empirical and theoretical insights on a topic that has long been ignored within interdisciplinary metaphor studies.

Critics shudder at mixed metaphors like 'that wet blanket is a loose cannon', but admire 'Life's but a walking shadow, a poor player', and all the metaphors packed into Macbeth's 'Tomorrow, and tomorrow, and tomorrow' speech. How is it that metaphors are sometimes mixed so badly and other times put together so well? In Mixed Metaphors: Their Use and Abuse, Karen Sullivan employs findings from linguistics and cognitive science to explore how metaphors are combined and why they sometimes mix. Once we understand the ways that metaphoric ideas are put together, we can appreciate why metaphor combinations have such a wide range of effects. Mixed Metaphors: Their Use and Abuse includes analyses of over a hundred metaphors from politicians, sportspeople, writers and other public figures, and identifies the characteristics that make these metaphors annoying, amusing or astounding.

Critics shudder at mixed metaphors like 'that wet blanket is a loose cannon', but admire 'Life's but a walking shadow, a poor player', and all the metaphors packed into Macbeth's 'Tomorrow, and tomorrow, and tomorrow' speech. How is it that metaphors are sometimes mixed so badly and other times put together so well? In Mixed Metaphors: Their Use and Abuse, Karen Sullivan employs findings from linguistics and cognitive science to explore how metaphors are combined and why they sometimes mix. Once we understand the ways that metaphoric ideas are put together, we can appreciate why metaphor combinations have such a wide range of effects. Mixed Metaphors: Their Use and Abuse includes analyses of over a hundred metaphors from politicians, sportspeople, writers and other public figures, and identifies the characteristics that make these metaphors annoying, amusing or astounding.

Traditional thinking on metaphors has divided them into two camps: dead and alive. Conventional expressions from everyday language are classified as dead, while much rarer novel or poetic metaphors are alive. In the 1980s, new theories on the cognitive processes involved with the use of metaphor challenged these assumptions, but with little empirical support. Drawing on the latest research in linguistics, semiotics, philosophy, and psychology, Cornelia Müller here unveils a new approach that refutes the rigid dead/alive dichotomy, offering in its place a more dynamic model: sleeping and waking. To build this model, Müller presents an overview of notions of metaphor from the classical period to the present; studies in detail how metaphors function in speech, text, gesture, and images; and examines the way mixed metaphors sometimes make sense and sometimes do not. This analysis leads her to conclude that metaphors may oscillate between various degrees of sleeping and waking as their status changes depending on context and intention. Bridging the gap between conceptual metaphor theory and more traditional linguistic theories, this book is a major advance for the field and will be vital to novices and initiates alike.

This book discusses a number of important themes in comparative law: legal metaphors and methodology, the movements of legal ideas and institutions and the mixity they produce, and marriage, an area of law in which culture – or clashes of legal and public cultures – may be particularly evident. In a mix of methodological and empirical investigations divided by these themes, the work offers expanded analyses and a unique cross-section of materials that is on the cutting edge of comparative law scholarship. It presents an innovative approach to legal pluralism, the study of mixed jurisdictions, and language and the law, with the use of metaphors not as an illustration but as a core element of comparative methodology.

While most treatments of biblical metaphor examine individual metaphors in isolation, Sarah J. Dille presents a model for interpretation based on their interaction with one another. Using Lakoff and Johnson's category of "metaphoric coherence", she argues that when nonconsistent or contradictory metaphors appear together in a literary unit, the areas of overlap (coherence) are highlighted in each. Using the images of father and mother in Deutero-Isaiah as a starting point, she explores how these images interact with others: for example, the divine warrior, the redeeming kinsman, the artisan of clay, or the husband. The juxtaposition of diverse metaphors (common in Hebrew prophetic literature) highlights common "entailments", enabling the reader to see aspects of the image which would be overlooked or invisible if read in isolation. Dille argues that any metaphor for God can only be understood if it is read or heard in interaction with others within a particular cultural context.