Metonomy

(the download is the introduction to the book in which my chapter appears; its abstract follows)
Contemporary Japan is overrun with lovable animated characters (kyara), from globalized Hello Kitty to obscure Gin-Maru Kun, the ginkgo nut mascot for my university library. Ephemeral versions that describe cultural ideals such as ai ‘love’ also appear in public service messages, as analyzed in this chapter. All of these exhibit phenomena emergent from Japanese religious philosophies that appear in other genres of popular culture, including poetry and song. Cognitive linguistics and linguistic anthropology help us understand these Japanese cultural phenomena. Data from fieldwork, media discourse, and historical research show that Japanese conceptualizations of the self can inextricable from natural entities, forming a ‘sloppy selfhood’. The data show intersections between cultural schemata for visual representations of animism, anthropomorphization, and linguistic schemata of wordplay and verbal beauty.

Keywords: Animism, anthropomorphism, metaphor, metonomy, gender

The present study investigates the hurdles of deciphering the figurative meaning of English compounds and Arabic construct phrases, known as iḍāfa when they are under the detailed scrutiny of translation. For this purpose, a contrastive linguistic analysis of both multi-word items was conducted in order to show any syntactic and semantic similarity in their behaviour. This analysis was also supported by the conceptual examination of their translation. The findings have shown that compounds and iḍāfa, in terms of figurative sense, are semantically similar, but are syntactically different. In terms of translation, results show that they pose a metaphorical and cultural threat to the Arab translator, who might be tempted to translate them literally in case s/he fails to understand the hidden meaning. Producing accurate translation equivalents for these items cannot be achieved without knowing their metaphorical senses and the ability to provide natural and acceptable equivalents in the target language.

The romantic, nineteenth-century image of the Bedouin as fierce, independent nomads on camelback racing across an endless desert persists in the West. Yet since the era of Ottoman rule, the Mzeina Bedouin of the South Sinai desert have lived under foreign occupation. For the last forty years Bedouin land has been a political football, tossed back and forth between Israel and Egypt at least five times.

Bu çalışmada DLT, KB, AH ve Hakaniye Türkçesi ilk Kur’an
çevirilerinden tespit ettiğimiz haberleşme ile ilgili
sözcüklerin metonimi kullanımları verilmeye çalışılacaktır. XI. yüzyılda haberleşme ili ilgili sözcüklerin Türk muhayyilesindeki kavram alanları üzerinde durulacaktır.

Imagery of natural phenomena has been deliberately used in Japan in aesthetic representations for humans and social relations, at least since the introduction of Chinese poetry, Buddhism, and the writing system (ca. 7th c.) and into the current day (Eisenstadt, 1997; Kalland, 1995; LaMarre, 2000; Occhi, 2009; Thomas, 2001). Humans and nature occupy a common category in this philosophy, contrasting to the separation and elevation of humans seen in much Western thought. Cognitive linguistics and linguistic anthropology have already proven useful in understanding such non-Cartesian aspects of Japanese cultural expressions. Investigation of metaphors in Japanese language and culture has yielded interesting results. Ohnuki-Tierney has explored the historically grounded relationships of monkeys and monkey imagery to special status persons, the relationship of rice to nationalized Japanese identity, and that of cherry blossoms with kamikaze pilots (Ohnuki-Tierney, 1990, 1993, 2002). Occhi (1996a) discovered meta-phoric links between characterizations of foxes and badgers in folklore, women’s facial shapes and ascribed personality characteristics. These metaphoric links between humans and animals or other entities have been labeled a basic-level metaphor, HUMANS ARE NATURE/NATURE IS HUMAN, by Hiraga (1999).