Volume 15, Issue 2

Neurons called place cells are selectively activated in correspondence with the location or place field that a rodent occupies. In a phenomenon that neuroscientists call replay, place cell activation sequences rapidly repeat during subsequent periods of rest and grooming. Replay has been theorized as a mechanism for reinforcement learning of the spatial trajectories represented by place cell coactivation. Preplay is a competing theory that suggests that these sequences also occur before a novel run and that sequences are not recordings of position made in real time, but rather pre-made repertoires that an organism selects from as it makes a trajectory through space. The preplay theory maintains the language of representation while breaking from the entailment of the conceptual metaphor “ MEMORIES ARE RECORDINGS” that recordings are produced simultaneously to the experiences that they represent. It does so through a conceptual blend that affords preplay researchers flexibility in their theorizing about memory without requiring a break from representationalism. Broadly, these findings demonstrate how the blending of conceptual metaphors is a viable approach for the implicit development and contestation of theories of representation in the neural and cognitive sciences.

Languages use different strategies to encode motion. Some use particles or “satellites” to describe a path of motion (Satellite-framed or S-languages like English), while others typically use the main verb to convey the path information (Verb-framed or V-languages like French). We here ask: might this linguistic variation lead to differences in the way paths are depicted in visual narratives like comics? We analyzed a corpus of 85 comics originally created by speakers of S-languages (comics from the United States, China, Germany) and V-languages (France, Japan, Korea) for both their depictions of path segments (source, route, and goal) and the visual cues signaling these paths and manner information (e.g., motion lines and postures). Panels from S-languages depicted more path segments overall, especially routes, than those from V-languages, but panels from V-languages more often isolated path segments into their own panels. Additionally, comics from S-languages depicted more motion cues than those from V-languages, and this linguistic typology also interacted with panel framing. Despite these differences across typological groups, analysis of individual countries’ comics showed more nuanced variation than a simple S–V dichotomy. These findings suggest a possible influence of spoken language structure on depicting motion events in visual narratives and their sequencing.

This paper addresses the challenges of exploring metaphor use in a naturalistic environment. We employed an integrative approach to the analysis of metaphor in video-recorded classroom observations of a teacher lecturing on computer programming. The approach involved applying the Procedure for Identifying Metaphorical Scenes (PIMS) and the Metaphor Identification Guidelines for Gesture (MIG-G) both individually and jointly. Our analysis of the data shows that the teacher primarily uses metaphors that evoke experiences of manipulating physical objects while using his hands to add spatiality to these ‘objects’. Furthermore, it indicates that specific gestures may serve as ’anchoring-points’ for larger scenes, enabling the speaker to form a scene in which to place smaller concepts. Throughout the analysis, our integrative approach to metaphor analysis provided opportunities to both support and refute results from each of the procedures employed. Moreover, the PIMS procedure has both served as an efficient tool for identifying central concepts of a scene and a way to validate the results of the gesture analysis. We suggest that this integrative approach to metaphor may be used to provide clues about the embodied motivation of a metaphor at an individual level.

This interdisciplinary approach to the semiotics of emotion offers insights on emotion as a semantic category organising an array of feelings, thoughts and sensations into meaningful (communicable) terms. This is achieved via an exploration of the role of perspective-taking in making meanings that are felt rather than expressly articulated through words. Forming a semiotic system based on embodied experiences and their contexts, emotions, as semantic categories, are the first stage in processes of expression and communication. I lay the groundwork for an interdisciplinary semiotics of emotion in accordance with findings and stances taken in the fields of literary and cultural studies, neuroscience, and cognitive and comparative psychology. Narrative empathy (sometimes called narrative emotion), like emotion per se, stands upon processes of communication involving the interpretive capacities of feeling, cognitive processes of identification, and perspective-taking . Feeling, beginning as an interpretation of sensorial and neurologically driven values, intensifies through the cognitive-affectual interpretative processes of perspective-taking. With recursive (multi-perspectival) feeling resulting in intensifications of feeling we recognise as emotion, I define emotion as a complex recursive pattern of feeling and affect that calls attention to itself in terms that are readily identifiable with semantic categories such as love, hate, shame, sadness, and anger.