Cornelia Muller – författare

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.

Volume I of the handbook presents contemporary, multidisciplinary, historical, theoretical, and methodological aspects of how body movements relate to language. It documents how leading scholars from differenct disciplinary backgrounds conceptualize and analyze this complex relationship. Five chapters and a total of 72 articles, present current and past approaches, including multidisciplinary methods of analysis. The chapters cover:

I. How the body relates to language and communication: Outlining the subject matter, II. Perspectives from different disciplines, III. Historical dimensions, IV. Contemporary approaches, V. Methods.

Authors include: Michael Arbib, Janet Bavelas, Marino Bonaiuto, Paul Bouissac, Judee Burgoon, Martha Davis, Susan Duncan, Konrad Ehlich, Nick Enfield, Pierre Feyereisen, Raymond W. Gibbs, Susan Goldin-Meadow, Uri Hadar, Adam Kendon, Antja Kennedy, David McNeill, Lorenza Mondada, Fernando Poyatos, Klaus Scherer, Margret Selting, Jürgen Streeck, Sherman Wilcox, Jeffrey Wollock, Jordan Zlatev.

Volume II of the handbook offers a unique collection of exemplary case studies. In five chapters and 99 articles it presents the state of the art on how body movements are used for communication around the world. Topics include the functions of body movements, their contexts of occurrence, their forms and meanings, their integration with speech, and how bodily motion can function as language. By including an interdisciplinary chapter on ‘embodiment’, volume II explores the body and its role in the grounding of language and communication from one of the most widely discussed current theoretical perspectives. Volume II of the handbook thus entails the following chapters: VI. Gestures across cultures, VII. Body movements: functions, contexts and interactions, VIII. Gesture and language,IX. Embodiment: the body and its role for cognition, emotion, and communication, X. Sign Language: Visible body movements as language. Authors include: Mats Andrèn, Richard Asheley, Benjamin Bergen, Ulrike Bohle, Dominique Boutet, Heather Brookes, Penelope Brown, Kensy Cooperrider, Onno Crasborn, Seana Coulson, James Essegby, Maria Graziano, Marianne Gullberg, Simon Harrison, Hermann Kappelhoff, Mardi Kidwell, Irene Kimbara, Stefan Kopp, Grigoriy Kreidlin, Dan Loehr, Irene Mittelberg, Aliyah Morgenstern, Rafael Nuñez, Isabella Poggi, David Quinto-Pozos, Monica Rector, Pio Enrico Ricci-Bitti, Göran Sonesson, Timo Sowa, Gale Stam, Eve Sweetser, Mark Tutton, Ipke Wachsmuth, Linda Waugh, Sherman Wilcox.

Volume II of the handbook offers a unique collection of exemplary case studies. In five chapters and 99 articles it presents the state of the art on how body movements are used for communication around the world. Topics include the functions of body movements, their contexts of occurrence, their forms and meanings, their integration with speech, and how bodily motion can function as language. By including an interdisciplinary chapter on ‘embodiment’, volume II explores the body and its role in the grounding of language and communication from one of the most widely discussed current theoretical perspectives. Volume II of the handbook thus entails the following chapters:

VI. Gestures across cultures, VII. Body movements: functions, contexts and interactions, VIII. Gesture and language,IX. Embodiment: the body and its role for cognition, emotion, and communication, X. Sign Language: Visible body movements as language.

Authors include: Mats Andrèn, Richard Asheley, Benjamin Bergen, Ulrike Bohle, Dominique Boutet, Heather Brookes, Penelope Brown, Kensy Cooperrider, Onno Crasborn, Seana Coulson, James Essegby, Maria Graziano, Marianne Gullberg, Simon Harrison, Hermann Kappelhoff, Mardi Kidwell, Irene Kimbara, Stefan Kopp, Grigoriy Kreidlin, Dan Loehr, Irene Mittelberg, Aliyah Morgenstern, Rafael Nuñez, Isabella Poggi, David Quinto-Pozos, Monica Rector, Pio Enrico Ricci-Bitti, Göran Sonesson, Timo Sowa, Gale Stam, Eve Sweetser, Mark Tutton, Ipke Wachsmuth, Linda Waugh, Sherman Wilcox.

Volume II of the handbook offers a unique collection of exemplary case studies. In five chapters and 99 articles it presents the state of the art on how body movements are used for communication around the world. Topics include the functions of body movements, their contexts of occurrence, their forms and meanings, their integration with speech, and how bodily motion can function as language. By including an interdisciplinary chapter on ‘embodiment’, volume II explores the body and its role in the grounding of language and communication from one of the most widely discussed current theoretical perspectives. Volume II of the handbook thus entails the following chapters:

VI. Gestures across cultures, VII. Body movements: functions, contexts and interactions, VIII. Gesture and language,IX. Embodiment: the body and its role for cognition, emotion, and communication, X. Sign Language: Visible body movements as language.

Authors include: Mats Andrèn, Richard Asheley, Benjamin Bergen, Ulrike Bohle, Dominique Boutet, Heather Brookes, Penelope Brown, Kensy Cooperrider, Onno Crasborn, Seana Coulson, James Essegby, Maria Graziano, Marianne Gullberg, Simon Harrison, Hermann Kappelhoff, Mardi Kidwell, Irene Kimbara, Stefan Kopp, Grigoriy Kreidlin, Dan Loehr, Irene Mittelberg, Aliyah Morgenstern, Rafael Nuñez, Isabella Poggi, David Quinto-Pozos, Monica Rector, Pio Enrico Ricci-Bitti, Göran Sonesson, Timo Sowa, Gale Stam, Eve Sweetser, Mark Tutton, Ipke Wachsmuth, Linda Waugh, Sherman Wilcox.

Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework’s application to media and multimodality analysis.

Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers'' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework’s application to media and multimodality analysis.

Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers'' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework’s application to media and multimodality analysis.

Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues’ transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience – Affectivity – Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines. The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally. Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues’ transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience – Affectivity – Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines.

The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally.

Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues’ transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience – Affectivity – Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines.

The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally.

Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework’s application to media and multimodality analysis.

Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues’ transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience – Affectivity – Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines. The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally. Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

Verflixt, so spät ist es schon? Wo ist nur die Zeit geblieben? Emmy, Tilly und ihre Mama geben sich alle Mühe pünktlich zu sein. Wäre da nur nicht der Flugs....Ein liebevoll illustriertes Kinderbuch in Reimform über die Hektik am Morgen, die wohl allen Familien bekannt ist.Cornelia Müller gibt in Ihrer Kurzgeschichte Flugs auf humorvolle Art und Weise Einblick in die morgendliche Hektik, die alle Eltern nur zu gut kennen. Obwohl dies ein alltägliches Thema ist, wird das Thema viel zu selten aufgegriffen. Mit ihrer Geschichte möchte Sie Eltern und Kinder dazu anregen die morgendliche Hektik mit Humor zu nehmen, sowie potenziellen Ärger spielerisch auf Flugs zu projizieren.