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Our understanding of the nature and processing of figurative language is central to several important issues in cognitive science, including the relationship of language and thought, how we process language, and how we comprehend abstract meaning. Over the past fifteen years, traditional approaches to these issues have been challenged by experimental psychologists, linguists, and other cognitive scientists interested in the structures of the mind and the processes that operate on them. In Figurative Language and Thought, internationally recognized experts in the field of figurative language, Albert Katz, Mark Turner, Raymond W. Gibbs Jr., and Cristina Cacciari, provide a coherent and focused debate on the subject. The book's authors discuss a variety of fundamental questions, including: What can figures of speech tell us about the structure of the conceptual system? If and how should we distinguish the literal from the nonliteral in our theories of language and thought? Are we primarily figurative thinkers and consequently figurative language users or the other way around? Why do we prefer to speak metaphorically in everyday conversation, when literal options may be available for use? Is metaphor the only vehicle through which we can understand abstract concepts? What role do cultural and social factors play in our comprehension of figurative language? These and related questions are raised and argued in an integrative look at the role of nonliteral language in cognition. This volume, a part of Counterpoints series, will be thought-provoking reading for a wide range of cognitive psychologists, linguists, and philosophers.

Bring aesthetic flair to your home with this Annie Warren framed art. The landscape scene with muted colors creates a relaxed vibe. Ready to hang, this contemporary print is mounted onto a tough lightweight 1.7-in. floating frame. You can lean or layer the art on a shelf or against a wall. Color: Yellow.

Bring aesthetic flair to your home with this Annie Warren framed art. The landscape scene with muted colors creates a relaxed vibe. Ready to hang, this contemporary print is mounted onto a tough lightweight 1.7-in. floating frame. You can lean or layer the art on a shelf or against a wall. Color: Yellow.

Bring aesthetic flair to your home with this Annie Warren framed art. The landscape scene with muted colors creates a relaxed vibe. Ready to hang, this contemporary print is mounted onto a tough lightweight 1.7-in. floating frame. You can lean or layer the art on a shelf or against a wall. Color: Yellow.

Bring aesthetic flair to your home with this Annie Warren framed art. The landscape scene with muted colors creates a relaxed vibe. Ready to hang, this contemporary print is mounted onto a tough lightweight 1.7-in. floating frame. You can lean or layer the art on a shelf or against a wall. Color: Yellow.

Bring aesthetic flair to your home with this Annie Warren framed art. The landscape scene with muted colors creates a relaxed vibe. Ready to hang, this contemporary print is mounted onto a tough lightweight 1.7-in. floating frame. You can lean or layer the art on a shelf or against a wall. Color: Yellow.

Bring aesthetic flair to your home with this Annie Warren framed art. The landscape scene with muted colors creates a relaxed vibe. Ready to hang, this contemporary print is mounted onto a tough lightweight 1.7-in. floating frame. You can lean or layer the art on a shelf or against a wall. Color: Yellow.

This ready to hang, gallery wrapped art piece features a seated bather. Through his work crossed many stylistic boundaries. Edgar Degas' involvement with the other major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities and his bold color experiments (Served to finally tie him to the Impressionist movement as one of its greatest artists. Color: Multi.

This ready to hang, gallery wrapped art piece features a seated bather. Through his work crossed many stylistic boundaries. Edgar Degas' involvement with the other major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities and his bold color experiments (Served to finally tie him to the Impressionist movement as one of its greatest artists. Color: Multi.

In terms of elucidating inner meaning and symbolism, the study of medieval Islamic art has lagged almost a full century behind that of medieval Western art. This groundbreaking work suggests how it might at last prove possible to crack the allegorical code of medieval Islamic painting during its Golden Age between the fourteenth and seventeenth centuries. Barry focuses his study around the work of Bihzâd, a painter who flourished in the late fifteenth century in the kingdom of Herat, now in Afghanistan. Bihzâd became the undisputed master of the “Persian miniature” and an almost mythical personality throughout Asian Islam. By carefully deciphering the visual symbols in medieval Islamic figurative art, Barry’s study deliberately takes a bold approach in order to decode the lost iconographic conventions of a civilization. The glorious illustrations, scholarly text, and extracts from Persian poetry, many translated into English for the first time, combine to create an essential new work of reference and a visual delight.

From the bronze age to the present, molten metal has been poured into molds to create an infinite variety of forms and to serve a variety of functions. This marriage of form and function is what has made figurative cast iron so popular among collectors. This beautiful new book will give the reader insight into the creativity of the designers of cast iron which allowed the mundane objects of life to become interesting works of art and fancy. From doorstops to doorknockers, still banks to lawn sprinklers, bottle openers to bookends, their functionally was hidden in the forms of animals, flowers, buildings, people, and more. Figurative Cast Iron: A Collector's Guide documents this practical art with over 900 beautiful full-color photographs. A price guide will help make this book useful as well as pleasurable.

Since the early 1980s, the Polish artist Magdalena Abakanowicz (b. 1930) has gained worldwide acclaim for her role in the revival of figuration in late-twentieth-century sculpture. Her cycles of headless, hollow, and crude burlap crowds of the mid-1970s and the 1980s, exhibited in major museums across America, Europe, and Asia, are roundly praised for their expressive power and innovative form. In this first scholarly art historical analysis of Abakanowicz's figurative sculpture, Joanna Inglot penetrates the myth of isolation that surrounds and obscures this internationally celebrated artist to disclose the artistic, sociopolitical, and cultural context in which Abakanowicz has lived and worked. Examining Abakanowicz's representations of the human body from the fiber works of the 1960s known as Abakans through her War Games and outdoor environments of the 1980s and early 1990s, Inglot shows how these works engage the international art scene and the figurative sculpture of postwar Poland, and how they reflect a particular generation's experience of war and communism. With reference to Abakanowicz's use of national symbols and ceremonies drawn from the public and political discourse of the 1970s and 1980s, Inglot explains the complexity of the artist's attitudes toward contemporary politics and the troubled history of her native country. Inglot clearly locates Abakanowicz as a major contemporary sculptor whose works have embodied innovations in style and media and reflected important sociopolitical issues.

In terms of elucidating inner meaning and symbolism, the study of medieval Islamic art has lagged almost a full century behind that of medieval Western art. This groundbreaking work suggests how it might at last prove possible to crack the allegorical code of medieval Islamic painting during its Golden Age between the fourteenth and seventeenth centuries. Barry focuses his study around the work of Bihzâd, a painter who flourished in the late fifteenth century in the kingdom of Herat, now in Afghanistan. Bihzâd became the undisputed master of the “Persian miniature” and an almost mythical personality throughout Asian Islam. By carefully deciphering the visual symbols in medieval Islamic figurative art, Barry’s study deliberately takes a bold approach in order to decode the lost iconographic conventions of a civilization. The glorious illustrations, scholarly text, and extracts from Persian poetry, many translated into English for the first time, combine to create an essential new work of reference and a visual delight.

This lively introduction to figurative language explains a broad range of concepts, including metaphor, metonymy, simile, and blending, and develops new tools for analyzing them. It coherently grounds the linguistic understanding of these concepts in basic cognitive mechanisms such as categorization, frames, mental spaces, and viewpoint; and it fits them into a consistent framework which is applied to cross-linguistic data and also to figurative structures in gesture and the visual arts. Comprehensive and practical, the book includes analyses of figurative uses of both word meanings and linguistic constructions. · Provides definitions of major concepts · Offers in-depth analyses of examples, exploring multiple levels of complexity · Surveys figurative structures in different discourse genres · Helps students to connect figurative usage with the conceptual underpinnings of language · Goes beyond English to explore cross-linguistic and cross-modal data

Book by Matthias Winzen n Matthias Wubzen

This lively introduction to figurative language explains a broad range of concepts, including metaphor, metonymy, simile, and blending, and develops new tools for analyzing them. It coherently grounds the linguistic understanding of these concepts in basic cognitive mechanisms such as categorization, frames, mental spaces, and viewpoint; and it fits them into a consistent framework which is applied to cross-linguistic data and also to figurative structures in gesture and the visual arts. Comprehensive and practical, the book includes analyses of figurative uses of both word meanings and linguistic constructions. · Provides definitions of major concepts · Offers in-depth analyses of examples, exploring multiple levels of complexity · Surveys figurative structures in different discourse genres · Helps students to connect figurative usage with the conceptual underpinnings of language · Goes beyond English to explore cross-linguistic and cross-modal data

The art world is only beginning to realize the profound influence the Paris art community of the early 20th century had on what we now identify as "Modernism." Regional groups of figurative painters, from California to Russia and Australia to Scandinavia, absorbed many influences and crossed paths with leading artists who worked in Paris. This important new book highlights the work of 204 newly discovered regional Modernist painters, especially some from Belgium, with carefully researched biographical information about each one. Over 350 color photographs display their dynamic works. These paintings helped t spread Parisian ifluence throughout the world, and often are showcased in galleries today. This pioneer work documents many of the artists for the first time. It is a companion volume to the authors' previous book, Modern Figurative Paintings, The Paris Connection (Schiffer, 2004) which covers a different group of artists and paintings.

Soft cover book titled THE FIGURATIVE FIFTIES: New York Figurative Expressionism. With essays by Klaus Kertess, Carter Ratcliff and others. Published by Newport Harbor Art Museum to accompany a 1988 exhibition. See my photographs (6) of this book on main listing page. Bookseller since 1995 (LL-13A-bottom-L) rareviewbooks

The art world is only beginning to realize the profound influence the Paris art community of the early 20th century had on what we now identify as "Modernism." Regional groups of figurative painters, from California to Russia and Australia to Scandinavia, absorbed many influences and crossed paths with leading artists who worked in Paris. This important new book highlights the work of 204 newly discovered regional Modernist painters, especially some from Belgium, with carefully researched biographical information about each one. Over 350 color photographs display their dynamic works. These paintings helped t spread Parisian ifluence throughout the world, and often are showcased in galleries today. This pioneer work documents many of the artists for the first time. It is a companion volume to the authors' previous book, Modern Figurative Paintings, The Paris Connection (Schiffer, 2004) which covers a different group of artists and paintings.

This book is an attempt at resolving an important tangle, that of the utility of Figurative Poetry in Sanskrit Literature. In the shape of Sabdacitra and Ubhayacitra, connoting verbal juggleries and intellectual riddles this literature amuses vast shades of people, even today. Arthacitra is the real imagist poetry. Even old Sanskrit rhetoricians, Ananda, Abhinava and Panditaraja had a flash of its imagist appeal. The book is divided into seven chapters. Ch. I is introductory. It re-defines poetry and assesses the place of figurative poetry in that context. Ch. II deals with the historicity of different divisions and subdivisions of this branch of poetry as also with some new concepts either co-ordinate with them or contributory to their development. Chs. III & IV discuss the various divisions of Sabdacitra and Ubhayacitra with apt illustrations from copious sources. Chs. V & VI deal with Arthacitra and the development of Citrakavya right from the Vedic age. Ch. VII affirms and establishes the conviction of the concept treated in the previous chapters. The book is documented with Preface, Abbreviations, Appendices, Bibliography and Index.