Embodied Meaning-Making

This inrroducrion firsr jusrifies [he uriliry of rhis special issue for English srudies and offers a brief overview of rhe srare of [he a n in cognirive linguisrics. Ir rhen commenrs briefív on each of [he arricles in rhis collecrion, discussing rheir conrriburion ro each of rhe major rrends in [he field. and ro English srudies in general.. The conclusion highlighrs [he usefulness of rhis approach for a variery of concerns.

This article offers a contribution to the use of storytelling in pastoral conversations as a trauma release for untold stories. This insight links to the focus and scope of the journal as a pastoral narrative approach has been used under the umbrella of Practical Theology.

This study expands on sociocultural approaches to meaning making in art museums by exploring the physical aspects of interaction with art in traditional gallery spaces, and in the context of technology use. The notion of 'embodied interpretation' is introduced to explore the complexity of embodied interaction in interpreting art, and to contribute to existing vocabularies of gesture. The research is informed by sociocultural perspectives on meaning making as well notions of embodied interaction, and asks the following research questions: "What are the relevant bodily and gestural practices that shape socially situated interactions in art galleries?" and "What insights into meaning making in art museums can be gained through an approach of embodied interpretation?" The study incorporates interaction analysis and design-based research methods to investigate three episodes from a national museum in which groups of adolescents interact with three different kinds of objects: a sculpture, a painting, and an interactive tabletop. Analysis reveals that visitors use gesture, as well as bodily positioning and movement in a variety of ways to coordinate social processes, and to mediate thinking and perception in the interpretation of art.

The master narrative of Apartheid South Africa created a specific identity for white boys and men and, together with this identity, a very particular role and place within the South African context. This identity was exemplified in the men who were conscripted into the military from 1967 until 1994, and who participated in operations on the border regions of Namibia and Angola as well as within local townships in the war of liberation against apartheid and minority rule. Many veterans have been left grappling not only with the traumas associated with combat but also with the loss of their identities as war heroes in a country under changed political control. As a result, many of their personal stories and experiences of combat have been silenced by society at large and also, to varying degrees, within their own families, the Church, and among the younger generation who have grown up under a different dispensation. The conflict between vacillating narratives of villains who fought on the wrong side of history and victims of a closed socialisation system has supported
the identity struggle faced by many veterans today. Against this backstory, this article explores the effects of storytelling as a trauma release using a narrative approach.

Contribution: This article offers a contribution to the use of storytelling in pastoral conversations as a trauma release for untold stories. This insight links to the focus and scope of the journal as a pastoral narrative approach has been used under the umbrella of Practical Theology.

Keywords: stories; meaning-making; master narrative; construction of identity; socially constructed discourses; trauma; militaristic masculinity; storytelling.

A vital component to any architect’s education is learning how to effectively utilize building materials as carriers of architectural meaning; the development of a coherent tectonic language is fundamental to teaching architecture. This requires a careful understanding of the most basic components of architecture, its language, its words. The words are composed of materials, the sentences written in a building’s tectonics and detailing. Learning how to speak is the first step towards writing poetry. Learning the building art’s material language is the first step to creating architecture. Many academics and practitioners who are attracted to design build share a common belief that the materials and methods of construction matter, and are essential to an architect’s education. Latent in this line of inquiry is that if these elements are significant, that significance should be made manifest in the final, constructed reality of the building. This conception runs strongly counter to the direction of most contemporary architecture, in which seamlessness, weightlessness, and the suppression of materiality are ascendant. With these ideas in mind, how should an architect be trained? This article will explore one method, using design build pedagogy to engage architecture students in a patient search for their own tectonic philosophy.

A vital component to any architect’s education is learning how to effectively utilize building materials as carriers of architectural meaning; the development of a coherent tectonic language is fundamental to teaching architecture.  This requires a careful understanding of the most basic components of architecture, its language, its words.  The words are composed of materials, the sentences written in a building’s tectonics and detailing.  Learning how to speak is the first step towards writing poetry.  Learning the building art’s material language is the first step to creating architecture.

Many academics and practitioners who are attracted to design build share a common belief that the materials and methods of construction matter, and are essential to an architect’s education.  Latent in this line of inquiry is that if these elements are significant, that significance should be made manifest in the final, constructed reality of the building.  This conception runs strongly counter to the direction of most contemporary architecture, in which seamlessness, weightlessness, and the suppression of materiality are ascendant. 

With these ideas in mind, how should an architect be trained?  This paper will explore one method, using design build pedagogy to engage architecture students in a patient search for their own tectonic philosophy.

This issue of FORMakademisk features selected articles developed from papers presented at the symposium Embodied Making and Design Learning at the DRS/CUMULUS-conference LearnXDesign in Chicago, Illinois, June 28–30, 2015. This special issue was developed as an initiative by the symposium conveners. The symposium was developed by researchers from research groups in Norway, Finland and Canada to explore various aspects of embodied making in relation to design learning. The symposium was a full-day event with four sessions, seven paper presentations, a roundtable discussion, a plenary discussion and a workshop. The symposium received positive feedback, attracting many participants and stimulating engaged discussions throughout the conference. This indicates a growing awareness of the topic of embodied making and design learning. This special issue features five articles that together highlight a variety of approaches and examples of current research endeavours in relation to the theme. 

RESUMO: Este artigo pretende analisar o papel dos gestos na construção de metáforas multimodais no gênero "debate político-eleitoral". Do ponto de vista teórico, levamos em consideração que os gestos metafóricos podem ser analisados como expressões de metáforas conceptuais. Abordamos e ilustramos, sobretudo, a importância da orientação especial na emergência de metáforas no discurso político. Do ponto de vista metodológico, selecionamos quatro sequências de um debate de segundo turno. Partindo do princípio operacional de excursão gestual, observamos, especificamente, a metaforicidade multimodal em compostos verbo-gestuais. Após analisar as metáforas encontradas nas cenas de debate, estabelecemos um continuum entre metáforas que possuem uma natureza convencional e aquelas que possuem uma natureza nova. Além disso, tentamos estabelecer uma relação comparativa entre as metáforas utilizadas pelos dois candidatos: Dilma Rousseff (do PT) e José Serra (do PSDB).

RESUMO: Este artigo pretende analisar o papel dos gestos na construção de metáforas multimodais no gênero "debate político-eleitoral". Do ponto de vista teórico, levamos em consideração que os gestos metafóricos podem ser analisados como expressões de metáforas conceptuais. Abordamos e ilustramos, sobretudo, a importância da orientação especial na emergência de metáforas no discurso político. Do ponto de vista metodológico, selecionamos quatro sequências de um debate de segundo turno. Partindo do princípio operacional de excursão gestual, observamos, especificamente, a metaforicidade multimodal em compostos verbo-gestuais. Após analisar as metáforas encontradas nas cenas de debate, estabelecemos um continuum entre metáforas que possuem uma natureza convencional e aquelas que possuem uma natureza nova. Além disso, tentamos estabelecer uma relação comparativa entre as metáforas utilizadas pelos dois candidatos: Dilma Rousseff (do PT) e José Serra (do PSDB).

HCI projects bringing digital and interactive technologies into art museums are afected by a conception of the relation between art and design that narrows the available design space. This is often done by positioning such technologies either as presenting information about artworks, as artworks themselves, or by taking a 'handsof' approach. Aiming to re-investigate this conceptual space, we draw on an enactive approach to art developed by Alva Noë and, by means of a design example (an installation in the MUNCH museum), discuss how this approach redirected the design process. Specifcally, how it afected the way the design team related to the original artworks and their history, and how they approached evaluating their work. We show by example how understanding such technologies in terms of how they educate visitors' attention, similarly to art critique, allows designers to participate in correspondence with artworks using unique material, aesthetic, and embodied means. CCS CONCEPTS • Human-centered computing → Interaction design theory, concepts and paradigms.

This essay provides an outline of biological approaches to the phenomenon of meaning. It includes descriptions of meaning-construction based on function, purpose, survival, reproductive success, evolutionary history, code, signalling, communication, anticipation, or choice. It is argued that most of these approaches are not sufficient in demonstrating the meaning-making from organism's own perspective. As concluded, the capacity of meaning-making is equivalent to the existence of umwelt.

Kull, Kalevi 2023. Necessary conditions for semiosis: A study of vegetative subjectivity, or phytosemiotics. In: Coca, Juan R.; Rodríguez, Claudio J. (eds.), Approaches to Biosemiotics. Valladolid: Ediciones Universidad Valladolid, 59–74.

We provide a critical analysis of minimal conditions for the semiotic triad, to be identifiable in organisms. Semiosis is the process of meaning-making, which means that it creates relations unusual for physical and chemical descriptions. Since the semiosic relations emerge in complex organic systems of certain kind, we require a list of necessary and sufficient conditions for identification of the features of semiosis (triadicity, irreducibility, umwelt, double description, codes, arbitrariness, learning, relation-process duality, etc.), we suggest a core structure for minimal model of semiosis which is necessary for the relation of difference. We also review some earlier work on the topic.

The following study is a practice-based research project that incorporates theoretical and practical components in order to identify more sustainable systems in the Ceramics Studio of the CVA and to understand the relationship between, process, media and concept in the creative practice of the researcher, Natasha Hawley. The studio based practice focuses on a Zero Waste philosophy, altering existing studio practice and integrating waste as a medium. The main concepts of practice include experimentation, sustainable practice, waste as an aesthetic medium, visual art materiality theory and cultural materiality theory. The theoretical framework integrates sustainability and materiality. An in-depth examination of the effects of waste on the environment supports the context and relevance of a sustainable approach on which this study is based. An interrogation of materiality theory pertaining to the visual arts and social systems provides insight into the embodied meaning of the vessel i...

Museums are interested in designing emotional visitor experiences to complement traditional interpretations. HCI is interested in the relationship between Afective Computing and Afective Interaction. We describe Sensitive Pictures, an emotional visitor experience co-created with the Munch art museum. Visitors choose emotions, locate associated paintings in the museum, experience an emotional story while viewing them, and self-report their response. A subsequent interview with a portrayal of the artist employs computer vision to estimate emotional responses from facial expressions. Visitors are given a souvenir postcard visualizing their emotional data. A study of 132 members of the public (39 interviewed) illuminates key themes: designing emotional provocations; capturing emotional responses; engaging visitors with their data; a tendency for them to align their views with the system's interpretation; and integrating these elements into emotional trajectories. We consider how Afective Computing can hold up a mirror to our emotions during Afective Interaction

Museums are interested in designing emotional visitor experiences to complement traditional interpretations. HCI is interested in the relationship between Afective Computing and Afective Interaction. We describe Sensitive Pictures, an emotional visitor experience co-created with the Munch art museum. Visitors choose emotions, locate associated paintings in the museum, experience an emotional story while viewing them, and self-report their response. A subsequent interview with a portrayal of the artist employs computer vision to estimate emotional responses from facial expressions. Visitors are given a souvenir postcard visualizing their emotional data. A study of 132 members of the public (39 interviewed) illuminates key themes: designing emotional provocations; capturing emotional responses; engaging visitors with their data; a tendency for them to align their views with the system's interpretation; and integrating these elements into emotional trajectories. We consider how Afective Computing can hold up a mirror to our emotions during Afective Interaction

The following study is a practice-based research project that incorporates theoretical and practical components in order to identify more sustainable systems in the Ceramics Studio of the CVA and to understand the relationship between, process, media and concept in the creative practice of the researcher, Natasha Hawley. The studio based practice focuses on a Zero Waste philosophy, altering existing studio practice and integrating waste as a medium. The main concepts of practice include experimentation, sustainable practice, waste as an aesthetic medium, visual art materiality theory and cultural materiality theory. The theoretical framework integrates sustainability and materiality. An in-depth examination of the effects of waste on the environment supports the context and relevance of a sustainable approach on which this study is based. An interrogation of materiality theory pertaining to the visual arts and social systems provides insight into the embodied meaning of the vessel i...

Collaboration between partners in universities and museums is increasingly viewed as important for demonstrating how research can make real contributions to innovation in the public sector. Frequently, as in the case presented in this chapter, university-museum collaborations center on experimentation with exhibition-making. A particular challenge in this kind of ‘experimental museology’ is identifying and supporting partners’ different aims and motivations during various phases of collaboration. In this chapter, we use three decision events from an ‘immersive exhibition’ experiment at a national architecture museum to illustrate how trade-offs and benefits were negotiated and viewed by the respective partners, namely, two researchers at a university (first and third authors) and a curator in an architecture museum (second author). We present an analysis of three key design decisions and their implications for the research project from both museum and university perspectives. Based on the analysis, we describe how the decisions formed a collaborative research space that was owned by neither university nor museum but required a dynamic researcher positionality to shift between partners’ respective interests. Experimental museology, we propose, is a critical-reflexive practice that shows how different interests – in this case, in exhibition practices, museum media and meaning making – impact innovation in museums.

This symposium aims to expand the use of and perspectives on Interaction Analysis (IA) and related methods in CSCL, and to explore new ways of collecting, editing, visualizing and sharing research data, including video and location-based data. We bring the development and use of novel digital tools and IA methods to the foreground and invite participants to join us in reflecting on and designing the next phase of IA in CSCL, which in keeping with the theme of the conference is coined 4E Analysis. During the session, we will share, compare and contrast four different digital tools and new approaches to studying collaborative learning that have been recently developed by CSCL researchers from across three different countries and five universities.

This symposium aims to expand the use of and perspectives on Interaction Analysis (IA) and related methods in CSCL, and to explore new ways of collecting, editing, visualizing and sharing research data, including video and location-based data. We bring the development and use of novel digital tools and IA methods to the foreground and invite participants to join us in reflecting on and designing the next phase of IA in CSCL, which in keeping with the theme of the conference is coined 4E Analysis. During the session, we will share, compare and contrast four different digital tools and new approaches to studying collaborative learning that have been recently developed by CSCL researchers from across three different countries and five universities.

The relationship between artwork and mental health has been the subject of various research endeavours. Whilst artwork has been long used as a means of emotional expression, it is also a method of raising mental health awareness. In this study, an art collection was presented to depict the challenges faced by many individuals living with a mental illness. Through a series of open-ended questions, twenty-nine participants were requested to give a title to each piece and to describe the perceived message and emotions related to each painting. The thematic analysis process of the participants’ descriptions led to the identification of three themes, namely those of Darkness, Solitude and Recovery. Whilst congruence was often observed between the participants themselves and between the viewers and the artist, discrepancies were also noted. Artwork can be an important medium in addressing stigma and in guiding reflections on mental health topics.

This paper intends to analyze the role of gestures in the construction of multimodal metaphors in the "political-electoral debate" genre. Theoretically, we considered that metaphoric gestures can be analyzed as expressions of conceptual metaphors. We mainly approached and illustrated the importance of spatial orientation in the emergence of the metaphors in the political discourse. Methodologically, we have selected four sequences of a second-tour debate. Starting from the operational concept of gesture excursion, we specifically observed the multimodal metaphoricity in speech and gesture compounds. After analyzing the metaphors found in the debate sequences, we established a continuumbetween metaphors of a conventional nature and those of a new nature. We also tried to establish a comparative relation between the metaphors used by the two candidates, Dilma Rousseff (from the Labor Party) and José Serra (from the Social Democratic Party).

Taking the wall text in art museums as point of departure, this article investigates developments in museum media and communication practices in the exhibition room. We first present findings from a recent study of types and functions of wall texts used in permanent collection exhibitions in twelve Norwegian art museums, including a national museum of art. We then examine the types and functions of wall texts being planned and designed for the collection exhibitions in a new building for this national art museum, which will open in 2020. In our analytical focus on the wall text, we unpack how perspectives on enlightenment and experience become institutionally embedded in the interface of interpretive media. The study showed small but significant changes in a national art museum’s organization, a new blended approach to digital interpretive media, and expanded types of wall texts, illustrating the premise that discursive and practical tensions between enlightenment and experience are...

This paper analyzes the interrelation between gestures and speech in the construction of multimodal metaphors in the "legislative session" genre. Based on Multimodal Semiotic Blending (MSB), an adaptation of Brandt and Brandt's (2005) model (MIRANDA; MENDES, 2014; AVELAR, in press), an illustrative analysis of the multimodal metaphors found in the sessions was performed, focusing on the verbal and gestural resources used by the participants. To do so, five scenes were selected from two legislative sessions performed by two so-called "Representative-pastors" of the Brazilian House of Representatives: Marco Feliciano and Silas Malafaia. Finally, the metaphors and the gestures performed by both politicians were compared. The conclusion reached in this study demonstrated how MSB can be relevant when analyzing the iconicity of material resources (mainly gestures) used by the participants.

Full article: http://www.digitalhumanities.org/dhq/vol/14/4/000496/000496.html

This article presents a framework that reconciles the requirements of computational methods with a qualitative, phenomenological approach to the analysis of audiovisual media. In its temporality and multimodality we treat audiovisual media as exemplary with regard to the wider field of performative arts and their analysis in digital humanities approaches. First, we argue in favor of grounding digital methodology explicitly in scholarly, theoretical approaches to the human experience of performative arts and outline a qualitative approach to compositional patterns and dynamics of affect in audio-visual media. To demonstrate this approach, an exemplary scene analysis highlights the specifics of analyzing experiential qualities based on micro-level descriptions of compositional structures. Eventually, the main body of the article spells out three central challenges with regard to this use of computational tools: 1.) recasting common film analytical vocabulary into a machine readable semantic ontology; 2.) setting up a systematic and applicable annotation routine that is based on the developed semantic ontology and allows for the interpersonal and consistent description of larger corpora; 3.) developing visualizations and query tools that enable the identification and tracing of compositional patterns within complex sets of annotation data. The article concludes by demonstrating the benefits of visualized annotation data by taking up the exemplary analysis sketched out earlier and, ultimately, reflects upon the implications of the outlined AdA filmontology as a programmatic starting point to addressing intersubjective bases of experience in the wider field of digital humanities.

In this chapter, there is a focus on how opportunities for visitor learning and engagement are constructed in museum mediascapes, and how these may be studied from a “meaning making” framework. The term “meaning making” (Wertsch, 1991) is used to highlight the significance of personal agency, identity, and social interaction in processes of appropriating knowledge, and to make a distinction from the primary emphasis on mastering knowledge in specific subject domains, as in schools. The framework, presented in detail below, is developed to explore the main question posed in this chapter: how do features of museum mediascapes construct opportunities for visitor learning and engagement? The theoretical framework draws on sociocultural research and findings presented in a recent review of learning research on engagement (Lawson & Lawson, 2013), in which three types of engagement are identified: cultural congruence, cultural correspondence, and cultural relevance. I use this framework to relate key developments in museum mediascapes—in art, science, and history museums—to the study of meaning making in these settings.

Practitioners in counselling psychology and related services will constantly research more on their own professional practice and the implications of therapy in the treatment of clients. Various labelling and categorizations in contemporary society, as well as their meaning and implications on emotional disturbance, are important variables that must be linked with our lives and in helping. Labelling and categorization also form a part of stigma and discrimination that eventually connotes a hierarchical structure because this is the way someone is recognized, understood and differentiated from others, albeit biased often at times. Modern living, too, has experienced a period of change and societal positioning as the world steadily evolves. There are wider democratic changes, health issues are more diversified, and people are more firmly seeking their human rights. These broad policy positions impact our lives and the counselling profession as modern society undergoes a greater transformation. This paper discusses labelling and categorisation and their inference in counselling psychological services in contemporary, traditional societies.

Gus Van Sant’s non-narrative and minimalist film Gerry (2002) is often dismissed as pointless for its radical cinematic approach. The aim of this paper is to explore another pathway to making sense of the film through the perspective of performance and ritual studies. Central to my analysis is the question of how the film could evoke meaningful responses in the spectator. Based on Van Beek’s theory of the meaning of ritual, I will analyze how the film is a meaning making practice on two levels: first, the absence of an intrinsic meaning invites the audience to construct themselves a story; second, the focus on formal qualities provides the audience with means of attribution of meaning. I will argue that the audiovisual experience of Gerry is essentially a direct encounter with time and the natural world that the spectator share with the characters, and that this ‘being with’ is a meaningful experience in itself. Following the performance studies framework developed by Schechner, I will rely my analysis on the materiality of the film, i.e. the use of very long takes, the primary given to movements and nature in the frame, and the integration of sound and music into the film’s structure as an inherent meaning making principle.

This study expands on sociocultural approaches to meaning making in art museums by exploring the physical aspects of interaction with art in traditional gallery spaces, and in the context of technology use. The notion of 'embodied interpretation' is introduced to explore the complexity of embodied interaction in interpreting art, and to contribute to existing vocabularies of gesture. The research is informed by sociocultural perspectives on meaning making as well notions of embodied interaction, and asks the following research questions: "What are the relevant bodily and gestural practices that shape socially situated interactions in art galleries?" and "What insights into meaning making in art museums can be gained through an approach of embodied interpretation?" The study incorporates interaction analysis and design-based research methods to investigate three episodes from a national museum in which groups of adolescents interact with three different kinds of objects: a sculpture, a painting, and an interactive tabletop. Analysis reveals that visitors use gesture, as well as bodily positioning and movement in a variety of ways to coordinate social processes, and to mediate thinking and perception in the interpretation of art.

This study expands on sociocultural approaches to meaning making in art museums by exploring the physical aspects of interaction with art in traditional gallery spaces, and in the context of technology use. The notion of 'embodied interpretation' is introduced to explore the complexity of embodied interaction in interpreting art, and to contribute to existing vocabularies of gesture. The research is informed by sociocultural perspectives on meaning making as well notions of embodied interaction, and asks the following research questions: "What are the relevant bodily and gestural practices that shape socially situated interactions in art galleries?" and "What insights into meaning making in art museums can be gained through an approach of embodied interpretation?" The study incorporates interaction analysis and design-based research methods to investigate three episodes from a national museum in which groups of adolescents interact with three different kinds of objects: a sculpture, a painting, and an interactive tabletop. Analysis reveals that visitors use gesture, as well as bodily positioning and movement in a variety of ways to coordinate social processes, and to mediate thinking and perception in the interpretation of art.

This paper advocates a perspective on metaphors in audio-visual media that conceives of these as processes of meaning making, i.e., as dynamic embodied conceptualizations, constitutively bound to the flow of experience. This involves experience in a double sense: as immediate affection through an audio-visually orchestrated form of movement experience and as sensory-motor experiences of metaphoric source domains. Drawing on an interdisciplinary (linguistic and film analysis) method, this study presents an analysis of a German political TV report on winners and losers of the financial crisis. The goal of this case study is twofold: to reconstruct the complexity of metaphoric meaning making in audio-visual media and to illustrate a theoretical claim: that metaphors in audio-visual compositions emerge dynamically from sensory and affective experiences.

KEYWORDS: audio-visual metaphor; cinematic expressive movement; dynamics of metaphor; meaning making; metaphor and experience; metaphoric theme; emergence of metaphor.

Metaphors in TV news might at first seem a rare phenomenon, especially regarding the journalistic claim of sober and objective news coverage. When it comes to generalizations and abstract explanations of economic and political issues, however, metaphors can be found quite regularly. In looking at a single German news report from 2008 (Tagesschau) in which a governmental bailout package for indebted banks is presented I would like to examine how complex metaphoric structures take a fundamental part in the construction of meaning and in stimulating the spectators’ affects.
The analyzed report contains several audiovisual and verbal metaphors. I assume these are not perceived independently as isolated metaphors. Rather they gather into one elongated orchestrated metaphoric structure in the process of perception, leading to a systematic (Cameron 2011) multimodal metaphor: the Bavarian State Bank needing financial aid is addressed verbally and visually as a lion that has become diminished and oppressed. This metaphor is not released in one pointed act of producing an image but realizes itself in the experience of its unfolding in time throughout the report.
I apply a method that combines a cognitive-linguistic access to multimodal metaphors (Müller 2008) and a film-analytic take on cinematic expressivity (Kappelhoff 2004) (Kappelhoff/Müller 2011). This emphazises the affective impact of audiovisual images for metaphoric meaning making: “cinematic expressive movements trigger the same kind of felt experience in a spectator as a bodily expressive movement that accompanies speech” (Kappelhoff/Müller 2011). Building upon this I suggest that reconstructing metaphoric structures offers a perspective on how affectivity shapes the public opinion. It can show how irony and sarcasm emerge in TV news with its continuous torrent of words by presenters and interviewees accompanied by images – similar to a hand gesture in face-to-face communication that accentuates certain aspects of an utterance, thereby changing its overall tone.

References:
Cameron, L. (2011). Metaphor and reconciliation: The discourse dynamics of empathy in post-conflict conversations. London: Routledge.
Kappelhoff, H. (2004). Matrix der Gefühle. Das Kino, das Melodrama und das Theater der Empfindsamkeit. Berlin, Vorwerk 8.
Kappelhoff, H./Müller, C. (2011). “Embodied meaning construction. Multimodal metaphor and expressive movement in speech, gesture, and in feature film” In: Metaphor and the Social World, 2, pp. 121-153.
Müller, C. (2008). Metaphors dead and alive, sleeping and waking. A dynamic view. Chicago, University of Chicago Press.