In:What makes a Figure: Rethinking figurativity
Edited by Herbert L. Colston
[Figurative Thought and Language 19] 2025
► pp. 321–322
Index
Published online: 28 October 2025
https://doi.org/10.1075/ftl.19.index
https://doi.org/10.1075/ftl.19.index
A
- adverbial marking,251
- advertising,3, 6, 66–69, 75, 79, 82, 85, 86, 88, 91–92, 99
- affect,19, 30, 41, 52, 150–153, 215
- allusion to failed expectations,222, 231, 235, 237–238, 204, 242–244
- allusional pretense theory,8, 222–223, 228, 230–231, 235
- attitudinal component,68, 72
B
- blending theory,145
- body,5, 28, 31, 40–47, 50–56, 59, 76, 165, 177–178, 197, 203–205, 207, 212, 232
C
- clash,71–74, 77, 85, 87, 91, 130–138, 147–148, 154, 156, 249, 252, 258–260, 263–264, 267, 274, 300
- cognitive effects,6, 66, 69, 79, 80, 148, 156
- cognitive modeling,6, 66, 90, 254
- cognitive operation,9, 50, 67, 92, 168, 248–249, 254–255, 264, 267
- common ground,28, 273, 274, 275, 277, 281, 284, 289, 294, 300
- communicative context,5, 40, 42, 52–54, 56, 58, 176, 201
- completeness,250, 255, 268
- complex metonymy,160, 172, 187, 188
- conceptual coherence,144
- conceptual frames,8, 9, 305, 317
- conceptual metaphor,19, 45–46, 48–49, 51, 57, 66, 99, 102, 108, 110, 114, 119, 147, 160, 194–196, 198–199, 201, 203–205, 208, 210–211
- conceptual metonymy,167, 174, 189
- conceptual resonance,145–148
- construal,6, 66, 73, 86, 88, 185, 187, 200, 273, 277–278, 280–281, 283–285, 287–291, 294–295, 299–301
- constructional devices,10, 306–306, 308–310, 313, 315–317
- consumerism,67, 75
- container schema,207–208
- content validity,8, 222, 231–234, 244
- context-sensitivity,156
- contiguity,3, 7, 8, 167
- contradiction,9, 10, 18, 25–27, 30, 73, 89, 91–92, 127–128, 130, 132–133, 134–143, 148–153, 155–156, 252, 278–279, 282, 305–306, 309, 313
- contrasting operations,255
- contraterm,7, 131–136, 138–143, 149, 154, 156
- conventional metaphor,8, 44, 58, 134, 138, 146, 194–195
- cooperative principle,226, 250
- cumulative metonymy,8, 160, 166, 181, 185, 189
D
- default scenario,73
- deliberate metaphor,195, 199, 201
- distanced discourse,294
- domain expansion,167, 254, 256
- domain reduction,167
- dramaturgical theme,100, 108
E
- echoic accuracy,253, 267
- echoic chaining,258, 259
- echoic complexity,249, 250, 256–257, 267
- echoic compounding,263
- echoic mention,9, 223, 229, 248–249, 251, 253–255
- echoic scenario,249, 255, 262
- embodied simulation,8, 11, 51, 194, 196–200, 209, 210, 213–215
- embodiment,5, 11, 40, 41–46, 50, 53, 55–58, 60, 196–198, 201
- emotion,3, 6, 8, 11, 66, 68, 74–75, 79, 81, 83–84, 86–88, 90–91, 99–101, 105, 108, 111–113, 115–116, 118, 134–135, 140, 194–197, 199, 201–206, 208–209, 211, 215, 237, 239, 244, 262, 267, 276, 296, 317
- epigram,129, 131–132
- epistemic scenario,258–260, 274
- epithet,129, 131–132, 144
- eponym,178, 181
F
- force schema,46, 52, 204, 206–207
G
- gesamtkunstwerk,100
H
- hyperbole,3, 6–7, 14, 17–19, 21, 24–27, 66–70, 72, 74–77, 80–84, 91–92, 152, 189, 208, 251, 257, 259–265, 306, 310, 312
I
- ICM,46, 49–50, 98, 100, 115, 163–164, 167, 206
- illocutionary metonymy,165
- image schema,46, 48–50, 52, 108, 116, 202
- imagery,103, 108, 119, 199, 208, 210–212, 214
- imaginary scenario,6, 66, 77, 80–84, 88
- implicational echoing,265, 266–267
- implicit echoing,256
- inaccurate echoes,249, 267
- incongruity,6, 10, 66–69, 74, 77, 81, 85–86, 88, 91–92, 104, 108, 118, 135, 282, 286–287, 290, 305, 308–309, 315, 317
- intersubjectivity,3, 8, 271, 280
- ironic echo,9, 248–249, 250, 252, 254–258, 260, 265–265, 267
J
- juxtaposition,10, 23, 30, 76, 89, 274–275, 277–280, 300, 306–308, 310, 314–316
L
- lexical broadening/narrowing,199
- libretto,6, 98–100, 103–108, 117–119
- Lohengrin,6, 92, 98–107, 110–111, 113, 117, 119–120
- loose echo,253, 267
M
- malapropism,265
- meaning-making,5, 40, 42, 45, 47, 49–53, 55–57, 60, 99–100, 102–104, 120
- mediality,42, 52–53
- mentalizing,273
- motif,100, 104–105, 107–108, 110–111, 113–117, 119
- multimodal metaphor,98, 102, 106, 108, 111, 118
- multimodality,3, 6, 47, 92, 99, 113
- music score,98–99, 106–108
- musical mode,99, 103, 108, 113
- musical parameters,99, 106, 108, 113, 115
- musical pitch,109–110
- musico-structural relations,119
N
- negotiating perspectives,274
- non-conventional metaphor,8, 194–195
- non-ironic echo,249, 258, 265
- novel metaphor,212
O
- observable scenario,249–250, 256–260, 262–264
P
- parodic echoing,248, 264–265, 267
- partial echo,253–254, 257, 265, 268
- perceptual simulation,198–199, 201, 205, 210
- polyphony,280
- pragmatic adjustment,196, 199, 214
- pragmatic insincerity,222, 229, 321, 235, 237–238, 240, 242–245
- pregnancy loss,194
- pretended agreement,6, 66, 72, 74, 86–88, 92, 255, 259–260,
- processing effort,69, 92
- propositional metonymy,165
- psychometrics,8, 222
R
- relevance theory,15, 70, 195, 198, 201, 249–252, 254
S
- scenical directions,6, 98–100, 103–108, 115–118
- sensory-motor experience,205
- serial metonymy,176
- simple metonymy,171, 176
- situational irony,97, 128, 154–156, 250, 258–259, 270, 283, 292
- social problems,67–68, 91
- surprise,71, 76, 83, 86, 89, 133, 141–142, 150, 271, 292–295, 296, 299, 309
T
- textual metonymic chain,172, 175–176, 183–185, 189
- theory of mind,222
- thoughtscapes,9, 271, 277–278, 280, 282–283, 289–290, 293, 298
V
- validity evidence,8, 222, 231–232, 234, 244
- verbal mode,6
