Childhood metaphors in Cold War cinematography: Cognitive-semiotic discourse
DOI:
https://doi.org/10.33910/2687-0223-2019-1-4-301-311Keywords:
childhood metaphor, semiotic model of childhood, semiotics of international relations, cognitive-semiotic approachAbstract
The paper is devoted to research on the cognitive-semiotic aspects of childhood metaphor in the cinematic texts of the Cold War period. The study reveals the cognitive essence of metaphorisation as a process of structuring a goal according to the source model, as well as the markers of a metaphor’s suitability for its use in film-symbolic politics. The authors establish that in any artistic literary text (including a cinematic one), suitable metaphors are analysed and differentiated based on a) how much a particular image represents concrete knowledge; b) how closely it is related to the immediate everyday experience of the subject, and his/her involvement in relevant practices; c) to what extent the sign is symbolic and polyphonic, and, therefore, suitable to display less clear, less specific, less defined knowledge in the spectrum of cognitive modes. The authors substantiate the heuristic nature of the semiotic model of childhood in the discourse that describes and explains international relations. The foundations of such a strong synthesis are found in the epistemological plane, where the basic factors are obviousness, unconditionality and binarity. It is established that obviousness refers to the phenomenon of simple semiosis, which suggests semiotic understandability; unconditionality indicates a stable semiotic valency, which is conditioned by cognitive and ethological categoricalness; binarity demonstrates dialectics: on the one hand, intransigence — the struggle of opposites, and on the other, their unity. The authors define the connection between the metaphor and the symbolic model in the (cinematographic) worldview and determine the place and role of the semiotic model of childhood in the discourse of international relations. The research outcomes suggest a correlation between the varieties of childhood metaphors (basic and auxiliary; open and closed) and models of their perception (affective and cognitive; adult and childish). The authors conclude that open images are characterised by specificity (a greater semiotic suitability). The cognitive-semiotic coordinates of the semiotic model of childhood are described, and its instrumentalistic and functional meanings are revealed. A definition of the cognitive modes types of metaphorisation is proposed. The authors suggest that the signalling mode of childhood metaphors is functionally oriented towards marking the actors of the international relations and mobilisation (adopting a certain ethology); the sign mode involves constructing an ethological system of international relations according to the principle of counter-diction (the struggle of opposites); the symbolic regime within the framework of foresight creates a projection of the expected development of (geo)political events (a necessary future world). The theoretical model is tested on specific cases of Soviet and American cinematography.
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