"Visual metaphors stand at the border between text and image, as they are linguistic figures that visualize the spoken. Based on this assumption and on the existing knowledge on the discourse analytical method of metaphor analysis, Part One of the article develops a method of visual metaphor analysi
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s (VMA). Part Two uses this method to examine the metaphors of peace found in the acclaimed movie Mango Dreams, the winner of the Peace on Earth Film Festival 2017. The film by John Upchurch tells a story of Dr. Amit Singh, whose family was killed by Muslims during the partition of India and who is suffering from the onset of dementia. In order to confront his fading memories and in pursuit of peace, he commences on a journey to his childhood home in what today is Pakistan. On his travel, he is aided by Muslim rickshaw driver Salim, whose wife was raped and murdered by Hindus. During the long journey across India in a rickshaw, the two form a close friendship and help each other find the peace they have been searching for. Based on our visual metaphor analysis (VMA) of the film, as well as an interview with the director, the article demonstrates how metaphors are employed to visualize a positive concept of peace, particularly HOME, JOURNEY, and BRIDGE, which has a specific temporal, spatial, and moral dimension. In contrast to much of the international relations research on visualization of peace and conflict, the conceptualizations of peace in Mango Dreams metaphorically envision positive peace, instead of the more familiar conceptualization of negative peace, through a representation of PEACE not only in terms of a place (HOME) or process (JOURNEY) but as practice (BRIDGE)." (Abstract)
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"The article focuses on the use of metaphors during the 2007 pre- and post-election violence in Kenya that left at least 1400 people dead and more than 350,000 internally displaced. During and after the violence, vernacular radio stations, though not entirely responsible for the violence, were highl
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y chastised for constructing and disseminating narratives of hate, using embellished metaphors. This article acknowledges the presence of these metaphors and the ethnicized stereotypical humour they provided before the election. But it is the political tension that provided the context for the deployment of metaphors in a way that framed their meaning and potency of use. Whether these metaphors contributed to fanning ethnic passion cannot be quantitatively assessed. However, their potency was not in themselves, but in the meaning imbued in them; which was as fluid and transient as the context changed. Metaphors, therefore, became substitutes for past ethnic grievances. They served as a rallying cry and a call to arms, not because of the totality of what can be inferred from them, both positive and negative, but their signification of the aspects of difference. It is this difference, which was exploited during the election violence, not because of the metaphors but in spite of them. With the background of the political tension that suffocated the country, metaphors became materials to propagate ethnic identities and a basis for ethnic nomenclature." (Abstract)
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"In describing their understanding of trauma, disaster, and conflict photography, photojournalists in this qualitative study conceptualized abstract experiences using specific types of metaphors. Their metaphors focused on concepts such as violence, bewilderment, and health/affliction. The unique as
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pect of these metaphors was how they were reflective of aspects of journalism culture and the work of trauma photography. Through a metaphorical analysis of these figurative expressions, I show how metaphors construct a conceptual system of understanding the work of trauma photography and occupational identity, as well as influence the formation of the culture of journalism itself. Understanding this metaphorical picture may add to our knowledge about how traumatic stress injuries are recognized, managed, and aided in newsrooms." (Abstract)
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