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This volume presents a multidisciplinary approach to narrative engagement within the paradigms of cognitive linguistics, cognitive narratology, and social-psychology. In their basic form, storyworld possible selves, or SPSs, are blends resulting from the conceptual integration of an intra- and an extra-diegetic perspectivizer. In written narratives, SPS blends function as hybrid referents for a variety of inclusive and ambiguous linguistic expressions, which are here explored from the standpoint of interactional cognitive linguistics, as instances of SPS objectification and subjectification. The model also draws on character construction and on the social-psychology notions of self-schemas and possible selves. This allows an exploration of emotional responses to narratives not just in terms of empathy or sympathy towards fictional entities, but also in terms of narrative ethics and of culturally determined and simultaneously idiosyncratic feelings of personal relevance and self-transformation.

In ancient navigation, the safety of a ship depended in no small measure on the stability of her anchors, and this crucial role at sea was not overlooked in the ritual symbolism of maritime communities. Accordingly, there is a general consensus on the fact that the anchors deposited at Eastern Mediterranean Bronze Age temples were important carriers of meaning for seafaring groups. Nevertheless, little effort has been made to understand the role of anchors in the conceptual world of the ancient seafarers beyond the fact that they were powerful symbols of maritimity. Borrowed and adapted from linguistics, Conceptual Blending Theory (CBT) provides the theoretical framework to use material culture as a source for the investigation of ancient thought processes. In this paper, I apply the perspective of CBT to the anchors found at the Late Cypriot sanctuary of Kition-Kathari, with comparisons to those from Byblos and Ugarit, and I examine the cognitive implications of anchors as material metaphors and investigate how they embody the blending of the mental spaces of the sacred, the city, and the sea.

COVID-19 has been one of the most threatening infectious diseases in recent years, and China, the epicenter of this epidemic, has suffered a national image crisis, which calls for urgent actions to achieve self-image construction. The government’s white paper, the window of national ideology, is essential in constructing a national image. In this context, the study aims to conduct an ideological exploration of the white paper “Fighting COVID-19: China in Action”. The study relies on conceptual blending theory and van Dijk’s theory of ideology to develop a theoretical research framework to explore the process of ideological construction of metaphorical structures in the blended space. This study comes to the following three conclusions: (1) metaphorical structures in the blended space try to explain China’s actions to the public and arouse sympathy to persuade readers; (2) conceptual metaphors in this white paper reveal major ideologies: “collectivism,” and “people-oriented value”; (3) these ideologies aim to construct a positive national image: a country willing to take responsibilities and cooperate with the world. In conclusion, conceptual blending theory could provide a valuable apparatus for micro-level study in Critical Discourse Analysis (CDA), enhancing people’s understanding of conceptual metaphors’ functions in ideological construction.

The paper investigates the interaction of conceptual blending and conceptual metaphor in producing figurative creativity in discourse. The phenomenon of figurative creativity is defined by Kövecses (2005) as creativity arising through the cognitive mechanisms of metonymy, metaphor, and blending. Specifically, the paper examines the use of creative figurative language in the British public discourse on the topic on Brexit. The aim of this paper is to show that conventional metaphors can be creatively stretched through conceptual blending, producing instances of creative figurative language. Specifically, applying blending theory, we will analyse innovative conceptual blends, motivated by the conventional MARRIAGE/DIVORCE metaphor. In addition, the paper also examines the way in which creative figurative language produced in metaphorical blends provides discourse coherence at intertextual and intratextual levels.

New theologies developed in tandem with evolutionary biology during the nineteenth century, which have been called metaphysical evolutionisms and evolutionary theologies. A subset of these theologies analyzed here were developed by thinkers who accepted biological science but rejected both biblical creationism and materialist science. Tools from the cognitive science of religion, including conceptual metaphor theory (CMT) and blending theory, also known as conceptual integration theory (CIT), can help to explain the development of these systems and their transformation between the nineteenth and the twentieth centuries. The analysis focuses on several stable and popular blends of ideas, which have continued with some alteration into the twenty-first century. The three blends evaluated here are Progressive Soul Evolution, Salvation is Evolution, and Evolution is Therapy. Major contributors to these blends are the Theosophist and theologian Helena P. Blavatsky and psychologist Frederic W. H. Myers, both influenced by the spiritualist movement, particularly the ideas of the spiritualist and biologist Alfred Russel Wallace. The influence of these blends can be seen in the twentieth-century “Aquarian Frontier,” a group of 145 thinkers and organizations identified in 1975 by counterculture historian Theodore Roszak. Part of the appeal of these blends may be seen in their use of metaphors, including the Great Chain of Being and A Purposeful Life is a Journey. The application of the polysemic term evolution in a sense that does much of the theological work of salvation in Christianity can in part be explained by applying the principles of blending theory, including the vital relation “achieve a human scale,” as well as compressions of time and identity. These blends have been successful because they meet the needs of a population who are friendly towards science but disenchanted with traditional religions. The blends provide a satisfying new theology that extends beyond death for a subset of adherents, particularly in the New Age and spiritual but not religious (SBNR) movements, who combine the agency of self-directed “evolution” with the religious concepts of grace and transcendence.

Neologisms are ubiquitous in language, providing definitive evidence suggesting that humans can use language in a flexible and creative way. Science fiction (sci-fi) neologisms are the lexical manifestation of the creators’ creativity, to which Conceptual Blending Theory constructs a solid theoretical basis. This paper finds that applying Conceptual Blending Theory to translation will provide new insights into sci-fi neologism translation. When there is no corresponding frame in the input spaces of the two languages, translators can choose to project the original word directly into the blended space or construct a new frame in the target language space. When the same or similar frames exist in the two input spaces, translators can directly map the original word to the target language space or adjust the frames according to the translators’ experience, knowledge system, and target language culture to generate an optimal translation.

The fast development of technology and the popularity and prevalence of social media are constantly changing people’s way of living especially their communication patterns. Computer-mediated communication facilitates human contact. Meanwhile, net language becomes widely accepted by computer-mediated communicators. Originating from the text-based form, net language evolves into a multi-modal physical form with a combination of texts, symbols, emojis, pictures and other forms of messages. The multi-modality of net language gives rise to difficulties for hearers or readers of the computer-mediated communication to understand the hidden message due to the ambiguous and polysemic nature of symbols. To clarify hearer’s understanding and ensure the smooth conduct of computer-mediated communication, the conceptual blending theory will be useful in processing the multi-modal net language. With a four-space network and three operation mechanism, the emergent meaning will be constructed.

This research article focuses on the use of the water metaphor in column 16 of the Hodayot. Previous scholarship has often concentrated on the garden metaphor in this section, particularly on its intertextual links with the book of Isaiah. By drawing on contemporary metaphor theory, in particular blending theory, I show how the author of the Hodayot creates poetry through a multiple blended network of garden and water metaphors, and how aspects of the linguistic form of the poem, in particular the phrase מבוע מים חיים'well of living waters', can be read as an expression of this blend. The aim of this study is to contribute (1) to the study of the Hodayot and its poetic practices, against older dismissals of the poetic quality of the Hodayot, and (2) to our understanding of semantic constellations and the conceptual world of ancient Judaism. Contribution This article fits within the scope of HTS's theme 'Historical Thought and Source Interpretation' as it contributes to our insights into ancient Jewish thought through the interpretation of a religious source text using metaphor theory.

This contribution is an attempt to integrate the notion of conceptual blending (Fauconnier and Turner 1998; Fauconnier and Turner 2002; and Fauconnier and Turner 2003) and Linda Hutcheon’s (1985) view of parody as a form of repetition maintaining a critical distance, through the analysis of a multimodal Internet meme. The case study chosen is a parodic music video of the Knack’s classic hit , showing the absurdity in everyday life during the times of the Covid-19 pandemic. The study is thus based on two conceptual paradigms: Blending Theory and Pragmatic Studies of Parody.

This research article focuses on the use of the water metaphor in column 16 of the Hodayot. Previous scholarship has often concentrated on the garden metaphor in this section, particularly on its intertextual links with the book of Isaiah. By drawing on contemporary metaphor theory, in particular blending theory, I show how the author of the Hodayot creates poetry through a multiple blended network of garden and water metaphors, and how aspects of the linguistic form of the poem, in particular the phrase מבוע מים חיים‘well of living waters’, can be read as an expression of this blend. The aim of this study is to contribute (1) to the study of the Hodayot and its poetic practices, against older dismissals of the poetic quality of the Hodayot, and (2) to our understanding of semantic constellations and the conceptual world of ancient Judaism. Contribution: This article fits within the scope of HTS’s theme ‘Historical Thought and Source Interpretation’ as it contributes to our insights into ancient Jewish thought through the interpretation of a religious source text using metaphor theory.