Metaphor, Nurse’s Vehicle to Carry Caring Mind, An Analysis from Nursing Records

Nursing textbooks advice students to use literal expression expressions, which are considered to be objective.  However, we recognize many metaphorical expressions are used by Japanese nurses.  We surveyed database of Japanese Nursing Practice Example Accumulation Center (Kawashima, Retrieved 2012/4/14).  The database included a large number of texts to explain nurses’ activities. Concepts developed in cognitive linguistics were used to excavate metaphors, then text mining was applied to sample metaphors systematically.  The sampled metaphors were classified by types of source domain.  Although it is needless to say that statements about emotions include metaphors, it was found that nurses use many metaphors in statements about facts.  Nurses expressions, which include metaphors, are often understated, but the survey of the metaphors revealed that inclusion of the metaphor is expression of caring mind by nurses

Zhuang Zi and the Education of the Emotions

This paper examines and defends a conception of the education of emotions found in the Zhuang-Zi. I begin by exploring four principal features of Zhuang Zi’s philosophy as it relates to the emotions: his epistemological perspectivism, his view of the self, his ethics of wandering and natural spontaneity, and his playful non-seriousness. Together these four features allow us to discern a general orientation to the education of the emotions, including a normative account of a good emotional life as well some suggestions for a pedagogy for the development of such a life

Prophetic pathos in Isaiah : reading as a Chinese-Canadian woman.

This thesis is a worked-out example of the interplay of I culture- gender-context' and biblical interpretation. It is an interdisciplinary, empirical, and heuristic study. By pursuing a two-centred approach (text-centred and reader- oriented), I seek to look into an important aspect in the inner life of the Isaian persona -- his emotion through a synchronic- literary study of the selected III-Passages (places where the character speaks in the first-person singular voice). Three 'entry points' are established as the foci of textual reading. They are: (1) monologue and self; (2) language of emotion and self; and (3) language of religious faith and emotion. A socio-psychological study of emotion provides the background for the three components of my reader-perspective: Chinese culture, woman Is viewpoint, and Canadian situatedness. In accordance with the empirical emphasis of this thesis, a small scale reader-response survey and interview study were conducted, with the participation of 47 flesh-and-blood readers and two interviewees. overall, this study is a heuristic attempt (in the sense that my methodology is tailor-made to serve my goals) toward a version of culture- gender-context 'specific' interpretation. It provides preliminary suggestions in hammering out the methodological tools applicable to any 'given' culture-gender-context specific' reading

The Strength of Olistic Design for Organisation, between effectiveness and disruption

Design refers today to many different aspects, such as product, interior, communication, brand, service and so on. It is possible to provide a coherent perception of a whole environment, designing all the aspects so that they can communicate coherent values and univocal interpretation. This is possible by making the design driven by principles starting from metaphoric models of the mission of a company, translating them into perceptual aspect involving both static elements (layouts, interior design, logo, etc.) and dynamic (interaction protocols, services processes, processes, and so on). Beside the evident advantages of such an approach, problems can arise from conflictual points of view between the company (intended as a unique organism with specific mission and values) and the employees (requiring personal satisfaction, not necessarily coherent with the mission of the organization). The paper describes real experiences exemplifying what indicated, and presents: i) a quick description of the design approach able to design coherent solutions for different artifacts/ services (values identification, required emotions specification, metaphors supporting them, perceptual aspects supporting the metaphors, design of any aspect); ii) the description of a similar approach followed in designing some department in a relevant hospital; iii) the positive effect of the approach evaluated by the positive reactions of patients and nurse; iv) the opposition of the doctors, feeling themselves as interpreted less relevant for the therapies effectiveness; v) the corrective actions taken in order to avoid a disruptive effect of the cohesion between doctors (as more relevant actors of the services) and the rest of the environment. The paper describes the experience, and points out the differences between the design of artifacts for external customers (e.g., cars, white goods, etc,) and the design of environments in which customers and “producers” share the same space and processes, and suggests, for these cases, approaches going beyond User Centered Design.3reservedmixedGALLI, FRANCESCO; MAIOCCHI, MARCO MARIA; PILLAN, MARGHERITAGalli, Francesco; Maiocchi, MARCO MARIA; Pillan, Margherit

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Conceptual metaphor and spatial representations of time : the role of affect

Conceptual metaphor involves understanding abstract concepts (e.g., time) in terms of more concrete bodily experiences (e.g., spatial location and movement). Research has identified two different spatio-temporal metaphorical perspectives on time, as reflected in the contrast between ”Christmas is coming” and “We are approaching Christmas”. It has been found that which perspective is chosen can depend on the perceiver’s situation and experience. Four recent studies (Hauser, Carter, & Meier, 2009; Lee & Ji, 2014; Margolies & Crawford, 2008; Richmond, Clare Wilson, & Zinken, 2012) examined the role of emotion on choice of temporal perspective. The current project sought to address the anomalous results and several key issues arising from those studies. First, a series of critical questions were developed and discussed from interrogating the wider research literature on the two spatio-temporal metaphors and from conducting a research synthesis that examined methodological and statistical issues in that wider literature. This was followed by two experiments. The first experiment tested which of two emotion-induction methods, text or film, would be more effective. The second experiment examined the effect of induced emotion (via text) and event valence on choice of spatio-temporal metaphor. Participants (n = 504) were randomly assigned to one of nine experimental conditions, each participant having either a positive, negative, or neutral emotion induced and responding about an event that was either positive, negative or neutral. Additional measures were taken of trait test anxiety, social anxiety, and more general negative emotional states. Emotion induction was effective and there was a significant difference in some responses for traits and for more general negative emotional states. No other significant differences were found. The combined results of the literature interrogation, research synthesis, and experiments are discussed in light of the changing climate in psychology favouring a broader approach to science that includes conceptual analysis, null results, and replications. It is argued that the project has highlighted a previously unacknowledged relationship between emotion, event valence, and temporal perspective, and has revealed a general misunderstanding regarding the interpretation of responses on the standard measures used. This suggests redirection along more fruitful lines of future research into the effect of emotion on choice of spatio-temporal metaphor