click here to see the display conventions

(back to Table of Contents)

Click here to go to the description of the metaphor


COPYRIGHT: John Barnden, 1997. This page of the databank may be freely copied for non-commercial research/instructional use provided this copyright notice is included.



COGNIZING AS INTERACTING WITH NON-OWN-MENTAL ENTITIES
(The entities need not be real. They can be mental (such as ideas) or non-mental, but if mental then they should not belong to the agent.)




What she wanted (* TO SHUT OUT WAS THE WIND SOBBING UP AND DOWN that terrace behind her, and the consciousness of the fierce intermittent squalls of rain ... and the certainty that *) ...
[[Text: source, p.136]]
{Mixed with IDEAS AS EXTERNAL ENTITIES. NB: there may be a metonymy from the wind to an idea of the wind, so that three *ideas* are being shut out, rather than the first thing being non-mental.}

Thoughts, unoccasioned and faint, drifted vaguely into his mind and out. He half remembered the comforts of (* his home *..) in Boston; but (..* that SEEMED UNREAL AND FAR AWAY,*) and of those thoughts there remained in his mind only thin ghosts of remembered sensation -- the feel of a feather bed at night, [etc.].
[[Text: source, p.214]]
{In surrounding text above, also have MIND AS PHYSICAL SPACE and IDEAS AS PERSONS or other ANIMATE BEINGS (q.v. for more comments).
In the sentence preceding the text above, have MIND AS ANIMATE BEING or LIVING BODY.}


"... (* I shut down and just drift away into a world of my own,*)" he says. "(* I keep things in my head *) and appear relaxed, but (* I DISSOCIATE MYSELF FROM THINGS. I can go off into a room of my own in my head *) and not hear a thing anyone is saying."
[[Text: source]]
{Mixed with / near to: MIND AS WORLD DEFINER, MIND AS PHYSICAL OBJECT, MIND AS PHYSICAL SPACE, IDEAS AS PHYSICAL OBJECTS.}

The ability to (* PULL UP THE DRAWBRIDGE ON HIS PAST *) means he becomes occasionally (* distant *) in private moments.
[[Text: source]] {Mixed with metonymy from PAST to past life. the metaphor links the agent to that past life, mixing with metaphorical view of it as a castle.}

(* My mind will always be PUSHED BACK TO THIS FARM,*..) and there is nothing I can do about it. (..* I will never be ABLE TO GET AWAY.*)
[[Text: source p.202]]
{Mixed with MIND AS PHYSICAL OBJECT.}

... but when I could read what she had written, (* CREEP AND CRAWL AND SNUGGLE INSIDE HER BRAIN,*..) ... You who've never read the secret words of the familiar, domesticated people you love, you who've never (..* SNUGGLED INTO THEIR BRAINS and LOOKED OUT THROUGH THEIR EYES,*..) how can you understand what I felt? It's as if (..* I HAD OPENED A DOOR *) and saw Nada not as she wanted to seem to us, but Nada as she really was, a stranger, a person Father and I did not know and had no connection with.
[[Text: source p.214]]
{mixed with MIND AS PHYSICAL SPACE and with metonymy BRAIN FOR MIND}

Then he was (* seized by one of those tremblings of the soul *) in which you (* feel yourself TRANSPORTED INTO A HIGHER WORLD.*)
[[Text: source p.56]]

Above all, he would not be far away and parted from Her. (* SOMETHING STRONGER THAN AN IRON CHAIN BOUND HIM TO PARIS:*) (* an inner voice cried out to him *) to stay.
[[Text: source p.70]]

... gazing into her eyes and (* DRINKING IN HER SOUL.*)
[[Text: source p.77]]
{Mixed with MIND AS PHYSICAL OBJECTS, as the soul is viewed as a physical object.}

Invested in believing he was sincere, Jamie refused to see the pattern. "I started avoiding my friends. I couldn't really (* FACE WHAT WAS HAPPENING TO ME *), ..."
[[Text: source]]

Rather than (* CONFRONT A WEIGHT GAIN *), we'll simply avoid the scale and any full-length mirrors in the bathroom.
[[Text: source]]

... (* MY MIND RETURNS TO *) {an event}
[[Speech: source]]

But Cheryl's purpose in stealing was (* BEYOND HER {i.e. Christine}.*) It was as if (* CHRISTINE'S MIND STOPPED SHORT AT *) the stealing itself, giving no thought to what Cheryl stole for.
[[Text: source]]
{NB: discourse coherence between BEYOND HER and STOP SHORT.}

Of course he was still in mourning for his father. (* THERE WAS A DIRECTION IN WHICH HE CONSTANTLY TURNED, TO BE CONFRONTED BY AN ABSENCE.*)
[[Text: source p.273]]

(* HULVER FELT AS IF HIS WORDS WERE EXPLORING A TUNNEL DOWN WHICH HE HIMSELF HAD NEVER BEEN.*)
[[Text: source p.76]]

The inventive gambling proponents ... can (* TURN THEIR HEADS TO *) what might be legal on reservations with horse racing, ...
[[Text: source]]

(* Bracken's MIND TOOK HIM BACK TO THE BLIZZARD *) ...
[[Text: source]]

Dr. Zilbergeld [said,] ` ... Allow yourself to fantasize. Sit at your desk and allow (* YOUR MIND TO WANDER TO A GREAT NIGHT OF SEX IN THE PAST.*) ... '
[[Text: source p.79]]
{NB: mixing w. TIME AS SPACE and MIND AS ANIMATE BEING or LIVING BODY}

At that moment, (* Belinda's THOUGHTS HAD TURNED AGAIN TO *) the blood in the toilet bowl ...
[[Text: source p.31]]

On this sunny winter's afternoon, we had (* CRAWLED BACK IN TIME *) and witnessed what Ronnie Joe Waddell had done.
[[Text: source p.347]] {mixed with TIME AS SPACE, with scenes viewed as objects on the spatial line; also analyzable as IDEAS AS EXTERNAL ENTITIES}

--- and, (* TO MY OWN MIND,*) this conclusion is an inescapable conclusion of considerations like the above ---
[[Text: source p.425]]

We are wandering, however, from the point ... (* I TAKE IT *) we should all agree with the original notion of a bomb ...
[[Text: source p.65]]

(* FOR PARENTS *) of disabled children, every "routine" mile- stone reached is a miracle, ...
[[Text: source]]

(* TO HIS MOST FERVENT OPPONENTS,*) Walesa would be dangerous either in victory or in defeat. If he loses, they (* fear *), he could destabilize the country by instigating new popular protests.
[[Text: source]]
{The ``To'' phrase could just indicate that in reality Walesa would be dangerous, but the fear in the next sentence suggests that the danger is in their minds.}

I too am from the Experimental Generation, but I couldn't even pay for my own drink. (* TO ME,*) feminism has backfired against women.
[[Text: source]]

(* FOR CONSERVATIVES,*) today's military success compounds a paradox.
[[Text: source]]

(* TAKE PAM.*) For years after her older brother, a onetime high-school football star, was diagnosed with schizophrenia, ...
[[Text: source]]

(* TAKE TINA *), who knows she's an alcoholic.
[[Text: source]]

(* TAKE NATASHA *), a TV talk-show producer ...
[[Text: source]]

(* TAKE BIRTHDAYS.*) One family may trot out party favors, balloons and a big cake with candles, while in another household the day slips by practically unnoticed.
[[Text: source]]
{NB: most of passage is in upper case in the file}






Last modified 21 August 2015