لخّصلي

Donald Freeman In 1993 talked about King Lear in his article,King Lear Is a tragedy written by William Shakespeare.Terms such as "stripping," "reward me for my worth," and "comes up very short" participate in the BALANCE diagram but can be better interpreted in the more structured, balance-based financial accounting scenario. Another rich source of metaphor in King Lear is the connective diagram, which consists of two entities linked by an associative element. These aspects of the bonding schema map onto a wide range of non-physical human experiences, such as our literal physical ??connection to our biological mothers, our bonding with parents, relatives, and friends, and the importance of romantic interests in marriage. People without romantic interests are 'unattached' and are linked by causality. The Great Chain, which includes divine ordination and divine love, is still relevant today. These two powerful perceptual structures give a local habitation and name to previously unjustified and unrelated critical commonplaces. In King Lear, Gloucester's cynical account of his sons' parentage establishes the play's competing schemata of BALANCE and LINKS. The play's familial links are debased, with children being bastards or 'by order of law'. These competing schemata structure a significant portion of the play's metaphors and provide previously undiscovered empirical evidence for relating the play's figurative language to other structural elements such as narrative, plot, and particular constellations of characters. Critics have found parallel structure or balance in the fact that Edmund gouges out Gloucester's eyes but does not gouge out his own eyes. In this stretcher scene we see that the opening scene of King Lear lacks the crucial elements of a trial or test of love, because it is a semantic framework that relies on a quasi-legal procedure, a review of financial record books, and a more general scenario of financial accounting. The generative metaphor that dominates the scene's story is that children are financial assets, as Lear understands his daughters in the same way that he understands wealth, real property, assets, and debts. Financial love Is interest, and assets and organizations are periodically audited to see if they provide an adequate return. Assets that provide better returns can become targets for further capital investment, while assets that do not perform well are disposed of. The basic principles of financial accounting are the same today as they were in Shakespeare's time, but some details are different. The term "audit" comes from the Latin word "audire," which means "to listen," because when auditing appeared in its roughly modern form in England in the 14th century, it was used to describe balance and metaphor patterns.Contemporary literary theory often begins as holistic, essential, and universal, gradually qualifying its claims as research progresses.Here we know that metaphor is figurative language that contrasts with non-metaphorical "literal" language, and is distinguished by its deviation from ordinary, non-metaphorical language. This vision is characterized by the objective position that sees metaphor as a parasitic structure. But the cognitive metaphor rejects these two characterizations. Cognitive metaphor arises from the empirical position of semantic theory, which claims that we create metaphor by projecting entities and structures of a concrete source domain onto an abstract target domain. Metaphor is embodied in human understanding, where we project elements of our physical experiences onto our abstract, immaterial experiences. This sense of projection from planned bodily experience constitutes the claim to metaphor as embodied human understanding. For example, the famous sentence from King Lear, "I am a man / I sin more than sin," epitomizes supreme justice, a concept that dominates nonverbal and verbal language about justice.This is demonstrated through the concept of the "scenario," the cognitive model or ideal cognitive model, which structures our thinking around a concept or scene. , Lear, having disinherited Cordelia, jointly invests him with Cornwall and Albany, claiming a right or share in his power. Cordelia, who remains her father's daughter, displays some of Lear's bad habits and presents her outward value to the servants who will help him. She seeks to balance Kent's service to her with her own good deeds, which he rejects with dignity. The term "holistic" or "essentialist" is often used to describe a general approach, ignoring details that do not fit within the theory.Cordelia believes that marriage as a bond involves an "ordeal" or pledge, which reduces the line of credit upon which the bond between daughter and father rests. She is both honest and true, opposing her sisters' false accounts and fulfilling her obligations under her financial and filial bonds. Lear interprets Cordelia's "truth" only within the framework of financial accounting, while Burgundy expresses his bargain for Cordelia's hand.The theory of cognitive metaphor, applied to King Lear's opening scene, reveals that the scene's figurative language relies on metaphoric projection from the schemata-skeletalized structures of knowledge of balance and links into abstractions of filial love and family relationships.This analysis can be invalidated if the patterns it posits exist only at the text level and not in larger structural units, or if a competing candidate source domain and metaphoric projection better explains these patterns at all levels of the literary work.This theory provides a promising basis for analyzing figurative language in literary works, offering accounts of language patterns isomorphic with larger imaginative literary structures and more explicit and falsifiable interpretations.Lear re-cognizes and rebuilds his place in the world in terms of these links, bonding himself first with physical feeling (cold), then with spiritual feeling (empathy), then with individuals (the Fool), then with the rags and hunger of his kingdom's subjects ('the poor naked wretches').Lear sees statecraft and fatherhood in abstract and numerical terms, while Goneril and Regan interpret their parental love in a language dominated by accounting metaphors.Lear's struggle with the concept of "true need" is embodied in his use of the metaphor of "want," which a desperate desire of a king that goes beyond mere material requirements. Lear begins to value huma represents nity's connections more than account balances, realizing that "true need" cannot be explained or taken Into account.The ceremony involves the treasurer representing the Exchequer reading the amount due the crown from the sheriff, and the sheriff placing crown vouchers and money or jewels to balance the dummy counters.Lear's obsession with moral mathematics, which equates the emotional costs of child-rearing with equally quantifiable expressions of love, forces Cordelia to reject the financial metaphor and focus on her spiritual version of love.This process begins with the word "bonds" that exist in both competing frames, financial and kinship. Cordelia understands "bonds" in terms of her father's financial accounting scenario, which is a single bond, a financial obligation undertaken solely on the credit of a borrower without collateral.Lear believes that cognitive metaphor allows describing and interpreting patterns in the play, and their interconnection at different structural levels.However, government and binding theory bears resemblance to its 1957 predecessor, and subsequent research has produced more reliable facts and better theoretical accounts of areas of linguistic structure.The metaphors arising from the balance schema are organized into an interpretive framework of financial accounting.

Donald Freeman In 1993 talked about King Lear in his article,King Lear Is a tragedy written by William Shakespeare. It is loosely based on the mythological Leir of Britain. King Lear, In preparation for his old age, divides his power and land between his daughters Goneril and Regan and cordelia.
Shakespeare's play, is a historical drama that explores the concept of financial accounting and auditing. The play begins with a semi-annual settling of the Crown's accounts with the sheriff of every country for subventions and revenue. The ceremony involves the treasurer representing the Exchequer reading the amount due the crown from the sheriff, and the sheriff placing crown vouchers and money or jewels to balance the dummy counters. This event, rich in tradition, continued from the early Norman period into the nineteenth century. The play's first major scene explains the ritualistic character of the event. Lear, a character in the play, expresses his 'fast intent' to divide himself of rule and interest in territory. He calls upon his daughters to tell which of them love them most, aiming to invest more parental love. Goneril, a daughter of Lear, demonstrates this merit through her financial language.
The theory of cognitive metaphor, applied to King Lear's opening scene, reveals that the scene's figurative language relies on metaphoric projection from the schemata-skeletalized structures of knowledge of balance and links into abstractions of filial love and family relationships. The metaphors arising from the balance schema are organized into an interpretive framework of financial accounting. Lear understands his relationships with his daughters in terms of the debits and credits of fiscal accounts, while Cordelia tries and fails to get him to recognize parental love and filial duty in terms of the LINKS schema. The theory of cognitive metaphor constricts 'interpretive communities', 'interpretive communities', to the embodied imagination. This theory provides a promising basis for analyzing figurative language in literary works, offering accounts of language patterns isomorphic with larger imaginative literary structures and more explicit and falsifiable interpretations.
Here we know that metaphor is figurative language that contrasts with non-metaphorical “literal” language, and is distinguished by its deviation from ordinary, non-metaphorical language. This vision is characterized by the objective position that sees metaphor as a parasitic structure. But the cognitive metaphor rejects these two characterizations. Cognitive metaphor arises from the empirical position of semantic theory, which claims that we create metaphor by projecting entities and structures of a concrete source domain onto an abstract target domain. Metaphor is embodied in human understanding, where we project elements of our physical experiences onto our abstract, immaterial experiences. This sense of projection from planned bodily experience constitutes the claim to metaphor as embodied human understanding. For example, the famous sentence from King Lear, “I am a man / I sin more than sin,” epitomizes supreme justice, a concept that dominates nonverbal and verbal language about justice.
The balance diagram in King Lear is a non-representational diagram that explains the embodied human understanding of balance. This plot captures lines such as Edgar's misunderstanding of the relationship between father and child, which persists even when Cordelia transcends it. The chart also forms the basis for a richer structure of metaphor in the play, namely financial accounting. Terms such as “stripping,” “reward me for my worth,” and “comes up very short” participate in the BALANCE diagram but can be better interpreted in the more structured, balance-based financial accounting scenario. Another rich source of metaphor in King Lear is the connective diagram, which consists of two entities linked by an associative element. These aspects of the bonding schema map onto a wide range of non-physical human experiences, such as our literal physical تعconnection to our biological mothers, our bonding with parents, relatives, and friends, and the importance of romantic interests in marriage.
People without romantic interests are 'unattached' and are linked by causality. The Great Chain, which includes divine ordination and divine love, is still relevant today. These two powerful perceptual structures give a local habitation and name to previously unjustified and unrelated critical commonplaces. In King Lear, Gloucester's cynical account of his sons' parentage establishes the play's competing schemata of BALANCE and LINKS. The play's familial links are debased, with children being bastards or 'by order of law'. These competing schemata structure a significant portion of the play's metaphors and provide previously undiscovered empirical evidence for relating the play's figurative language to other structural elements such as narrative, plot, and particular constellations of characters. Critics have found parallel structure or balance in the fact that Edmund gouges out Gloucester's eyes but does not gouge out his own eyes.
In this stretcher scene we see that the opening scene of King Lear lacks the crucial elements of a trial or test of love, because it is a semantic framework that relies on a quasi-legal procedure, a review of financial record books, and a more general scenario of financial accounting. The generative metaphor that dominates the scene's story is that children are financial assets, as Lear understands his daughters in the same way that he understands wealth, real property, assets, and debts. Financial love Is interest, and assets and organizations are periodically audited to see if they provide an adequate return. Assets that provide better returns can become targets for further capital investment, while assets that do not perform well are disposed of. The basic principles of financial accounting are the same today as they were in Shakespeare's time, but some details are different. The term “audit” comes from the Latin word “audire,” which means “to listen,” because when auditing appeared in its roughly modern form in England in the 14th century, it was used to describe balance and metaphor patterns.
, Regan's accounting Is more concrete, valuing herself at the same level as her sister and valuing herself equally. However, she claims that Goneril is too short in her accounts, a claim rooted in the schema of BALANCE. Lear's obsession with moral mathematics, which equates the emotional costs of child-rearing with equally quantifiable expressions of love, forces Cordelia to reject the financial metaphor and focus on her spiritual version of love. Cordelia's silence, which is associated with the financial audit scenario, is a reflection of her account of filial love and paternal love returned. She refuses to speak, stating that feelings will always outweigh words, and her father only understands her silence as a number. This character trait is evident throughout the play, highlighting the complex relationship between love, finances, and spirituality.
While Cordelia, a woman, seeks to redefine her father's understanding of family relationships as items on an accounting balance sheet, with the goal of replacing the balance diagram with the connections diagram. This process begins with the word “bonds” that exist in both competing frames, financial and kinship. Cordelia understands “bonds” in terms of her father's financial accounting scenario, which is a single bond, a financial obligation undertaken solely on the credit of a borrower without collateral. However, for Cordelia, the same all-or-nothing property applies to filial ties when defined within the schema of ties through the metaphor filial ties are physical ties. Lear, who cannot share Cordelia's metaphorical understanding, responds only in financial terms. Cordelia's response includes both schema, balance, and connections, expressing her gratitude and honor for her father.
In this scene we see that Cordelia's response to King Lear's request is a reflection of both schemes, balance, and connections. She emphasizes the physical closeness of her relationship as a daughter with her father and the framework of financial accounting, referring to this as “duties.” This "return" is linked to the density of the children's relationships and the balanced nature of the accounts. Cordelia believes that marriage as a bond involves an “ordeal” or pledge, which reduces the line of credit upon which the bond between daughter and father rests. She is both honest and true, opposing her sisters' false accounts and fulfilling her obligations under her financial and filial bonds. Lear interprets Cordelia's "truth" only within the framework of financial accounting, while Burgundy expresses his bargain for Cordelia's hand. In both scenarios, Cordelia is honest and real, and represents the best auditor in her family.
Lear sees statecraft and fatherhood in abstract and numerical terms, while Goneril and Regan interpret their parental love in a language dominated by accounting metaphors. Cordelia refutes this schema in her own terms, suggesting that family relationships arise from a schema of connections. "The Fool" redefines the word "nothing" for Lear, reminding him of the deeper meaning of the "nothing" that he now possesses. Lear, the great valuer, is now worthless, a zero, a cipher without a number to give It value. The currency with which Lear will pay his older daughters' love interests comes at a much higher exchange rate than he expected.
Lear's world is destroyed by the amount of pain he has to offer, and he begins to realize that a deal is not necessarily a deal, no matter the numbers in the contract. Lear's daughters question his identity and his need for more than just material possessions. He believes that nature needs more than human possessions, and asks for patience from heaven. The story highlights the importance of understanding the human condition beyond what moral mathematics or balance sheets can justify.
Lear's struggle with the concept of "true need" is embodied in his use of the metaphor of "want," which a desperate desire of a king that goes beyond mere material requirements. Lear begins to value huma represents nity's connections more than account balances, realizing that "true need" cannot be explained or taken Into account. Bond-based metaphors involve Lear breaking bonds, both physical and spiritual, and denying the structures of interconnectedness between property and family. Later, when stripped of his followers by Goneril, Lear sought to destroy not only the bond between father and daughter but also the bond of shared membership in the human race, creating a curse that could deny the bond between mother and child or render the relationship paternal. Connecting the torture instrument. This severing of ties is carried out further in the second act, as he turns the destruction of human connections upon himself.
In the midst of a storm, Lear shatters the links that hold the world together, the bonds of nature and the human race, and the gene-pool of life itself. He stands alone, divested of links to his daughters, household, kingdom, and elements of the created world. Lear's reintegration with the human condition begins through the schema of LINKS. He identifies himself with the Fool through shared physical needs of warmth and safety, and sees himself as linked to the Fool in suffering and sympathy. He reverses the operative definition of kingship, seeking the ground of human community and kingship in concrete links of shared physical suffering In the storm, between man and man, and between a King and his subjects. Lear re-cognizes and rebuilds his place in the world in terms of these links, bonding himself first with physical feeling (cold), then with spiritual feeling (empathy), then with individuals (the Fool), then with the rags and hunger of his kingdom's subjects ('the poor naked wretches').
Lear believes that cognitive metaphor allows describing and interpreting patterns in the play, and their interconnection at different structural levels. The theory assumes that metaphor is not just a matter of language but rather a matter of thought and mind, and that the relationship between these entities and metaphors based on balance is not accidental or coincidental. The metaphorical impulse is rooted in the body, not in intellectual abstractions. The analysis of the language and financial relationships of the play is based on the equilibrium diagram, a concept that underlies the equilibrium diagram and other larger structures in the play. The analysis resulting from the cognitive metaphor approach is better grounded than previous critical work.
This metaphoric Impulse in King Lear is rooted in the body's mind, and its analysis can be confirmed or disproven based on the accuracy of the elements and structure of schematized bodily experience. This analysis can be invalidated if the patterns it posits exist only at the text level and not in larger structural units, or if a competing candidate source domain and metaphoric projection better explains these patterns at all levels of the literary work. For example, King Lear's textual metaphors depend on the core metaphor LIFE IS A JOURNEY, which is based on the PATH schema. However, little connects this pattern of metaphoric projection with larger structural elements in the play. The choice of dominant source domains and abstract entities into which they are projected is interpretive, and these choices can change over time. These changes arise from autobiography, deepening insight, and changing views that arise from many causes
. They appear to argue that explanations based on cognitive metaphor analysis are limited by experience and the need to map schematic experience into the target domain. There Is no single valid Interpretation of a literary work, but rather a set of reasonable interpretations and a range of correct interpretations. This is demonstrated through the concept of the “scenario,” the cognitive model or ideal cognitive model, which structures our thinking around a concept or scene.
, Lear, having disinherited Cordelia, jointly invests him with Cornwall and Albany, claiming a right or share in his power. Cordelia, who remains her father's daughter, displays some of Lear's bad habits and presents her outward value to the servants who will help him. She seeks to balance Kent's service to her with her own good deeds, which he rejects with dignity.
The term “holistic” or “essentialist” is often used to describe a general approach, ignoring details that do not fit within the theory. Noam Chomsky's early work in linguistic theory is often criticized for focusing on syntax and giving short shrift to semantics and pragmatics. However, government and binding theory bears resemblance to its 1957 predecessor, and subsequent research has produced more reliable facts and better theoretical accounts of areas of linguistic structure.
Contemporary literary theory often begins as holistic, essential, and universal, gradually qualifying its claims as research progresses. This approach explains nothing and is less theoretical than it is worth.