Aptness predicts preference for metaphors or similes, as well as recall bias

Why might we sometimes prefer a metaphor such as “genes are blueprints” to a simile such as “genes are like blueprints”? One possibility is that metaphors are preferred when the comparison between a tenor (e.g., genes) and a vehicle (e.g., blueprints) seems especially apt. That is, metaphors might be used when the comparison captures many salient features of the tenor in question. The present experiments examined the relation between the aptness of comparisons and people’s preferences for expressing those comparisons as metaphors or as similes. In Experiment 1, it was found that there is consensus on how to express particular comparisons. In Experiment 2, it was found that this preference can be predicted from the aptness of a comparison. It was also found that aptness can predict errors in the recall of comparisons. These findings have implications for theories of metaphor.     

Emergent representations, interaction theory and the cognitive force of metaphor

We focus here on the problem of how new representations emerge through a cognitive agent's interaction with the environment. We address this problem within a framework where representation-building mechanisms operate to create new representations against a backdrop of existing representations, and argue that novel and creative metaphors in any language provide a prime example of this phenomenon. Our approach to modeling the emergence of representation integrates ideas from three different streams of research: (1) the interaction theory of metaphor proposed by Black and others to account for the creativity of metaphors; (2) gestalt theories of perception; and (3) contemporary research supporting a constructivist and action-oriented view of perception and cognition. Combining these insights together, we outline our Gestalt projection model, and discuss three different ways in which new representations might emerge through metaphors. Finally, we propose that metaphor may be viewed as a cognitive force through which a cognitive agent asserts its creative spirit onto the environment.     

Personality through metaphor: Optimism, pessimism, locus of control, and sensation seeking

In two experiments, several personality attributes evident in metaphors people use to describe everyday experiences were examined. Subjects either generated (Experiment 1) or endorsed (Experiment 2) a metaphor that represented their views about six facets of their lives (e.g., work, relationships, graduating). In self-generated metaphors, content analyses of the metaphors revealed that attributes of optimism (e.g., looking forward to the future) and pessimism (e.g., cynicism) were significant components of metaphor content. Also, modest relationships were found between the themes of optimism contained within their metaphors and scores on an optimism scale of a questionnaire designed to evaluate the optimistic and pessimistic orientations. In a second study, subjects endorsed how strongly preselected metaphors represented important aspects of their lives. These preferences were significantly related to their scores on an optimism/pessimism instrument and a locus of control inventory. These results support the notion that metaphors, like other creative productions, may prove a useful vehicle for studying personality characteristics. They also provide evidence for the construct validity of the optimism and pessimism questionnaire.     

Personality through metaphor: Optimism,pessimism, locus of control,and sensation seeking

In two experiments, several personality attributes evident in metaphors people use to describe everyday experiences were examined. Subjects either generated (Experiment 1) or endorsed (Experiment 2) a metaphor that represented their views about six facets of their lives (e.g., work, relationships, graduating). In self-generated metaphors, content analyses of the metaphors revealed that attributes of optimism (e.g., looking forward to the future) and pessimism (e.g., cynicism) were significant components of metaphor content. Also, modest relationships were found between the themes of optimism contained within their metaphors and scores on an optimism scale of a questionnaire designed to evaluate the optimistic and pessimistic orientations. In a second study, subjects endorsed how strongly preselected metaphors represented important aspects of their lives. These preferences were significantly related to their scores on an optimism/pessimism instrument and a locus of control inventory. These results support the notion that metaphors, like other creative productions, may prove a useful vehicle for studying personality characteristics. They also provide evidence for the construct validity of the optimism and pessimism questionnaire.     

Metaphorically speaking: cognitive abilities and the production of figurative language

Figurative language is one of the most common expressions of creative behavior in everyday life. However, the cognitive mechanisms behind figures of speech such as metaphors remain largely unexplained. Recent evidence suggests that fluid and executive abilities are important to the generation of conventional and creative metaphors. The present study investigated whether several factors of the Cattell–Horn–Carroll model of intelligence contribute to generating these different types of metaphors. Specifically, the roles of fluid intelligence (Gf), crystallized intelligence (Gc), and broad retrieval ability (Gr) were explored. Participants completed a series of intelligence tests and were asked to produce conventional and creative metaphors. Structural equation modeling was used to assess the contribution of the different factors of intelligence to metaphor production. For creative metaphor, there were large effects of Gf (β = .45) and Gr (β = .52); for conventional metaphor, there was a moderate effect of Gc (β = .30). Creative and conventional metaphors thus appear to be anchored in different patterns of abilities: Creative metaphors rely more on executive processes, whereas conventional metaphors primarily draw from acquired vocabulary knowledge.     

Are Metaphors Elliptical Similes?

What is the relation between metaphors and similes? Aristotle's “comparison theory” holds that metaphors are elliptical similes: “Sam is a pig” is simply a short form of “Sam is like a pig.” In contrast, it has been suggested that metaphors cannot be elliptical similes because metaphors are “stronger” than similes. We know metaphors are stronger, it is argued, because of examples involving corrections, such as “Peter is not just like a rock, he is a rock.” The argument from corrections can be challenged on logical and empirical grounds. The ability to correct a simile with a metaphor does not entail that metaphors are stronger than similes when used on their own, which is likely to be the most frequent case. Although four experiments indicate that when corrections are involved, metaphors are indeed stronger than similes in several respects, alas a further four experiments indicate that these differences are largely eliminated when metaphors and similes are used on their own. We note that this pattern of results is consistent with the comparison theory, and we offer an explanation of the effects of corrections.     

Human capital and the Matthew effect: Description does not imply prescription

This article presents a philosophical perspective on creativity as described in the writings of George Sudarshan, a highly accomplished theoretical physicist and natural philosopher whose vision of creativity was influenced by “the direct experience of transcendence.” The article reviews his conceptualization of the various mental states modeling the mind as a superfluid and as a collection of harmonic oscillators, which include feelings, consciousness, and altered states. Based on Sudarshan's experiences of discovering knowledge and expressing creativity, this article examines several philosophical assertions about the sources of creative impulse and the nature of the creative process. In addition, the significance of philosophical issues, such as the role of experienced and transcendent time, “critical opalescence,” intuition, grace, ideal states of being and awareness, joy, and illumined perception are also reviewed. The significance of witnessing pure awareness (distinct from individuated ego awareness) in the emergence of the creative self is described and a philosophical framework relating to reconciliation of diverse conforming and creative modes of awareness is outlined. Borrowing from science and philosophy, the article discusses the role of wisdom, use of analogies, metaphors, and moral responsibility in creative functioning. A philosophical conceptualization underlying the rishi model of a creative scientist is presented. The article concludes that transcendence is the key to becoming a fulfilled, actualized, creative being.     

Towards a literary account of mental health from James' Principles of Psychology

The field of mental health tends to treat its literary metaphors as literal realities with the concomitant loss of vague “feelings of tendency” in “unusual experiences”. I develop this argument through the prism of William James’ (1890) “The Principles of Psychology”. In the first part of the paper, I reflect upon the relevance of James' “The Psychologist's Fallacy” to a literary account of mental health. In the second part of the paper, I develop the argument that “connotations” and “feelings of tendency” are central to resolving some of the more difficult challenges of this fallacy. I proceed to do this in James' spirit of generating imaginative metaphors to understand experience. Curiously, however, mental health presents a strange paradox in William James’ (1890) Principles of Psychology. He constructs an elaborate conception of the “empirical self” and “stream of thought” but chooses not to use these to understand unusual experiences – largely relying instead on the concept of a “secondary self.” In this article, I attempt to make more use of James' central division between the “stream of thought” and the “empirical self” to understand unusual experiences. I suggest that they can be usefully understood using the loose metaphor of a “binary star” where the “secondary self” can be seen as an “accretion disk” around one of the stars. Understood as literary rather the literal, this metaphor is quite different to more unitary models of self-breakdown in mental health, particularly in its separation of “self” from “the stream of thought” and I suggest it has the potential to start a re-imagination of the academic discourse around mental health.     

Metaphor Foundations in Creativity Research: Boundary vs. Organism

Two metaphors explicitly or implicitly used in the conceptualization of creativity are examined and compared. The boundary metaphor describes creativity in terms of crossing or pushing out a frontier. This metaphor underlies studies that emphasize creativity as a moment — an “aha!” experience or a sharp break from tradition. The organism metaphor describes creativity in terms of a reconfiguration of a problem, domain, or situation. This metaphor underlies studies that emphasize creativity as a transformation process. Research and educational implications for a potential shift in the dominant metaphor in the creativity research field are discussed.     

Form symbolism, analogy, and metaphor

Simple forms, such as a square and a circle, can be symbolic; for example, a square can be deemed to behard and a circle to besoft. The relation between form symbolism and the comprehension of metaphors and analogies was studied in three experiments. Subjects were asked to rate matches between terms such assoft andhard andcircle andsquare as symbols (Experiment 1), metaphors (Experiment 2), and analogies (Experiment 3). The results show that a highly rated symbolic relation could be a poorly rated metaphorical relation. Ratings of analogies were similar to ratings of symbols. We argue that apt metaphors, analogies, and symbolic forms claim that the vehicle and the topic of the comparisons have common features, but that metaphoric representation entails more common features than does either symbolism or analogy, because metaphor requires that the vehicle be an especially apt example of a superordinate class. Thus, metaphor is a particularly strong claim about common features shared by the topic and the vehicle.     

Why a Big Mac Is a Good Mac: Associations between Affect and Size

Evaluation is a core topic of interest in both social psychology and linguistic theory, but there are relatively few social-cognitive studies examining the “online” consequences of affective metaphor. The experiments presented here sought to investigate such online consequences in relation to an understudied class of metaphors linking evaluation to size (i.e., “bigger is better”). Consistent with such metaphors, we found that positive (vs. negative) words were evaluated more quickly (Experiment 1) and accurately (Experiment 2) when presented in a larger (vs. smaller) font size. Parallel and opposite effects were found for negative words. A third experiment demonstrated that words presented in a larger font size were evaluated more favorably, thus extending size effects to evaluative judgments. Together, the studies converge on the importance of size metaphors for understanding evaluation from a social-cognitive perspective.     

Kierkegaard's Mirrors: The Immediacy of Moral Vision

This paper explores Kierkegaard's recurrent use of mirrors as a metaphor for various aspects of moral imagination and vision. While a writer centrally concerned with issues of self‐examination, selfhood and passionate subjectivity might well be expected to be attracted to such metaphors, there are deeper reasons why Kierkegaard is drawn to this analogy. The specifically visual aspects of the mirror metaphor reveal certain crucial features of Kierkegaard's model of moral cognition. In particular, the felicity of the metaphors of the “mirror of possibility” in Sickness Unto Death and the “mirror of the Word” in For Self‐Examination depend upon a normative phenomenology of moral vision, one in which the success of moral agency depends upon an immediate, non‐reflective self‐referentiality built into vision itself. To “see oneself in the mirror” rather than simply seeing the mirror itself is to see the moral content of the world as immediately “about” oneself in a sense that goes beyond the conceptual content of what is perceived. These metaphors gesture towards a model of perfected moral agency where vision becomes co‐extensive with volition. I conclude by suggesting directions in which explication of this model may contribute to discussions in contemporary moral psychology.     

Consumers' attributions and brand evaluations in product‐harm crises: The role of implicit theories of personality

This study aims to examine the moderating role of implicit theories of personality in the relationship between corporate recovery strategy (i.e., support versus stonewalling) and consumers' attributions (and brand evaluations). It is suggested that consumers' implicit theories about the fixedness/malleability of personality can affect consumers' attributions and brand evaluations during a product‐harm crisis. In addition, corporate image (i.e., strong versus weak) can moderate the influence of the role of implicit theories of personality. Two experiments were conducted to examine the proposed hypotheses. Results of Experiment 1 show that consumers who endorse entity theory (i.e., entity theorists) are likely to attribute crisis as more internal, stable, and controllable, particularly when they do not have any prior knowledge about the firm. The entity theorists would have more negative brand evaluations than incremental theorists (who endorse incremental theory), when “support” strategy was used by the firm. Results of Experiment 2 show that entity theorists are prone to have more external (internal) and unstable (stable) attributions toward a firm with a strong (weak) corporate image. Furthermore, entity theorists would provide more positive brand evaluations than incremental theorists when “stonewalling” strategy was used by a firm with strong corporate image, but not when “support” strategy was used by a firm with weak corporate image. Managerial implications are provided to managers with regard to product‐harm crisis and recovery strategies. Copyright © 2015 John Wiley & Sons, Ltd.     

From left to right: Processing acronyms referring to names of political parties activates spatial associations

In line with previous studies, showing that abstract concepts like “power” or “god” implicitly activate spatial associations, in the present study we hypothesized that spatial associations are coactivated during the processing of acronyms referring to names of political parties as well. In four studies, it was found that the reading of these acronyms was accompanied by the implicit activation of spatial left–right associations. That is, participants responded faster to left-wing parties by means of a left-hand button press and vice versa for right-wing parties (Experiments 1 to 3), and participants responded faster when a political acronym was presented at the side of the screen corresponding to the political orientation of the acronym (Experiment 4). Interestingly, a correlation was observed between the effect size for left-wing parties and participants' political preferences, suggesting that the reaction time effects reflect the perceived distance of a party to one's own political orientation. Together these findings indicate that spatial representations activated in response to political acronyms do not simply reflect lexical–semantic associations or spatial metaphors, but representations of parties' political orientation relative to one's own sociopolitical position.     

Imitation,Inspiration, and Creation: Cognitive Process of Creative Drawing by Copying Others' Artworks

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork.     

Metaphors We Teach By: The Language of “Learning Outcomes”

This article employs George Lakoff and Mark Johnson's work on metaphor (1980) to examine the current use of the term “learning outcomes” within higher education. It argues that “learning outcomes” is an ontological metaphor (education becomes focused on results that one can understand and measure) that resonates with contemporary academic capitalism. Yet because metaphors highlight some things and conceal others, thinking about teaching and disciplines using “learning outcomes” hides other dimensions of academic capitalism and obscures unquantifiable and highly complex aspects of education. Finally, the article explores ways in which an emphasis upon outcomes has consequences for the field of Religious Studies.     

Getting What's New from Newcomers: Empowering Leadership,Creativity, and Adjustment in the Socialization Context

Researchers consistently argue that organizations need to generate creative ideas to ensure long‐term success and survival. One possible solution for increasing creativity is to inject “fresh blood” into the organization by hiring new employees. However, past work suggests there may be a number of impediments that stifle newcomer creativity and, further, that encouraging newcomer creativity may compromise other adjustment outcomes. Accordingly, the present research examines how empowering leaders, in conjunction with contextual and relational factors (i.e., organizational support for creativity and newcomers' trust in leaders), facilitate newcomer creativity. Study 1 indicates that empowering leadership positively predicts newcomer creativity and that this relationship is contingent on the organizational context. Study 2 reveals that a more specific and proximal contextual socialization factor–newcomers' trust in leaders–is a more potent moderator than organizational support for creativity. Further, these predictors operate through creative process engagement to influence creativity. Finally, results indicate positive links between empowering leadership and role clarity, attachment, and task performance, suggesting that empowering leadership may serve as an important, albeit overlooked, socialization tactic.     

心理治疗中隐喻的使用、疗效检验及作用机制

隐喻是用一种具体、熟悉的概念去表达和理解一种抽象、不熟悉的概念的语言形式和认知方式,因其在心理治疗中可以有效传递治疗信息而被治疗师们广泛使用。早期的隐喻理论阐述了隐喻具有高创造性和增强长时记忆的认知加工优势,虽然不同心理治疗流派在治疗过程中对使用来访者还是治疗师产生的隐喻各有侧重,但它们都认为隐喻可以通过高创造性的内容、形成更优的长时记忆以及带来高度的认知卷入来帮助咨访双方有效加工、传递和保存治疗信息。精神分析流派强调治疗性隐喻在无意识水平上的意义交换产生的顿悟过程,认知行为疗法既强调隐喻可以促进认知图式的重构,也强调其组块性和形象性产生的记忆功能,接纳与承诺疗法认为隐喻传递信息时具有非评判、非分析、直觉经验的方式有利于促进个体发生改变,后现代疗法中强调让来访者重新叙述自己的人生故事或者发展出一种形象性或象征性表达,让来访者产生更具有功能的观点和看法。因此治疗性隐喻具备了跨越不同心理治疗理论取向的广泛认同基础。在实证研究上,大多数研究聚焦于探索在某种治疗方法中加入隐喻是否会有更佳的治疗效果,其中使用CBT作为框架的研究最为集中,有些研究发现隐喻干预在缓解心理症状方面优于常规干预,也有研究发现隐喻干预和非隐喻干预都可以有效缓解被试的心理痛苦,因此虽然没有获得十分一致的结论,但这些研究总体上证明了在心理治疗中使用隐喻是有效的。随着研究的深入,对治疗性隐喻起效的心理神经机制进行探索的实证研究也有效观测到了隐喻理论中提出的认知加工优势,包括隐喻的高创造性可以诱发顿悟（并伴随杏仁核、海马、梭状回等特异性神经网络的显著激活）、带来更佳的治疗效果,隐喻内容更容易被记住、有助于治疗持续发挥作用,以及隐喻可以增加来访者的认知卷入程度进而带来更大程度的认知改变。综上,无论从理论构建还是实证证据上,治疗性隐喻都是一种具有独特认知加工优势的认知工具和治疗信息传递途径。未来研究可以从更加科学的设置对照组、增加隐喻特异性的效果衡量指标以及探索其他可能的心理机制三个方面来进一步观察在治疗性隐喻的独特优势。最后,对在心理治疗实践中更好的使用隐喻以及研发嵌入隐喻的低成本高效益的社会心理健康服务方案提供了建议。     

Transformational and transactional leaderships,empowerment climate,and innovation performance: A multilevel analysis in the Chinese context

Innovation through creativity is an important factor in the success and competitive advantage of organizations. Theory and research suggest that both leadership and organizational climate have important consequences for individual creativity. However, researchers have rarely considered the interactive effects of leadership and organizational climate. This study taking a “Substitute for Leadership” perspective, develops and tests the idea that empowerment climate affect the relationship between leadership and followers' creative performance. Data were collected from 93 teams, including 465 team members and 93 team supervisors, in a large multinational company based in China. Hierarchical linear modelling was used to examine the hypothesized cross-level model. As expected, transformational leadership and team empowerment climate were positively related to subordinates' creative performance and transactional leadership was negatively related to subordinates' creative performance. In addition, the relationship between leadership and subordinates' creative performance was moderated by team empowerment climate. The study resulted in the implication of several major variables for explaining individual creativity in the Chinese context.