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Ferences as well as similarities between multimodal and purely verbal metaphors. among the differences are the following: the nature of the metaphorical "is" is non-verbal. the construal of verbal metaphors is aided by the rules of grammar and semantics. for one thing, the prototypical verbal metaphor has a "noun a is noun b" appearance; that is, target and source are linked by a copula. and where it is not as happens in many cases; see brooke-rose 1958; goatley 1997 ; , grammar still often helps attest that a non-literal identification between two phenomena is proposed. in multimodal metaphors this awareness of metaphorical identification is cued by other means. the identification between two phenomena that turns them into a metaphorical target and source can be triggered in various ways. the ten cases discussed reveal the following mechanisms, separately or in combination, that contribute to the awareness that a metaphor is to be construed: a ; . physical resemblance. this can only function as a trigger in the case of monomodal metaphors: only a visual representation can resemble another visual representation; only a sound can resemble another sound. an example of such physical resemblance is that between the toothbrush and the submarine and, arguably, that between the toilet brush and the gun. clearly, context helps create this resemblance; there is no pre-existent similarity between target and source. b ; filling a schematic slot unexpectedly. the target domain which in advertising usually is identical with, or metonymically connected to, the product occurs in a place where one expects something else. put differently, we encounter deviations from typical gestalts or schema's: is replaced by fully-dressed-up-anky-on-a-bike; an unwinding silk thread reveals not the expected spindle but a plastic flacon; an air freshener on a pedestal, surrounded by sculptures, disturbs our schema for typical objects-exhibited-in-a-museum; toy cars in an otherwise completely realistic cityscape do not fit our expectations; information typically associated with wine turns out to pertain to beer. a similar subversion of a scenario occurs in the citroen commercial: just as ankyon-her-horse is replaced by anky-on-a-bike, the expected enthusiastic religious testimony of the evangelists is replaced by the citroen salesman's "testimony" of his car, by the salesman's sudden and rude interruption. that is, in the "slot" of the evangelists' testimony we get the salesman's promotion pitch. c ; simultaneous cueing. in the basics and uwv cases, metaphorical identification is achieved by visually representing something or somebody in a salient manner and at the same time providing spoken in the basics case ; or spoken and written in the uwv case ; cues pertaining to the same thing person. in the basics commercial the shoes are constantly centred in the frame, the camera circles around them, and there are no other candidates for being the producers of the "funny voices" dialogue we hear on the sound track. in the uwv commercial, the represented workers and the verbal qualifications provided both orally and in written form share the obvious feature of "humanness, " while the workers are given prominence by being centred in the image. moreover, they attract attention by looking into the camera. perceptually rendered targets and sources are highly specific. we apprehend not just "evangelists" we perceive these evangelists, with these faces, coats, glasses, and way of moving, with these voices. we see this particular toothbrush with a round head that perhaps more resembles a submarine's periscope than brushes with more elongated heads do ; , these silly-looking toy cars. in verbal metaphors, even and video slot machine sales. |