conceptualizing composition - ohiolink etd center
TRANSCRIPT
CONCEPTUALIZING COMPOSITION:
HOW COLLEGE-WRITERS (AND INSTRUCTORS) USE FIGURATIVE THINKING TO
CONCEPTUALIZE, ACQUIRE, AND ENACT LITERACY
A dissertation submitted
to Kent State University in partial
fulfillment of the requirements for the
degree of Doctor of Philosophy
by
Jason A. Sharier
May 2020
© Copyright
All rights reserved
Dissertation written by
Jason A. Sharier
B.A., Kent State University Stark, 2011
M.A., Kent State University, 2014
Ph.D., Kent State University, 2020
Approved by
______________________________, Chair, Doctoral Dissertation Committee Dr. Sara Newman ______________________________, Members, Doctoral Dissertation Committee Dr. Derek van Ittersum ______________________________ Dr. Keith Lloyd ______________________________ Dr. Lori Wilfong ______________________________ Dr. Miriam Matteson
Accepted by
______________________________, Chair, Department of English Robert W. Trogdon ______________________________, Dean, College of Arts and Sciences James L. Blank
iii
TABLE OF CONTENTS
TABLE OF CONTENTS ............................................................................................................................ III
DEDICATION ........................................................................................................................................... VII
LIST OF FIGURES .................................................................................................................................. VIII
LIST OF TABLES ....................................................................................................................................... IX
ACKNOWLEDGEMENTS .......................................................................................................................... X
CHAPTER 1: A PROPOSAL FOR WHY METAPHOR MATTERS FOR THE COMPOSITION
CLASSROOM ............................................................................................................................................... 1
OPENING REMARKS ................................................................................................................................... 1
APPLICATION TO THE FIELD ...................................................................................................................... 4
A METAPHORICAL LITERACY ................................................................................................................... 6
THE NEW RHETORIC OF METAPHOR ......................................................................................................... 8
METAPHORICAL DISCOURSE ................................................................................................................... 16
EARLY RESEARCH ON COMPOSITIONAL METAPHORS ............................................................................ 18
CONTEMPORARY RELEVANCE AND SIGNIFICANCE ................................................................................. 21
RESEARCH QUESTIONS: MOTIVATIONS, DIFFICULTIES, NEW DIRECTIONS, AND RESOLUTIONS ........... 28
STUDY OVERVIEW: CHAPTER SYNOPSES ................................................................................................ 31
CHAPTER 2: LITERATURE REVIEW ..................................................................................................... 33
A BRIEF HISTORY OF METAPHOR THEORY IN THE RHETORICAL TRADITION ........................................ 33
A REVIEW OF METAPHOR ANALYSIS IN COMPOSITION STUDIES ........................................................... 45
CALLS FOR RESEARCH ............................................................................................................................ 50
CHAPTER 3: METHODOLOGY AND METHODS ................................................................................. 56
EPISTEMOLOGY ....................................................................................................................................... 56
iv
METHODOLOGIES .................................................................................................................................... 57
METHODS ................................................................................................................................................ 63
DATA-COLLECTION ................................................................................................................................. 66
DATA-REDUCTION AND REPRESENTATION ............................................................................................. 73
DATA ANALYSIS AND INTERPRETATION ................................................................................................. 75
CHAPTER 4: SARA’S TEXT AND TALK DATA ................................................................................... 84
SARA’S WRITING QUOTE ANALYSIS ....................................................................................................... 86
SARA’S LITERACY NARRATIVE ............................................................................................................... 90
SARA’S PEER-TO-PEER MARGINALIA ..................................................................................................... 95
SARA’S REFLECTION MEMO AND REVISION LETTER .............................................................................. 99
SARA’S OPEN-ENDED SURVEY .............................................................................................................. 103
SARA’S CONFERENCES .......................................................................................................................... 105
INTERPRETATION ................................................................................................................................... 108
CHAPTER 5: DAVID’S TEXT AND TALK DATA ............................................................................... 111
DAVID’S WRITING QUOTE ANALYSIS ................................................................................................... 113
DAVID’S LITERACY NARRATIVE ........................................................................................................... 115
DAVID’S INSTRUCTOR MARGINALIA .................................................................................................... 117
DAVID’S REFLECTION MEMO AND REVISION LETTER .......................................................................... 119
DAVID’S OPEN-ENDED SURVEY ............................................................................................................ 121
DAVID’S CONFERENCES ........................................................................................................................ 123
DAVID’S ARGUMENTATIVE RESEARCH ................................................................................................. 124
INTERPRETATION ................................................................................................................................... 127
CHAPTER 6: METAPHOR INVENTION EXERCISES ......................................................................... 129
AN ANALYSIS OF SARA’S MIES ............................................................................................................ 130
AN ANALYSIS OF DAVID’S MIES .......................................................................................................... 134
v
AN ANALYSIS OF JASON’S MIES ........................................................................................................... 137
COMPREHENSIVE MIE RESULTS ........................................................................................................... 140
CHAPTER 7: METAPHORICAL PROFILES ......................................................................................... 156
ALIGNMENT WITH CURRENT PRACTICES IN THE FIELD ........................................................................ 156
CHAPTER REVIEWS ................................................................................................................................ 158
THE INSTRUCTOR’S IMPLICIT THEORY OF LITERACY ........................................................................... 160
SARA’S IMPLICIT THEORY OF LITERACY .............................................................................................. 164
DAVID’S IMPLICIT THEORY OF LITERACY ............................................................................................ 166
CONTRIBUTIONS: RESEARCH AFFORDANCES ....................................................................................... 168
LIMITATIONS: RESEARCH CONSTRAINTS .............................................................................................. 172
IMPLICATIONS FOR FUTURE RESEARCH ................................................................................................ 172
REFLECTING ON MY EXPERIENCE ......................................................................................................... 173
APPENDICES ........................................................................................................................................... 176
APPENDIX A – SARA’S WRITING QUOTE ANALYSIS RESULTS .......................................................... 176
APPENDIX B – SARA’S LITERACY NARRATIVE RESULTS .................................................................. 177
APPENDIX C – SARA’S PEER-TO-PEER MARGINALIA RESULTS ......................................................... 180
APPENDIX D – INSTRUCTOR FEEDBACK FOR SARA RESULTS ............................................................ 181
APPENDIX E – SARA’S REFLECTION MEMO AND REVISION LETTER RESULTS .................................. 183
APPENDIX F – SARA’S OPEN-ENDED SURVEY RESULTS .................................................................... 185
APPENDIX G – SARA’S CONFERENCE RESULTS ................................................................................. 186
APPENDIX H – DAVID’S WRITING QUOTE ANALYSIS RESULTS ........................................................ 194
APPENDIX I – DAVID’S LITERACY NARRATIVE RESULTS .................................................................. 195
APPENDIX J – INSTRUCTOR FEEDBACK FOR DAVID RESULTS ........................................................... 196
APPENDIX K – DAVID’S REFLECTION MEMO AND REVISION LETTER RESULTS ............................... 198
APPENDIX L – DAVID’S OPEN-ENDED SURVEY RESULTS ................................................................. 201
vi
APPENDIX M – DAVID’S CONFERENCE RESULTS ............................................................................... 202
APPENDIX O – DAVID’S ARGUMENTATIVE RESEARCH RESULTS ...................................................... 206
APPENDIX P – SARA’S MIE RESULTS ................................................................................................ 209
APPENDIX Q – DAVID’S MIE RESULTS .............................................................................................. 212
APPENDIX R – JASON’S MIE RESULTS ............................................................................................... 215
REFERENCES .......................................................................................................................................... 219
WORKS CITED ....................................................................................................................................... 219
WORKS CONSULTED .............................................................................................................................. 229
vii
DEDICATION
To my moon and stars— my wife, Tonya
and my little ladies, Emma and Ella. And to God—the greatest metaphor of all.
viii
LIST OF FIGURES
1.1 – Charteris-Black’s Discourse Model of Metaphor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
ix
LIST OF TABLES
1.1 – Archetypes and Meta-narratives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
1.2 – Beginning-of-the-Semester MIEs: Comprehensive Results . . . . . . . . . . . . . . . . . . . . . . . . 143
1.3 – End-of-the-Semester MIEs: Comprehensive Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
1.4 – Perceived Attitudes and Metaphorical Trajectories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
1.5 – Beginning-of-the-Semester MIEs: Archetypal Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
1.6 – End-of-the-Semester MIEs: Archetypal Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
x
ACKNOWLEDGEMENTS
I would like to thank my entire dissertation committee for their expertise, dutiful commentary, and mentorship, without whom this document would not be in the refined form it is today. Thank you . . . Sara, for your caring presence. I always feel amid family when we converse. Derek, for your critical voice. Your critiques often mirror those I hold of myself, making them both intimidating and honest. Keith, for your longstanding friendship. Without your guidance and inspiration, I may have not pursued becoming a scholar. A special thanks for assigning the article, “Metaphors We Live By.” It forever changed the way I see the world. In addition, I would like to thank my students for their participation, for teaching me many more things about metaphor than they know. I am immensely grateful for, and indebted to, the sacrifices that my wife and parents have made so that I could pursue this calling. Metaphors be with you.
Jason A. Sharier
xi
Words were originally magic, and the word retains much of its old magical power even today. With words one man can make another blessed, or drive him to despair; by words the teacher transfers his knowledge to the pupil; by words the speaker sweeps his audience with him and determines its judgments and decisions. Words call forth effects and are the universal means of influencing human beings.
—Sigmund Freud from A General Introduction to Psychoanalysis
1
CHAPTER 1: A PROPOSAL FOR WHY METAPHOR MATTERS FOR THE COMPOSITION CLASSROOM
I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they’re going to have, where the wires are going to run, what kind of plumbing there’s going to be. They have the whole thing designed and blueprinted out before they even nail the first board up. The gardeners dig a hole, drop in a seed and water it. They kind of know what seed it is, they know if planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don’t know how many branches it’s going to have, they find out as it grows. And I’m much more a gardener than an architect.
—George R.R. Martin, author of A Song of Ice and Fire
Opening Remarks
My qualitative study applies Conceptual Metaphor Theory (CMT) to the pedagogy and
activity of the college composition classroom by means of collecting and analyzing instructor
and student metaphors for literacy1. Inspired by Lakoff and Johnson’s (1980) seminal publication
1 Often there is a temptation to subscribe to a reductionist view of literacy, that is, as the skillset or ability to read or write. Instead, I designate that it comprehensively refers to the activities of reading and writing. Literacy itself has indeed become a short-form metaphor for the acquiring of knowledge or proficiency of any type. I subscribe to a more open, expansive definition:
• All people are capable of acquiring literacy. • Literacy is a human right and is a fundamental part of the human experience. • Literacy is not a trait that resides solely in the individual person. It requires and creates a connection
(relationship) with others. • Literacy includes communication, contact, and the expectation that interaction is possible for all
individuals; literacy has the potential to lead to empowerment. • Literacy is the collective responsibility of every individual in the community; that is, to develop meaning
making with all human modes of communication to transmit and receive information. (Keefe & Copeland 97)
Furthermore, literacy researcher Sylvia Scribner (1984) offers three useful metaphors for literacy: Adaption (i.e., to become a contributing member of a culture), Power (i.e., to enact social change), and State-of-Grace (i.e., Self-Actualization; to engage in self-development, virtue, and the attainment of post-conventional wisdom). As with Brandt’s (1998) literacy sponsor, Heath’s (1982) literacy event, and Barton et al.’s (2000) literacy practices, the emphasis in literacy research has been to detail the activity system that situates an act of reading and writing, positioning it as integral to generating social interaction and interpretative meaning. The study of literacy is about
2
Metaphors We Live By, my research explores: What are the metaphors we read and write by? To
do so, I investigate how college-writers write about writing and talk about writing. If, for
instance, one writer conceptualizes WRITING AS IMAGINATION2 and another WRITING AS
IDENTITY, what do each of these conceptualizations tell us about their implicit theories3 of
writing? How might their metaphors help us reimagine composition theory and pedagogy? What
do student metaphors have to teach us about literacy?
While other researchers (i.e., Tobin (1989), Miller (1993), Hart (2009), Neaderhiser
(2009), Paulson & Armstrong (2011), Dadurka (2012), and Shaw & Mahlios (2014) have
pursued similar lines of inquiry, these studies have either focused more on instructor
observations and instructor-generated documents or have used writing prompts that ask for
students’ explicit metaphors as opposed to researching their naturally-occurring metaphors—as
they might appear in thought, speech, and text—or have pursued generalizability over detailed
student case-studies.
the “use” of reading and writing within specific meaning-making contexts more than a mere general description of an ability. Each conceptual shift re-emphasizes issues of role, access, and use as essential to the study of literacy. In addition, Friere’s (1968) critical literacy also broadens what we talk about when we talk about literacy. This includes knowing how to participate in, engage with, analyze and deconstruct texts, not only produce or process them for information. 2 Conceptual metaphors are accentuated by all-caps to distinguish them from other figures (see section “The New Rhetoric of Metaphor” for a definition and explanation of conceptual metaphor). 3 V. Job in “Implicit Theories About Willpower” recounts,
Implicit theories are ‘people’s basic assumptions about themselves and their world’ (Dweck, 1996, p. 69). Similar to scientists who develop theories to explain phenomena in the world, laypersons hold theories and beliefs . . . . In contrast to scientific theories, laypersons’ theories are often implicit in the sense that their holders are not aware of them and how they affect their behavior. . . . / The study of personal beliefs goes back to Jean Piaget who argued that children develop so-called meaning systems that guide their behavior (Piaget, 1964; Piaget & Garcia, 1991). Likewise, George Kelly (1955) proposed that each individual has a unique set of conceptual representations that he or she uses to construct meaning in their world. (204, my emphasis)
Cataloguing these conceptual representations is precisely what my research is after, so that we can understand how people use literacy to construct particular meanings about literacy itself.
3
Though there has been a substantial amount of work to advance metaphor research in
other disciplines over the last few decades, the importance of conceptual metaphor in rhetorical
education, however, is still underutilized in composition research and classroom practice.
My study is designed to incorporate multiple writing samples from a variety of genres to
create a well-detailed, descriptive metaphorical profile of each participant. While other studies
have solely focused on elicit or solicited metaphors, meaning that students/instructors were asked
to respond to a prompt, my study incorporates implicit, naturally-occurring metaphors as they
appear in both talk and text. Furthermore, I employ archetypal analysis to account for how
metaphors project, situate, and establish identities. My work contributes to the study of metaphor
analysis in the college composition classroom and suggests ways to further identity research in
Rhetoric and Composition.
I take both an ethnographic (i.e., researching my own classroom) and autoethnographic
(i.e., researching myself) approach, examining in detail the practices of two first-year college
writing students, as well as myself, the instructor, investigating how we utilize figurative
thinking4 in our conceptualizations of reading and writing. The aim of each case-study is to
catalogue the participant’s metaphors to reconstruct a metaphorical profile. This requires
conducting close metaphorical analyses of classroom exercises: reflecting on professional quotes
on writing, inventing personal metaphors for writing, composing literacy narratives, practicing
peer-review marginalia, exploring self-evaluation and self-criticism, answering essay questions
about their composing process, and conferencing. The main pedagogical objective of the study is
4 Among these rhetorical figures are: archetype, symbol, synesthesia, paradigm, syncretism, trope, analogy, metaphor, simile, personification, metonymy, synecdoche, kenning, allegory, parable, proverb/riddle, idiom/aphorism/colloquialism, hyperbole/litotes, pun, cliché, euphemism/double entendre, parallelism, and paradox (e.g., change is the only constant), etc. Paraphrasing rhetorician and literary theorist Kenneth Burke (1969), wherever we encounter one figure we will most likely encounter another.
4
to suggest future implementations for teaching college-writers to become increasingly cognizant
of the conceptual metaphors that impact the way they conceptualize their literate activity, to
encourage them and their instructors to consciously develop, explore, and problematize the
metaphors we read and write by. My research seeks to develop and extend Rhetoric and
Composition’s understanding of how researchers and practitioners can use CMT to investigate
college-writers’ implicit theories of literacy.
Application to the Field
Because metaphor is a (often unconscious) naturally-occurring phenomenon in our daily
use of language, instructors teach through metaphor and college-writers compose using
metaphor: “We utter about one metaphor for every ten to twenty-five words, or about six
metaphors a minute” (Geary 5). Different metaphors offer different affordances or constraints.
They may limit our understanding or they may open us up to new knowledge or possibility.
For example, the field of Rhetoric and Composition has influenced classroom practice by
promoting certain ingrained metaphors—the most obvious being: WRITING IS A PROCESS.5
Educational policies, textbooks, course designs, and academic research all influence the way
metaphor shapes researchers’, instructors’, and students’ experiences with literacy. Likewise, the
metaphors researchers, instructors and college-writers use to describe and define writing reveal
how they conceptualize, acquire, and enact literacy in their lives. I, therefore, propose to
demonstrate how college-writers conceptualize, acquire, and enact literacy by constructing
metaphorical profiles of each participant. The profiles are interpretations of the metaphorical
themes associated with each participant’s figurative language usage across the data, giving
expression and unity to their emerging literate identities. Each profile characterizes the implicit
5 Compositionist James Seitz (1991) remarks, “‘[P]rocess’ itself can be approached as a ‘worn-out’ or ‘forgotten’ metaphor, one that we might ‘revive’ in order to examine its limits” (291).
5
theory of writing dominant in the participant’s thinking about literacy and how that affects their
identity as a writer over the course of the semester. Nonetheless, the profiles are limited in scope
because they only reflect a snapshot of the participant’s literate activity, detailed as they may be.
Each profile is limited by the data-collection and time constraint of the study, as these factors
control what type of profile is possible.
Just as a majority of composition discourse is dominated by the PROCESS-metaphor,
college-writers themselves may have adopted, at one point or the other, the conception WRITING
IS A CHORE. (As an aside, writers may not simply be motivated by a single, dominant
conception; they are more than less likely to be influenced by subordinate or simultaneous
conceptualizations, which are dependent upon a variety of contextual factors, such as genre,
purpose and intent.) To problematize the CHORE-metaphor, however, the concept of “work,”
when it gains prominence, may influence a person’s interactions, as writing may continue to be
perceived as an obligatory, superficial act instead of a desirable, creative experience.
Conceptions like this may even taint the actual experience of writing because it becomes more a
matter of work than freedom of expression, which is why English educator Patty Strong (2002)
admonishes, “You must see that writing is not duty, obligation, and regurgitation, but
opportunity, exploration, and discovery” (34). “Chore” and “work” are not only metaphorical in
the linguistic sense, they actually influence and alter the very experience and act of writing, as
every student (and scholar), I surmise, could attest.6
6 Research in cognitive psychology and neuroscience has advanced that the words we use to define and describe our experiences in turn affect the actual experiences themselves. This position rests on three propositions: 1) Language influences thought; 2) thought influences experience; and 3) experience influences behavior. Neuro-linguist Lera Boroditsky (2009) asserts that differences in cultural concepts are relative to the “patterns of metaphor” that construct and substantiate those concepts. The rhetorical power of language is “central to our experience of being human, and the languages we speak profoundly shape the way we think, the way we see the world, the way we live our lives” (para. 26).
Along similar lines, Harvard psychologist Ellen Langer (2017) posits that a psychology of possibility means “to learn conditionally; to see the world as ‘it would seem that’ and ‘could be’, which is very different than ‘it is’” (qtd.
6
If, for instance, instructors desire college-writers to see beyond the chore of writing, they
need to provide the possibility of seeing writing as something other than work, like play, art, or
personal transformation, to contend with negative connotations wrought by limiting
conceptualizations. If a college-writer can invent a metaphor that empowers them to find
themselves as a writer, they participate in a new discourse for experiencing writing, finding
power and identity they hadn’t before, due to their exposure to alternative metaphors. What is
often the most persuasive thing about a metaphor is the motivation for holding that metaphor. I
may not be motivated by “work” in the same way I am motivated by “personal growth.”
Conceptual issues such as these are what my study aims to reveal.
A Metaphorical Literacy
Unless you are educated in metaphor, you are not safe to be let loose in the world. —Robert Frost from “Education by Poetry”
Although Aristotle claimed that the gift of metaphor cannot be taught, English educators
Sherry Booth and Susan Frisbie (2004) disagree, as do I: “[A]pologies to Aristotle, we can make
metaphor part of rhetorical education. For what rhetoric offers students is the knowledge of how
to ‘read’ a metaphor and thus to understand better how language operates” (175, emphasis in
original). They proceed to call for a metaphorical literacy: “Sustained and careful attention to
in Thompson, para. 7). Evidenced by her research in Counterclockwise: Mindful Health and the Power of Possibility, Langer’s theory of mindfulness demonstrates that substituting different metaphorical assertions, like substituting “play” for work or “exercise” for labor have not only led to changes in thinking but changes in behavior and physiology as well.
Additional arguments and insights for how metaphor shapes our experiences come from the 2011 study “Metaphors We Think With: The Role of Metaphor in Reasoning” by Paul H. Thibodeau and Lera Boroditsky, where crime was implicitly conceptualized as either a virus or a beast in two different versions of the same article. Audiences who read the article containing the VIRUS-metaphors expressed a need for “social reform” and confronting “the spread of the disease” (Inglis-Arkell paras. 3 & 4). Audiences who read the essay with the BEAST-metaphors expressed a need for “penalties” and catching and imprisoning (Inglis-Arkell paras. 3 & 4). In another study conducted by researchers Chen-Bo Zhong and Katie Liljenquist, they demonstrated that after participants were asked to recall either a moral or immoral act from their past, those who recalled immoral acts were more likely to accept the participation gift of disinfectant wipes—MORALITY IS (PHYSICAL) CLEANLINESS. (Sapolsky para. 16) Each of these studies posits ways metaphor not only affects our thinking, but our behavior too.
7
metaphoric language at various levels can enable students to be critical readers and writers of
texts of all kinds” (178). Knowledge of how to read and control metaphor in writing is a crucial
component to understanding how our ideas, concepts, and texts are in the deepest sense framed
by metaphor. For instance, “[t]he major premise of framing theory is that an issue can be viewed
from a variety of perspectives and be construed as having implications for multiple values or
considerations. Framing refers to the process by which people develop a particular
conceptualization of an issue or reorient their thinking about an issue” (Chong & Druckman
104). Metaphors are frames that categorize and organize reality, promoting particular definitions
or interpretations of activities, experiences, events or social issues.
In composing any message, certain metaphors may be more adequate, appropriate, or
conducive for persuasion. A metaphorical literacy, therefore, involves teaching college-writers to
code-switch or metaphor-switch, to learn for themselves which conceptualizations are
insufficient or appropriate as they weigh a metaphor’s rhetorical applicability, usefulness, or
effectiveness. For example, “evolving” a piece of writing versus “fixing” the writing—deciding
between WRITING IS ORGANIC or WRITING IS MECHANICAL. Metaphorical literacy is the practice
of sensemaking and sensebreaking. Sensemaking, in the sense that metaphor is a “continuous
effort to understand connections” (Kolko 11) and sensebreaking because metaphor may be used
“to convince or persuade others that their current understanding of experience is inappropriate”
or insufficient (Kramer 6).
Booth and Frisbie add, “Metaphor acts like a wormhole, moving readers to a new
understanding” (172). The process of creating and analyzing metaphors teaches students to
develop their own knowledge around the practice of reading and writing, giving them the agency
8
to define and redefine literacy for themselves. Compositionist Philip K. Arrington (1986) puts
forth,
[I]f we can lead students to realize the figurative basis of ideas and concepts, and the attitudes they imply, we may then be able to claim that we have taught them the poetic nature of thinking and the conceptual nature of poetry. They will be able to see how discourse in the various sciences is ‘literary’ and how literary discourse is also ‘scientific,’ a way of knowing and acting. Then we might not worry over whether writing is an ‘art’ or a ‘science.’ We will have found a common ground for uniting these opposing terms. We will have made rhetoric, its study and practice, central to education once more. (335)
To be able to assess ‘the poetic nature of thinking and the conceptual nature of poetry,’ one must
acquire a metaphorical literacy.
There is a term in art discourse that demonstrates what is meant by a metaphorical
literacy: bricolage. A bricolage, in essence, is when you create something new from a diverse
array of available materials or items. As educators, the best thing we can do for our students is
point them to the available means of metaphor-making, so that they can learn to generate
metaphors for reading and writing that will enrich the meaning and application of literacy to their
lives. Like a bricolage, you can always take apart previous metaphors and combine them to
construct new ones. Knowing how and when to do this is a metaphorical literacy.
The New Rhetoric of Metaphor
I am therefore I frame. —Noam Shpancer, author of The Good Psychologist
The leading approach to studying the cognitive processes involved in metaphoric
conceptualization is Conceptual Metaphor Theory (CMT; see Lakoff & Johnson, Metaphors We
Live By). CMT defines conceptual metaphor as understanding one discourse domain in terms of
another, such as LIFE in terms of a JOURNEY. The working premise of CMT provides that “[o]ur
ordinary conceptual system, in terms of which we both think and act, is fundamentally
9
metaphorical in nature” (3). Before the ‘conceptual turn’ there was a longstanding philosophical
tradition that treated metaphor as a matter of poetry (i.e., aesthetically elevated language) or an
economy of style (i.e., a linguistic shortcut), whereas Lakoff and Johnson have evidenced (while
it is both of these) it is, first and foremost, a fundamental cognitive feature, hence conceptual.
We may come to know more about the thoughts and actions surrounding literacy by mining the
figurative meaning occurring in writing-about-writing and talking-about-writing. While Lakoff
and Johnson’s examples in Metaphors We Live By are largely acontextual, meaning they are
pulled from general nomenclature instead of from specific data-sets, I propose to advance work
in CMT by focusing on the discourse domain of writing.
What is Metaphor and How Does it Work?
Metaphor is the reciprocal transference of meaning from one term to another, resulting in
the emergence of a new meaning. Aristotle first used genus and species to describe this
transference: METAPHOR IS TAXONOMY. Analytic philosopher Max Black (1955) uses frame and
focus to determine the lexical meaning of metaphor: METAPHOR IS PHOTOGRAPHIC
COMPOSITION. Frame refers to the context of the sentence in which metaphor occurs, and focus
refers to the grammatical element carrying the figurative meaning. Literary critic and rhetorician,
I.A. Richards (1937) defines
the two terms and the relationship between them as the ‘tenor’ (today often called the ‘topic’), of which something is being asserted, the ‘vehicle,’ the term being used metaphorically to form the basis of the comparison, and the ‘ground,’ namely that which the two have in common. The dissimilarity between the two terms being compared determines what is called the ‘tension.’ (qtd. in Ortony 45)
Tenor in the rhetorical sense refers to the general meaning of something, like the tenor of an
argument. The tenor is the word being transformed and the vehicle is the figurative expression
doing the transforming. Richards’ terminology suggests, along with the original etymological
10
meaning, METAPHOR IS TRAVELING. Argumentation theorist Chaïm Perelman (1969) in The
New Rhetoric: A Treatise on Argumentation describes analogy in a similar manner. The theme
(i.e., A is to B) is the unfamiliar relationship—“the object of the discourse”—and the phoros
(i.e., C is to D) is the familiar relationship—“by which the transference occurs” (92). To use an
analogy, PHOROS is to THEME as TENOR is to VEHICLE. Perelman’s terminology combines the
discourses of narrative and economic transfer, with theme being the unifying convention of a
narrative and phoros being that which bears or carries over meaning from the theme.
In CMT the identifying terms are source domain and target domain; the target is the
word being transformed, and the source is the figurative expression doing the transforming:
METAPHOR IS (A SPATIAL) TRAJECTORY. CMT emphasizes the importance of metaphoric
entailments too, the metaphorical warrants that develop an extended domain for a conceptual
metaphor. Entailments are essentially a metaphor’s underlying assumptions. For example, if LIFE
IS A STORY, then portions of it are CHAPTERS and people are CHARACTERS and purpose is PLOT.
Entailments lead to new metaphors. A metaphor’s entailments, like analogical proof,7 “can serve
as [a] starting point for detailed development and argument, just like an unquestioned fact”
7 An analogy expresses an interdependent relationship between two metaphorical assertions. Analogies make relational claims through proportionate or functional propositions. A proportionate relationship may relate that Coffee : Brazil :: Cocoa : Ivory Coast, stressing the shared property of goods production. Even comparing previous rulings in court cases, to assert that the current case should follow a similar course of action, is a common way analogy is used in courtroom argumentation. An example of a functional relationship, in terms of highlighting a specific function or feature, may relate that Fin : Fish :: Wing : Bird, stressing the shared property of mobility. ‘The manta ray soared through the gentle waters’ is evidence of a conceptual metaphor based on analogical proof. Analogies argue for conceptual equivalency on the basis of two metaphorical assertions, on grounds of a shared property: A is proportionate/equivalent to C and B is proportionate/equivalent to D, based on shared property E, such as Citizen : Nation :: Inhabitant : Earth, based on the shared property of group membership. Consider science-fiction and fantasy writer Ursula K. LeGuin’s analogy: “As you read a book word for word and page by page, you participate in its creation, just as a cellist playing a Bach suite participates, note by note, in the creation, the coming-to-be, the existence of the music.” If we adapt LeGuin’s analogy to the basic format, we have: Reading : Imagining :: Playing an Instrument : Making Music, based on the shared property of participation. A and B make up the theme, and C and D make up the phoros. Essentially, analogies are extended metaphors because [A and B] is [C and D], producing the following inferential metaphorical premises: (1) Reading is Playing an Instrument, and (2) Imagining is Making Music. By themselves the theme and phoros are literal entailments. All analogies are metaphors.
11
(Perelman & Olbrechts-Tyteca 402). In other words, we encounter a conceptual metaphor
because its entailments are embedded in the discourse. We can even create new discursive
meaning by suggesting a novel metaphor for something, such as Writing Is Design. If Writing Is
Design, then Writers Are Designers; Texts Are Designs, so on and so forth.
These are the terms that constitute how metaphorical meaning is made:
• Tenor/Target – the familiar term, what is being reconceptualized.
• Vehicle/Source – the unfamiliar term, what is doing the reconceptualizing.
• Grounds/Entailments – shared meaning, ways that metaphorical meaning emerges.
• Tension – contested meaning, where the metaphorical meaning does not apply or
begins to break down.
The contemporary, conventional definition treats “[m]etaphor [as] a device for seeing
something in terms of something else. It brings out the thisness of a that, or the thatness of a this”
(Burke 503, emphasis in original). In other words, “metaphor . . . involves a transference of
meaning from one kind of element to another kind” (Martin & Rose 103-104, emphasis in
original). According to CMT, however, metaphor is not strictly a matter of a single word-for-
word or phrase-for-phrase substitution—like referring to the thesis as ‘the heart of a text.’
Instead, entire cognitive-semantic frames or associative networks are activated, applied, and
mapped onto one another, causing a symbiotic interaction between multiple discourse domains
or neuro-linguistic networks. As with the thesis-example, the domains of TEXT and ANATOMY
interact to form the conceptual metaphor TEXTS ARE ANATOMICAL.
While it might be poetic to refer to the purpose, intent, or thesis of a text as its heart, this
is only part of the frame, or clue, as to what the root conceptualization is: TEXTS ARE
ANATOMICAL. We talk about the body of a text; it has a header and a footer, even an appendix, at
12
times. We, therefore, in part, conceptualize texts by means of anatomical discourse. Head, body,
foot, and heart are all metaphorical linguistic expressions (MLEs) that substantiate the
conceptual-key: TEXTS ARE ANATOMICAL. This is the thought-structure other expressions stem
from. Conventional and conceptual metaphors are only different inasmuch as conceptual
metaphors are the unstated warrants that conventional metaphors stake their claim in: Because a
text is a body, it therefore has a heart, etc. Though all metaphors are conceptual, conceptual
metaphors are representative of how metaphor structures thought, which in turn structures our
use of language. This is the new rhetoric of metaphor.
English grammar, like many other languages, implicitly utilizes figures of containment
(e.g., “put in writing” or “take out of the text,” or “talk someone into something”), routing (e.g.,
by, through, or way), objectification, and personification. Each converts abstract concepts or
things into containers, routes, objects/tools, or personages. Often these figures appear as natural
linguistic features, such as prepositions, as opposed to the intentional invention of a language-
user. The discourse of writing exhibits two basic examples of containment: form and content.
Form conceptualizes writing as a container and content as the objects of that container.
In the rhetorical sense, metaphors are enthymematic because their meaning is derived
from making inferences; their premises are, in most cases, implied instead of stated outright.
Rhetorician Michael Osborn (1967) inquires, “Does an image[/metaphor] embody some tacit
enthymematic structure and function as a demonstration itself, or does it serve more to
dramatize, illustrate, and reinforce a logical structure made explicit elsewhere in the speech?”
(124). As I will detail, conceptual metaphors are by-products of syllogisms. As others have
noted, “[A]nalogy . . . . has the same rigorous, austere, and precise flavor as Aristotle’s logical
syllogisms” (Hofstadter & Sander 552).
13
Consider the concept of voice in composition. Generally, when we talk about voice,
instructors are usually referring to what gives writing character or makes it distinguishable. The
metaphor of voice is the product of two rhetorical syllogisms:
1.
a. Bodies have voices. (unstated explicit, literal claim)
b. TEXTS ARE BODIES. (conceptual, metaphorical assertion)
c. Therefore, texts have/are voices. (metaphorical entailment)
2.
a. Speech is the product of voice. (unstated explicit, literal claim)
b. WRITING IS SPEECH. (conceptual, metaphorical assertion)
c. Therefore, writers have/are voices. (metaphorical entailment)
Together these rhetorical syllogisms form the analogy Texts : Writing :: Bodies : Speaking.
Texts are equivalent/proportionate to bodies and writing is equivalent/proportionate to speaking,
based on the shared property of transmission.
Because speech precedes writing, we conceptualize the discourse of writing through the
discourse of speech. The ancient paradigm was that writing was a medium meant to be recited.
Rhetorically, writers call for or speak out/against, and readers listen and respond. Literacy is
conceptualized in terms of orality: WRITING IS SPEAKING/CONVERSATION. Along similar lines,
we may refer to how ‘a passage spoke to us’ or how an ‘author says something,’ where speaking
or saying stand in for communication and meaning-making in general.
Thus, voice is symbolic or metonymic, in that, it stands in for the writer: the writer is
their voice. Important literal and metaphorical entailments include (see “What Do We Mean
14
When We Talk about Voice in Texts?” by Peter Elbow and “The Rise of a Metaphor: ‘Voice’ in
Composition Pedagogy” by Darsie Bowden):
• Voice is the sound of the text.
• Voice is the felt presence of the writer in the text.
• Voice is the dramatic character or persona of the writer.
• Voice is the emotive response of the writer.
• Voice is the tone, mannerisms or style of the writer.
• Voice is the distinctiveness of the writer.
• Voice is the authenticity of the writer.
• Voice is the authority/agency of the writer.
• Voice is the spiritual dimension of the writing, that which inhabits the intangible
space between words and sentences.
• Voice is the “I” the writer discovers while writing.
To further elucidate the relationship between discourse and metaphor, let us return to
Burke’s definition, where the discourse of technology (i.e., device) gets mapped onto the
discourse of language (i.e., metaphor), constituting the conceptual metaphor LANGUAGE IS A
TOOL-BUILDING/TOOL-USING TECHNOLOGY. Burke indexes metaphor as a ‘seeing device’ and
this establishes an important point about defining metaphor or generating discourse around
metaphor: we invent metaphors, such as a ‘seeing-device,’ for the purpose of defining metaphor.
This is a basic example of meta-metaphor,8 defining metaphor using metaphor.
8 In “White Mythology: Metaphor in the Text of Philosophy,” philosopher Jacques Derrida first coins the term meta-metaphor: “Concept is a metaphor, foundation is a metaphor, theory is a metaphor; and there is no meta-metaphor for them” (23).
15
Another important meta-metaphor Burke uses is perspective (see A Grammar of
Motives). Rhetoric and argumentation can be understood in terms of perspective-taking, of
various ways of being, seeing, and doing that exist in the world. To hold a position involves
constructing a particular sense-making frame.9 When we argue, we most likely desire others to
see our perspective, our metaphor for the world. As mythologist Joseph Campbell (1988)
astutely observed, “If you want to change the world, you have to change the metaphor.” A
change in perspective is essentially a change in metaphor. In other words, “‘metaphor [is] central
to the task of accounting for our perspectives on the world: how we think about things, make
sense of reality, and set the problems we later try to solve’ (Schön, 1979, p. 254)” (qtd. in
Tomlinson 58, emphasis added). Metaphor can change writers’ and readers’ wor(l)ds10 per se.
Like metaphor, writing itself allows us to put “down our thoughts [so] we can put them aside and
9 According to Frame Semantics, each word evokes a particular association, activating the semantic meaning of a word as related to other words within the same frame or discourse. For example, the concept of “money” evokes the semantic frame for seller, buyer, owner, goods, resources, and transaction, etc. Money itself is even a metaphor for assessing value and worth; it is a frame that we view our livelihoods through. Frames generate and sustain complex concepts, beliefs, narratives, and metaphors: “WE HOLD A NUMBER of beliefs about the world that color our interpretations of people and events. These ‘frames’ are there, whether we are aware of them or not, . . . changing the way we view the world and our place in it” (Nussbaum 25.17%). In addition, frames consist of a combination of schema.
In psycholinguistic terms, conceptual metaphors combine and blend schema—knowledge of a subject/topic—and generate scripts (Schank and Abelson (1977)—stereotypical scenes embedded within a particular schema. Metaphors are produced when schema/scripts are juxtaposed. For example, I may want to argue that READING/WRITING ARE MAGIC. Literacy represents one schema and magic the other. “Composing an essay” or “performing a spell” are common scripts associated with each schema. Each script may be broken into scenes. A writer may start by conducting research; a mage may acquire a spell by learning an incantation. The goal of the writer is to inform and persuade. The goal of the mage is to enchant. A verb like “conjure” combines the scripts of both magic and imagination, where a mage conjuring a spell is analogous to an author conjuring an image. This exemplifies how metaphors create or sustain mythemes, transforming the archetypal identity of the writer to mage. 10 Educational philosopher Paulo Freire (1985) describes our interaction with the word-world (or logosphere) as follows:
The act of reading cannot be explained as merely reading words since every act of reading words implies a previous reading of the world and a subsequent rereading of the world. There is a permanent movement back and forth between ‘reading’ reality and reading words—the spoken word too is our reading of the world. We can go further, however, and say that reading the word is not only preceded by reading the world, but also by a certain form of writing it or rewriting it. In other words, of transforming it by means of conscious practical action. For me, this dynamic movement is central to literacy. (18)
16
come back to them with renewed critical energy and a fresh point of view. Writing helps us stand
outside ourselves” (Elbow 38).
Metaphorical Discourse
As discourse analyst Jonathan Charteris-Black (2004) asserts, “[M]etaphor is a prime
means by which people . . . create discourse” (253). Metaphor opens us up to different word-
worlds. Identity, ideology,11 and habit constitute the threads of discourse12 as a particular way of
being, seeing, and doing in the world. How we conceive of something influences how we
perceive it, and those perceptions influence how we act and interact. How we conceive literacy
influences how we perceive literacy, and therefore influences how we experience reading and
writing. Metaphor is fundamental to the conceptualization process, coloring our identities,
ideologies, and habits—metaphors of being (i.e., existential), metaphors of seeing (i.e.,
philosophical), and metaphors of doing (i.e., praxis).13 Comparative rhetorician George A.
Kennedy (1998) remarks, “The earliest, most natural, and most universal tropes are metaphor,
synecdoche, and metonymy. . . . Its great rhetorical importance is that, unlike other tropes, it can
carry emotional value and is thus an important manifestation of rhetorical energy” (229).
11 Compositionist and rhetorician James Berlin (1988) defines ideology as “a set of tacit assumptions about what is real, what is good, what is possible, and how power ought to be distributed” (492). 12 In the sociolinguistic sense, discourse is language-in-use—the intersection where ideology becomes identity-in-action: “When we speak or write we simultaneously say something (‘inform’), do something (act), and are something (be). When we listen or read we have to know what the speaker or writer is saying, doing, and being in order to fully understand” (Gee 1, “Discourse, small-d, Big D”). Elsewhere, educational literacy researcher James Paul Gee (2012) elaborates, “Discourses are ways of behaving, interacting, valuing, thinking, believing, speaking, and often reading and writing, that are accepted as instantiations of particular identities” (3, Social Linguistics and Literacies: Ideology in Discourses). Discourses may also be simply understood as a domain of knowledge about something, like business or sports, where the way people talk and the words they use to define their interests set their discourse apart: “A discourse is a configuration of knowledge and its habitual forms of expression, which represents a particular set of interests” (Cazden et al. 75). A lexicon that develops particular to any discourse may very well serve as a means for generating metaphorical discourse when carried over to another discourse domain, such as using sports-metaphors to talk about business, etc. 13 As outlined in Michael Halliday’s Functional Linguistics, we can apply the metafunctions of language to the discursive functions of metaphor: “[T]he metafunctions of language in social activity: the interpersonal metafunction to enact relationships, the ideational metafunction to represent experience, the textual metafunction to organize text” (Martin & Rose 6, emphasis in original).
17
Metaphor frames how we see the world, creates discourse, and gives force and power to
language.
Inasmuch, without the Stage, Product and Process Models of writing, it is almost
impossible to sustain any type of discourse around composing, substantiating Charteris-Black’s
point that metaphor generates discourse. In “Tropes of the Composing Process” compositionist
Philip Arrington explores, from Plato to Burke, dominant discursive evolutions for
conceptualizing composition: Composing as Dramatic Speech, Step-by-Step Process, and
Organic Growth. The relationship between metaphor and discourse reveals how metaphors are
discursive and how discourses are metaphorical: “Discourses not only represent the world as it is
(or rather is seen to be), they are also projective, imaginaries, representing possible worlds which
are different from the actual world, and tied in to projects to change the world in particular
directions” (Fairclough 124). Metaphors, in the creative sense, represent “possible worlds” or
selves (i.e., identities, ideologies, and actions) which have the potential to rhetorically act upon
us “to change the world” and our self from what is to what might be. The discourse of
“[c]omposing . . . [, then, is] the intersection of context, text, self, and society. But then too
composing is simultaneously the active (if partial) (re)constructing of these discursive universes
of context, text, self, and society” (Zebroski 5). Like metaphor, composing is the rhetorical
writing and rewriting of the world and our place within it. The ends of discourse are the ends of
metaphor: to sustain interaction, to influence attitudes and behaviors, and to present information
or offer explanations.
18
Early Research on Compositional Metaphors
Lad Tobin’s (1989) “Bridging Gaps: Analyzing Our Students’ Metaphors for
Composing” was the first publication to collect data on college-writers’ metaphors. He proposes
that metaphor is an untapped discourse of power between instructors and college-writers:
Once any metaphor becomes dominant in an individual’s mind, in a classroom, in a university, or even in a society, it influences, limits, and controls subsequent actions. For that reason the metaphor itself needs to be examined and debated and, ultimately, negotiated by the group. Metaphors in the composition classroom are valuable to the extent that they establish connections for and between writers. (451)
He mentions how instructors and college-writers, at times, work from different metaphorical
assumptions, such as metaphors that reinforce writing as linear versus nonlinear (450). Tobin
advises that instructors need to open up a line of communication that allows college-writers to
raise “insightful questions about a teacher’s metaphor, of extending it, even of offering one more
appropriate for their own composing experience” (456). Through this back and forth, give and
take “metaphors can help us learn what we need to teach,” he adds (456). If we want to become
better at our craft, then we need to meet our students where they are, which involves encouraging
“students to question, criticize, or develop our metaphors, or, more importantly, to develop their
own” (446). Learning from students’ metaphors should be an important dynamic exercised in
composition classroom pedagogy.
Tobin’s data-collection involves conducting metaphor invention exercises (MIEs) over a
2-year period, where he “collected roughly 500 student metaphors for composing from . . . 120
freshman composition students”—“one in the first week of the course, one in the last week, and
at least one more around midterm. In each case the student was responding in writing to . . . :
‘Writing is like . . .’” (447). Moving from analysis to interpretation, he claims:
19
I have attempted to pay particular attention to how metaphors change at different stages of the process and different stages of the course. At the beginning of the course, most of my students use metaphors that are fairly predictable . . . . They think of writing in terms of cooking, building, or manipulating objects, but often as the result of these activities rather than the activities themselves; that is, writing as a pie rather than baking, a house rather than designing or constructing. (447-448)
He concludes, “What is the metaphor telling us about the student’s conception of and attitude
towards the process (as well as the student’s conception of and attitude towards the teacher’s role
in that process)? And what are we doing to contribute, positively or negatively, to that
conception and attitude?” (455). His study is the essential starting point in the history of
researching college-writers’ metaphors for composing.
Overall, Tobin’s research reveals how college-writers’ metaphors for composing are a
rich, insightful area for Rhetoric and Composition to develop theory and practice, but only a
handful of scholars have ventured beyond these initial insights. I expand this body of research by
analyzing ‘collections of writing’ from individual participants instead of solely relying on single
exercises or overgeneralizations, to consider how metaphor not only frames a composition but
also manifests particular archetypal, literate identities across various writing samples.
Another early study of college-writers’ compositional metaphors is Hildy Miller’s (1993)
“Metaphoric Components of Composing Processes,” where she focuses on abstraction and meta-
cognition, researching the emergence of non-textual metaphors as they occur in real-time
writing. Her research explores the paradox “of comprehending how metaphorical thoughts
produce nonmetaphorical texts,” investigating, by means of thought-sampling,14 how college-
14 “Thought sampling is a self-report technique in which subjects respond to a prompt by reporting the last few seconds of thought. After a written thought sample is taken, subjects immediately resume the activity that was interrupted. As a technique for capturing near concurrent thought, it has a strong record showing that it causes minimal interference with ongoing cognitive activity (Klinger, 1978; H.R. Pollio, 1984; Pope & Singer, 1978). Unlike think-aloud protocols that are more often used to study cognitive processes of writers, thought samples are better suited to capture the simultaneous rich mix of half-conscious verbal and nonverbal thought” (Miller 87).
20
writers conceptualize the act of composing (81). She addresses that “little research has been done
on [metaphor’s] role in cognitive processes in writing” (79). Her research posits:
What would these [generative, structural] metaphors look like if we could see them? What relationship would these ideas have to those in the emerging text? How would the writers themselves describe the overall role of metaphor in their writing and in the rhetorical context in which they work? (86)
In its entirety, Miller’s data-representation consists of three case-studies taken from a sample-set
of 148 undergraduates from a variety of writing courses. The task was to compose an essay
around “how they learn best” (86):
Throughout the 45 min. writing task, writers were interrupted three times at irregular intervals and asked to fill out written thought sample questionnaires. Two open questions were asked: / 1. What was the last thought you had in your mind just before you were interrupted? Be as detailed and accurate as you can; work backwards to other thoughts if you want to. / 2. What, if any, connection do you think the thought had to your piece of writing? (86)
Metaphors drawn from her case-studies include: searching, floating, projecting, imagining,
jumping, shifting, and “moving back and forth” (89, 90, & 92-3). Most, if not all, of the
metaphors are spatial-relation metaphors, conceptualizing WRITING AS THINKING as WRITING AS
MOVEMENT. Miller’s work advances that metaphor is not only something that appears in a text;
it is a cognitive activity ever-present behind-the-scenes, occurring in the thoughts of writers as
they compose, giving shape to the text but not always explicit in the text itself. An important
limitation of her design, however, rests on not putting the findings in conjunction with additional
writing samples from the same students, making it difficult to construct conclusive case-studies
from a single exercise. The metaphors elicited by the thought-sampling, again, only reflect
metacognitive metaphors, meaning they primarily reflect conceptions of thinking as they occur
during writing.
21
Contemporary Relevance and Significance
To demonstrate the contemporary relevance and significance of my work, I now turn to a
handful of studies that have made advances in metaphor research since Tobin and Miller’s initial
studies. In Paulson and Armstrong’s (2011) split study “Mountains and Pit Bulls: Students’
Metaphors for College Transitional Reading and Writing” they research transitional college-
writers’ metaphors for literacy and education. While their study is a replication of Tobin’s (i.e.,
of whom they make no mention), it develops new insights and corroborates previous data,
emending deficits in previous research by analyzing metaphors for reading too, reminding us that
composition involves teaching and researching “ways to read” as well. We cannot propose to
research literacy without inquiring into the whole dynamic of literacy because reading inspires
writing and writing inspires reading. Paulson considers the affect or pathos of each metaphor,
coding for students’ negative or positive connotations, recognizing that “[m]etaphor is
evaluative;” it “‘convey[s] an attitude or mood’” (Averill qtd. in Maalej 149).
The main inquiry of the study addresses “what educators and researchers in the field can
do with the rich conceptual information that is embedded in students’ metaphors for academic
literacies” (494). They explore “students’ conceptualizations of reading and writing [to] help
teachers meet students where they are and guide them to where they need to be” (494). While
this seems commendable at first, it is a misnomer to assume that students’ metaphors, to some
degree, are already misguided. We should be careful how we frame our students’ roles in the
classroom. Instead, my approach considers what college-writers have to offer our curriculums
and course designs. Our students are often using literacy in unique ways that we are sometimes
unaware of. Meeting them where they are at does not necessitate that we know where they need
22
to be; they may very well be able to direct us and others in directions we all should be exploring
together.
In the first part of the study, Paulson administered an open-ended survey to collect the
data, “using a ‘complete the stem’ statement. The elicitations [are] as follows: / • College writing
is like _______. How or why? _______ / • College reading is like _______. How or why?
_______ / • The writing and reading class I am enrolled in at the [Center] is like _______. How
or why? _______” (496). To process the data, they use “open coding (Glaser & Strauss, 1967),”
“analyzing participants’ MLEs for evidence of conceptualizations of academic literacies as
inhabiting either of the two parts of a traditional dichotomy in the field: literacy as a product, or
literacy as a process” (497). Categorical representations include: READING IS A JOURNEY/SPORT,
WRITING IS GAMING/EXPRESSION, and THE COURSE IS A LEVEL/RELATIONSHIP (499). Like
Tobin, Paulson too concludes that “there were significantly more product ones, indicating that
some students may hold a deeply engrained [sic] conceptualization of academic literacies as a
passive transmission of an object” (497-498).
The second part of the study details Armstrong’s classroom observation, which involves
facilitating conversation around metaphors for reading: “In [her] college transitional reading
courses, students’ metaphors for reading are solicited on the first day of class. . . . . [T]he
metaphors provided are read aloud to the entire group without identifying the authors” (501). In
terms of interpretation, metaphors from the beginning and mid-semester are reviewed at the end
of the semester “and students are prompted to think about whether their views . . . have changed.
This conversation always includes not only whether views have changed but also, importantly,
why and how” (502). Her pedagogical approach fulfills Tobin’s key admonition that metaphor is
a useful way for instructors and students to communicate and negotiate meaning together.
23
Metaphors of note include: “Reading is like going somewhere with no directions” and “Reading
is like water. Even if you don’t like it, it’s essential” (501-502).
Overall, Paulson and Armstrong’s research constrains itself by the process/product frame
for coding, and, like Tobin, they do not explore conceptualizations as they occur across a variety
of genres or different exercises. One type of data can only tell one type of story.
Before Paulson and Armstrong’s published study, however, Gwendolyn A. Hart’s (2009)
dissertation “Composing Metaphors: Metaphors for Writing in the Composition Classroom” took
an observational approach to researching educational metaphors in the composition classroom.
Her data-collection and methodology include conversational data and case-study work around
the experiences of four college writing instructors.
Hart’s study researches metaphors for writing from the instructor’s perspective, centered
around the pedagogical possibility of students and instructors deliberately engaging each other’s
metaphors for the purpose of theorizing how metaphor can be a useful tool for teaching writing.
She accomplishes this by facilitating metaphor workshops conducted over the timespan of four
class visits. The visits are followed by interviews with each of the teachers to discuss their
metaphors and their reaction to their students’ metaphors. Inspired by Tobin’s admonition to
research metaphor as a means for making meaningful connections between student and
instructor, she describes, “Tobin identifies metaphor production as a way of uncovering students’
and teachers’ tacit beliefs about writing, and advocates using dialogue about those metaphors as
a way of improving relationships between students and their writing and between students and
writing teachers” (39-40).
Hart argues for a metaphorical literacy as the ability to recognize, critique, and invent
writing metaphors. She claims “the field of composition, at least at the practical classroom level,
24
has suffered from a lack of recognition of the rhetorical nature of metaphor” (15). Her findings
conclude that instructors use metaphor to devise solutions to deal with the felt-difficulties of
teaching composition. The case-study participants’ experiences are summarized as follows: Kate
deals with the felt difficulty of teaching the rules of academic writing by means of a sports
metaphor (70); Pavil deals with the felt difficulty of being a dissertation writer and a writing
instructor through the metaphors of split-personality and balance (120); Winston deals with the
felt difficulty of grading and setting academic standards through the metaphorical tension of
critic and supporter (168); and Ray deals with the felt difficulty of meeting college-writers’
needs through the metaphor of adaptation (214).
An important constraint of her study, however, is its emphasis on instructors’ felt
difficulties, whereas students receive minimal attention. Much like Tobin and others, she
employs a metaphor invention exercise that asks students to fill-in-the-blank (“Writing is like . .
.”); the MIEs are utilized in classroom conversation and recounted later in interviews with the
teacher. Her technique is not so much a matter of recording what is already going on in the
classroom as much as it is to reinvent the classroom through discussion-based metaphor
activities, such as reading articles about scholars’ metaphors (i.e., “Kenneth Burke, Peter Elbow,
David Bartholomae, Mike Rose, Ken Macrorie, and Donald Murray”) and engaging in dialogue
about each other’s personal metaphors for writing (56). Hart acknowledges the limitations and
future implications as including: the need for longitudinal research designs, diverse participant
pools, investigating prevalent metaphors in scholarly research, refining current coding and
categorization methods in metaphor analysis, and further studying how teachers use metaphors
as solutions to navigate the challenges of teaching writing.
25
Appearing the same year as Hart’s dissertation, Stephen E. Neaderhiser’s (2009)
dissertation “‘Metaphors we teach by’: representations of disciplinary and teacherly identity”
investigates black-boxing—the uncritical acceptance of others’ metaphors (whether that be the
field’s or an instructor’s) (vi). He also advances that metaphor constructs narrative identity.
Reflecting on this relationship, he quotes compositionist Lisa Ede: “‘Can we be more conscious
of, and more explicit about, the models and metaphors that animate our research and the
narratives that construct us as researchers and teachers?’ (41)” (220). Later, reappearing as the
published article “Conceiving of a Teacherly Identity: Metaphors of Composition in Teaching
Statements,” he explores how “we might be able to observe localized and personalized examples
of disciplinary metaphors, as well as the broader implications and effects of these metaphors as
they are put into practice” (414).
The main objective of the dissertation was to conduct “a theoretical examination and
textual analysis of the metaphors used to describe the act of writing and the teaching of writing”
(vi). He describes, “I was interested in learning how (or if) discipline-specific metaphors
operated as a way to present a compositionist’s identity—an identity that is both individual and
part of the larger discipline” (414, “Conceiving of a Teacherly Identity: . . .”). His research asks,
“How do writing teachers interact or engage with metaphors of writing and the teaching of
writing when representing their teacherly identities?” (414). The primary educational metaphors
he categorizes and explores are “TEACHING-IS-STORY, TEACHING-IS-COMMUNITY, and
TEACHING-IS-CONVERSATION” (124-5, “‘Metaphors we teach by’: . . .”).
Neaderhiser’s data-collection looks at teaching statements, a sample-set of “fifty teaching
statements from forty-nine unique participants” (418, “Conceiving of a Teacherly Identity: . . .”).
26
Frequent metaphors coded from these statements include: WRITING AS seeing, building, process,
journey, growing, community, and conversation (423). He adds,
The remaining metaphors were WRITING IS DISCOVERY, WRITING IS SOCIAL ACTION, WRITING IS EXPERIMENTATION, TEACHING IS LEARNING, TEACHING IS FACILITATING, TEACHING/LEARNING IS LOVE, LEARNING IS FOSTERED, and WRITING IS VOICE. (423)
While this has advanced work in researching metaphor and identity, the study is limited by the
broad data-set, whereas Hart looked closely at specific instructors to make claims about how
metaphor reveals things particular to a specific teacher’s identity. Neaderhiser posits his “study
still offers only a limited view of the genre and the metaphors that might appear within it” (438).
Implications for further research “indicate . . . the necessity for a deepened awareness of both
metaphor, in how we consider the interactive potential of our disciplinary metaphors, and genre,
in how we understand the active levels of identity construction and representation that operate
within teaching statements” (438). Indeed, studies like these leave us with questions regarding
not only how instructors problem-solve or represent their identities but how college-writer’s
problem-solve or represent their identities through metaphor.
Furthermore, David Dadurka’s (2012) master’s thesis “Metaphoric Competence As A
Means To Meta-cognitive Awareness In First-Year Composition,” on the other hand, conducts a
metaphor analysis of “more than a dozen first-year composition students’ end-of-semester
writing portfolios” to assess college-writers’ “meta-cognitive awareness, mindfulness, and
reflection” (iii). Unlike other researchers mentioned here, he includes the autoethnographic
analysis of his own compositional metaphors. Adopting a writing-about-writing pedagogy, he
collects metaphorical responses from his students using their own autoethnographic reflections,
recorded using videoed think-aloud protocols.
27
The main inquiry of Dadurka’s research centers around how his own metaphors impact
his writing and pedagogy and how students’ metaphoric competence enhances their acquisition
of writing (17). Categorical metaphors used to frame the study are largely borrowed from
compositionist Philip Eubanks (2011), with the addition of flow: WRITING AS TRANSMISSION,
WRITING AS TRANSACTION, WRITING AS FLOW, and WRITING AS TRANSCRIPTION. Like Hart,
his research is an example of what it looks like to open up classroom dialogue about metaphor’s
role in composition. He outlines:
For this research project, I sought answers to the following questions: / 1. What are the metaphors that I used during my graduate studies to describe writing? . . . / 2. What metaphors did students in my writing classes use to describe writing processes? What changes, if any, occurred in these students’ definitions of writing and metaphors of writing between the beginning and end of the semester? (17)
Specifically, the data-collection consists of student portfolios containing “auto-ethnographies,
related essays on the topic of revision, think-aloud protocols, student journals, and end-of-
semester reflection letters” (17-18). Dadurka adds that these data samples represent “student
writing self-portraits” (2).
While Dadurka “found [that] students’ writing self-portraits appeared to be more
consistent with transmission models of writing and metaphorical expressions licensed by the
Conduit Metaphor, those of ‘conveyance,’ ‘flow,’ ‘fluency,’ ‘blocks,’ and
‘economy/efficiency,’” this, again, allows us to only make general claims about how college-
writers conceptualize literacy instead of how they particularly conceptualize it (72-73). To get at
how college-writers’ metaphors for writing speak to their identity, researchers need to begin to
move beyond broader generalizations so that we can analyze the peculiarities of particular
college-writers’ identities.
28
Lastly, in “Adult literacy students’ metaphors of reading and writing” by Donita Shaw
and Marc Mahlios (2014), they examine metaphors for reading and writing used by adult
learners. Their data-collection tool provided a list of metaphors for participants to choose from,
or they could add and develop their own. A major limitation of this type of instrument is pre-
selecting types of metaphors for participants to choose from: one, because it limits the creativity
of the exercise by giving participants prescribed ways of viewing literacy instead of being
challenged to generate their own, and two, because it falls prey to reinforcing dominant
perceptions instead of exploring new directions. Metaphors for reading included: puzzle, door, a
tree, walking, mountain-climbing, and the “self-created” metaphors of bird flight or napping on a
cloud (25). Metaphors for writing included: baking, flowering, running, bike-riding, trail-
walking, and the “self-created” metaphors of gardening and speaking in silence (26). Shaw and
Mahilios advocate that different types of metaphors correlate with increased levels of proficiency
in literacy learning: metaphors of growth with development, metaphors of procedure with
behaviorism, metaphors of journeying with constructivism, metaphors of mobility with social
learning, and metaphors of physical challenge with cognitive processing (28). Implications
drawn from their research express that metaphor analysis is a means to value the identities and
narratives of students, giving educators the ability to learn more about their students through
metaphor (28). Metaphor analysis gives educators insight into how to support students and their
learning experiences (29).
In the next section, I cover how my study aims to advance the present body of research.
Research Questions: Motivations, Difficulties, New Directions, and Resolutions
I identify the following concerns as new directions in researching college-writers’
compositional metaphors:
29
• Moving beyond MIEs to other methods of data-generation, such as researching
literacy narratives
• Researching naturally-occurring conversation regarding writing, such as student-
teacher conferencing
• Developing descriptive student case-studies, which utilize a variety of writing
samples to triangulate and draw interpretations from
• Advancing CMT’s potential to further methods in identity research within Rhetoric
and Composition
Because metaphors both illuminate and constrain meaning, they require us to critically
consider not only how our field conceptualizes its own object of study but how, as instructors,
our own literacy-metaphors illuminate and constrain our pedagogy or, alternatively, how college-
writers’ metaphors for literacy continue to illuminate and constrain their acquisition of our
practice.
Broadly, my study investigates how metaphorical conceptualization impacts the
generative, creative aspects of composing—how literacy-metaphors affect why and how we read
and write. As educational philosopher Eva Feder Kittay suggests, researching metaphor
“‘advance[s] our understanding of cognitive and creative processes’ (9)” (qtd. in Booth & Frisbie
166). And though there are largely two distinct levels to metaphoric representation, many studies
have not paid particular attention to how these are differentiated in their data (i.e., they are often
collapsed into one another or mistaken for the other). This has led me to identify how both
30
implicit metaphors (i.e., conceptual-metaphors)15 and explicit metaphors (i.e., novel, poetic
figures)16 influence and shape how we conceptualize the composing process?
At present our discipline has only begun to explore the role of conceptual metaphor in
conceptualizing composition. From this position I put forth a conceptual model of composing,
which focuses on the cognitive frames that inform how writers metaphorically contextualize their
reading and writing activity.
So, why investigate the variety of metaphors instructors and college-writers have come to
rely on? The answer: to increase and widen our perspectives for teaching writing, to search out
new paradigms, and to develop new writing pedagogies inspired by critical metaphor analysis.
As a Rhetoric and Composition researcher, my primary goal in applying CMT to literacy is to
demonstrate how metaphor influences writing activity as well as reveals something of our
identities as readers and writers.
Researching first-year-composition classrooms provides insight into how college-writers’
metaphors for literacy influence their literate activity, either hindering or enriching it. The
college-writer is in a unique position because they can provide us with insight into the influence
of metaphor on the development and acquisition of academic literate practices and reveal how
those practices are in turn influenced by the literacies they bring to the classroom.
The research questions of my study are:
15 For example: Achilles roared. = ACHILLES IS A FEROCIOUS ANIMAL. This is a conceptual metaphor because the relationship between the source, which is “Achilles,” and the target, which is “lion,” is implied in the verb. Metaphor analysts refer to this type of meaning as implicit because the metaphor is not outright stated. 16 For example: Achilles is a lion. This is an explicit metaphor because the target is not implied but stated outright as a literary device.
31
1) How do college-writers’ conceptions of reading and writing—their figurative
thinking—influence, shape and impact their interactions with reading and writing as
well as situate themselves as certain types of readers and writers?
2) What are some of the most prevalent as well as rare metaphors for conceptualizing
literacy among first-year college-writers?
3) How do instructors’ and college-writers’ metaphors compare and contrast?
4) In what ways might college-writers’ literacy-metaphors encourage us to reimagine
composition pedagogy?
In its entirety, the design of the dissertation is to: a) establish my research scope, b)
narrate the history of metaphor analysis in the college composition classroom, c) detail my
methodology and findings, and d) highlight my contributions to conceptual metaphor research
within composition pedagogy. My research exists to create a catalogue of the metaphors college-
writers read and write by; synthesize previous studies on college-writers’ compositional
metaphors; demonstrate and legitimize a methodology for conducting metaphor analysis in
Composition studies; and give voice to my students, allowing them to teach through my research.
Study Overview: Chapter Synopses
Chapter Two: Literature Review: In this chapter I review the major movements in the
history of metaphor theory in Rhetoric and summarize key studies in the history of metaphor
analysis in Composition. In the rhetorical tradition I give an overview of the five major shifts in
theorizing metaphor: substitution, comparison, interaction, conceptual, and archetypal. In writing
studies, I highlight key research designs that have made a case for metaphor’s significance in the
composing process.
32
Chapter Three: Methodology and Methods: In this chapter I detail the methodologies
and methods of my research design. The methodologies that inform my research design include:
Teacher-Research, Critical Pedagogy, (Auto)Ethnography, and Critical Metaphor Analysis. Each
of these standpoints influences and determines data-collection methods and analytic procedures.
My research methods consist of an analysis of a variety of classroom assignments and
exercises: reflecting on and reacting to professional quotes about writing, inventing personal
metaphors for writing, composing literacy narratives, generating peer-review marginalia,
exploring revision reflections, answering survey questions about the composing process, and
conferencing.
Chapter 4: Sara’s Text and Talk Data: In this chapter I present analyses of Sara’s17
writing samples and conferencing, moving from data-collection to analysis and discussion.
Chapter 5: David’s Text and Talk Data: In this chapter I present analyses of David’s
writing samples and conferencing, moving from data-collection to analysis and discussion.
Chapter 6: Metaphor Invention Exercises: As a follow up, I report the comprehensive
results of all MIEs.
Chapter 7: Metaphorical Profiles: In the final chapter I reflect on CMT’s potential to
influence composition pedagogy. I weigh what each metaphorical profile tells us about what our
students have to teach us about literacy.
17 All student-participant names have been replaced with aliases to secure anonymity.
33
CHAPTER 2: LITERATURE REVIEW
An archetypal content expresses itself, first and foremost, in metaphors. —C.G. Jung from the Collected Works of C.G. Jung,
Vol. 9 (Part 1): Archetypes and the Collective Unconscious
In the first chapter I introduced why metaphor matters for the composition classroom,
reviewing the most relevant studies and detailing my research questions. In this chapter I narrate
the history of metaphor in Rhetoric and Composition. I divide this discussion into two parts: A
Brief History of Metaphor Theory in the Rhetorical Tradition, and A Review of Metaphor
Analysis in Composition Studies.
A Brief History of Metaphor Theory in the Rhetorical Tradition
Names are the essence of language; for the name is what abstracts the conception of the [thing] from the [thing] itself.
—Susanne K. Langer from “Language and Thought”
In this section, I offer a summary of each theoretical shift, outlining how theorizing about
metaphor has evolved: Substitution Theory, Comparison Theory, Interaction Theory, Conceptual
Theory, and Archetypal Theory.18 As I do so, I describe each theoretical shift using the meta-
metaphors:19 Allegory; Similitude; Exchange; Frame, Map or Domain; and Narrative.
Since rhetoric is the “available means of persuasion” (Kennedy 37) for “inducing
cooperation” (Burke 20-21, emphasis in original) and “altering reality . . . by the creation of
18 The Substitution, Comparison, and Interaction views are defined in Black’s “XII–Metaphor,” presented at Proceedings of the Aristotelian Society, from which my descriptions are taken. It is also important to note that these are imposed definitions, not the classifications given by philosophers whose time period we are reviewing. These categories allow us to retrospectively compartmentalize our understanding of what metaphor may have meant at certain times to certain people in certain fields of study. 19 Refer back to “The New Rhetoric of Metaphor” for a definition of meta-metaphor.
34
discourse which changes reality through the mediation of thought and action” (Bitzer 4), it is
important to acknowledge metaphor’s rhetorical capacity. As a feature of rhetoric, metaphor is
one of the most significant means of persuasion. Metaphor charms and enchants, elevating
language, enriching elegance and eloquence. To the average person, however, metaphor is often
mistaken to be the poet’s concern, despite the fact that it is essential to our everyday meaning-
making. Metaphor has gone from being thought of as a matter of style to the very building-block
of ideology. Metaphor imparts new ideas and concepts by altering perceptions, giving a thing the
name of something else for the purpose of creating novel identifications between concept and
rhetor. Even the goal of rhetoric itself is pseudo-metaphorical: “[M]etaphor tells us something
about one character as considered from the point of view of another character. And to consider A
from the point of view of B is, of course, to use B as a perspective upon A” (Burke 503-504,
emphasis in original). Moreover, an important psychological affect—or pathos—of metaphor is
to procure empathy—to experience “thou art that” or this is that. Empathy, above all else,
induces cooperation. Metaphor is rhetorical:
Rhetoric offers a bridge between worlds private and public, academic and civil—and we argue that the role of metaphor is a central place to begin. Metaphor’s power to create knowledge is crucial to our students, as consumers and producers of texts. By spelling out metaphors, investigating the narratives buried within them, and examining the assumptions that framed their creation, we can lead our students to a richer understanding of how metaphor, like language more generally, can shape, reshape, and even create a reality. (Booth & Frisbie 164)
Aristotle was among the first classical Greek scholars to categorize and theorize
metaphor. Aristotelian scholar George A. Kennedy (2007) points out, “Metaphora is itself a
metaphor and literally means ‘carrying something from one place to another, transference’”
(199). As we can see, the figurative language used to describe metaphor assists us in tracing the
history of metaphor because it reveals how our thoughts about metaphor evolve as the discourse
35
around metaphor evolves. The paradox of metaphor is that it cannot be adequately defined
without it. The conceptual metaphors behind the original Greek (i.e., METAPHOR IS A
CONTAINER (FOR CARRYING) and METAPHOR IS TRAVELING) conjure the everyday image of
carrying an item from one place to another. In this analogy, the ‘item’ is meaning and ‘place’ is
the new meaning. (As an aside, we must distinguish that Aristotle does not theorize metaphor at
this level, but we may benefit from rereading him and other theorists through CMT.)
Aristotle’s famous definition in the Poetics provides that metaphor is “‘giving the thing a
name that belongs to something else; the transference being either from genus to species, or from
species to genus, or from species to species, or on grounds of analogy’ (Poetics, 1457b)” (qtd. in
Johnson 5). For Aristotle, METPAHOR IS NAMING or RENAMING, conceptualizing linguistics
through the discourse of taxonomy. He explicitly stresses that metaphor is a matter of style, of
adorning language with “clarity and sweetness and strangeness;” it can be used for comedic
purposes (i.e., Kennedy 204) or to incite the senses (202); though it, more importantly, “brings
about learning” (200, 218). Beyond naming and definition, the pedagogical function (i.e., the
ability to teach) appears to hold precedence for Aristotle, of making the abstract concrete, the
unknown known, the unfamiliar familiar. In another aphorism, he describes that metaphor is like
employing the service of a soldier or persuasive lower-ranking official: “‘[T]he greatest thing by
far is to have command[—or be master—]of metaphor’” (qtd. in Kövecses viii, my emphasis).
Substitution Theory: Metaphor as Allegory
The dominant view in Aristotle’s time, Substitution Theory, presupposes that any figure
can be replaced with its literal referent. A familiar Homeric example, which demonstrates this,
is: Achilles is a lion. From a substitutionist standpoint, the noun phrase “a lion” can be replaced
with its literal referent, “fierce in battle.” Metaphorical meaning from this perspective is
36
allegorical, conceptualizing figurative language as a one-to-one relationship. The idea of
substitution is best exemplified when Aristotle explains, “Metaphor from analogy should always
have a correspondence between two species of the same genus: thus, if the wine cup is the
‘shield’ of Dionysus, the shield can fittingly be called the ‘cup’ of Ares” (Kennedy 206). An
important limitation of this perspective, however, is that it does not account for concepts for
which no literal, concrete referent exists, such as with emotions, aesthetics, or metaphysical
concerns like the Divine: “Metaphor is one our most important tools for trying to comprehend
partially what cannot be comprehended totally: our feelings, aesthetic experiences, moral
practices and spiritual awareness” (Lakoff & Johnson 134, “Metaphors We Live By” from The
Production of Reality: Essays and Readings on Social Interaction).
Comparison Theory: Metaphor as Similitude
Aristotle remarks that “‘a good metaphor implies an intuitive perception of the
similarity in dissimilars’ (Poetics, 1459a)” (qtd. in Johnson 6). He adds, “[M]etaphors should be
transferred from things that are related but not obviously so” (Kennedy 223). In this sense,
metaphor is approached as an elliptical simile, a position later held by Cicero and Quintilian,
meaning that “likeness” is always implied. But there is an arguable difference between the
assertions is like or is, that is, other than the addition of a single word. Simile highlights
resemblance between the features of different categories but metaphor argues that the categories
are equivalent, such as “She wept tears of wine,” instead of “She wept tears that were like wine.”
Similarity is the creative result of juxtaposition. Metaphor therefore generates similarity. Like the
substitution view, the comparison view does not account for the fact that many definitions are
metaphorical in nature and do not likely have an equivalent simile counterpart. The rhetorical
degree of meaning sets metaphor apart from simile. For example, if I propose “tears are wine”
37
instead of “tears are like wine,” it bolsters the image’s meaning. In this instance, the meaning of
A is B is not the same as A is like B. Metaphor is not only comparison; it is definition. It is not
merely a matter of likeness the rhetor wants to assert; it is conceptual equivalency. All similes
are like metaphors, but not all metaphors are similes. Take for instance, the spiritual argument
“God is love.” If this were stated as a simile, we see that it does not have the same affect, impact,
or meaning: “God is like love.” All similes imply a conceptual relationship, but stress likeness
over equivalency. Whereas, metaphor stresses equivalency over likeness.
Around this same time, two of the most famous detractors of metaphor were political
philosophers Thomas Hobbes and John Locke. Hobbes asserts metaphor deceives, often leading
to conflict: “‘[M]etaphors, and senseless and ambiguous words, are like ignes fatui; and
reasoning upon them is wandering amongst innumerable absurdities; and their end, contention
and sedition, or contempt’ (Leviathan, pt. I, chap. 5)” (qtd. in Johnson 11). Locke too
acknowledges metaphor’s divisiveness: “‘[A]ll the artificial and figurative application of words
eloquence hath invented, are for nothing else but to insinuate wrong ideas, move the passions,
and thereby mislead the judgement; and so indeed are perfect cheats’” (qtd. in Geary 18). These
criticisms, however, are based on two false assumptions: 1). All figurative language has a literal
counterpart, and 2). Only literal language communicates truth. Ironically, Locke and Hobbes’
own objections rely quite heavily on certain figurative tropes. Hobbes uses metaphor (i.e.,
metaphoric reasoning is wandering). Locke uses personification (i.e., metaphor insinuates and
misleads) and metonymy, ACTION-FOR-ACTOR (i.e., metaphors are perfect cheats, assuming
LIFE/LANGUAGE IS A GAME).
Locke and Hobbes’ skepticism, however, does warrant some merit because even
Aristotle, an influential proponent of metaphor, had reservations about the trustworthiness of it.
38
As communications scholar Vernon Jensen (1983) notes, “Like subliminal advertising,
[metaphors] may well be subtly influencing us more than we realize. We unconsciously absorb
their images and underlying assumptions, unmindful of what they are doing to us and to the
subject matter” (201). Metaphor can be used to manipulate and deceive, just as much as it can
teach and reveal truth.
Interaction Theory: Metaphor as Exchange
Interaction Theory has been mostly associated with the work of Max Black, but runs
through I.A. Richards’ and Kenneth Burke’s as well, paralleling ideas in symbolic
interactionism. Black “made the provocative claim that . . . metaphors . . . create similarities
between things, rather than merely express preexisting ones” (Johnson 19). The interactionist
premise holds that commonplace meanings associated with perspective A interact with
commonplace meanings associated with perspective B, out of which metaphoric meaning is
made. Both terms therefore act upon one another to generate similarity. Interaction, in this sense,
is triangulation; by comparing perspectives A and B, their interaction results in perspective C.
Consider Shakespeare’s quote, “All the world’s a stage.” Stage not only influences how we
conceptualize world, but world influences how we conceptualize stage. To produce the extended
metaphor or analogy, the poet must consider all discursive associations belonging to “world:”
people, roles, and life/death. The poet must then consider all associations belonging to “stage:”
player, act, and entrance/exit. Thus, from an interactionist standpoint, metaphoric meaning is
reciprocal and does not solely move linearly from vehicle to tenor. Metaphor occurs in the
blended space or interaction between commonplace associations, like a Venn diagram: “In other
words, metaphor works by combining its two elements, not by substituting one for the other”
(Seitz 42-43). Richards describes the moment of discovering creative similarities as “‘two
39
thoughts of different things active together and supported by a single word, or phrase, whose
meaning is a resultant of their interaction’ (p. 93)” (qtd. in Johnson 19, my emphasis). French
philosopher Paul Ricœur also provides that “‘metaphor holds together within one simple
meaning two different missing parts of different contexts of this meaning. Thus, we are not
dealing any longer with a simple transfer of words, but with a commerce between thoughts, that
is a transaction between contexts’” (qtd. in Charteris-Black 2, my emphasis). Burke also notes
that metaphor reciprocally brings out “the thisness of a that, or the thatness of a this”—the
worldness of stage, or the stageness of world (503). Interaction Theory’s limitation lies in the
assumption that metaphoric interaction is primarily located in linguistic associations instead of
constituting cognitive domains for which commonplace associations already exist.
Conceptual Theory: Metaphor as Frame, Map, or Domain
The conceptual shift gains prominence with Richards’ claim in The Philosophy of
Rhetoric, “‘Thought is metaphoric, and proceeds by comparison, and the metaphors of language
derive therefrom’ (p. 94)” (qtd. in Johnson 18). Even before Richards and Lakoff and Johnson,
educational philosopher Alexander Bain (1867) likewise claimed that figures “parallel . . . mental
operations,” that “[i]t is a natural function of the mind . . . to generate metaphor, metonymy, and
antithesis” (1142). Even earlier still, rhetorician and compositionist Hugh Blair (1783)
recognized that “there are few sentences of any length, in which some expression or the other,
that may be termed a figure, does not occur” and “many a [person] uses metaphorical
expressions to good purpose, without any idea of what a metaphor is” (962, 963). To prove this,
Blair points out, “[W]e speak of piercing judgment, and a clear head; a soft or hard heart; a
rough or smooth behaviour. We say, inflamed by anger, warmed by love, swelled with pride,
melted into grief” (963). Early speculations and hypotheses such as these led cognitive linguists
40
George Lakoff and Mark Johnson to claim that metaphor is first and foremost manifest in
thought—and structures thought—before it is manifest in language. Thought and language are
interdependent; through linguistic acquisition thought adapts to language and language adapts to
thought. Conceptual metaphor is evidence of a pre-linguistic feature of mind, the forming of
neuro-links between concepts, like feelings, sensations, visual impressions, etc. As Lakoff has
mentioned elsewhere, very early on we learn to associate warmth with love (i.e., LOVE IS
WARMTH; ‘warmed my heart’) long before we have the language to communicate it because we
have experienced the two phenomena simultaneously, again and again, and the repetition forms a
conceptual link, which later adapts the linguistic counterpart to the experiential one. Abstracted
feelings of love are therefore associated with comfort and security.
Because our conceptual system is metaphorical, our metaphors frame and govern how we
see the world and understand our place in it. For example, in one our most archaic conceptual
metaphors LIFE IS A JOURNEY, the domain JOURNEY frames and governs how we narrate LIFE:
traveling, direction, signs, guides, paths, ways, roads, landmarks, places, and destinations. The
linguistic evidence suggests that the domains for living and journeying have formed a conceptual
link, which continues to frame how we talk about life.
Archetypal Theory: Metaphor as Narrative Identity
[M]ythology is a compendium of metaphors. —Joseph Campbell from “Understanding Mythology with Joseph Campbell”
Metaphor offers ways to reconceptualize domains of knowledge and create new ones by
constructing narratives. A narrative theory of metaphor is currently underdeveloped in the
literature. Certain scholars like philosopher Donald Schön (1979) and work in the literary sub-
field of mythological criticism as well as elements of analytic psychology and psycho-therapy
have contributed to further this notion, and many fruitful links have been made between myth-
41
making and figurative language. We have yet to see a cohesive publication on the subject,
however. In Generative metaphor: A perspective on problem-setting in social policy, Schön
defines generative metaphor as that which frames “‘our perspectives on the world: how we think
about things, make sense of reality, and set the problems we later try to solve’ (Schön, 1979, p.
254)” (qtd. in Tomlinson 58). A specific example he cites is A SLUM IS A BLIGHT/DISEASE,
which demonstrates how metaphors, to a degree, tell stories. He suggests that we need to be
critical of the types of metaphorical stories we tell because they set the frame for defining,
understanding, and reacting to something. To return to a previous example—located in footnote
5—in Thibodeau and Boroditsky’s study, crime was implicitly conceptualized as either a VIRUS
or a BEAST, depending upon the focus group. What the experiment revealed was that metaphors
frame how audiences react to social problems based on differences in generative metaphors.
These metaphors are perfect examples of narrative metaphor because they construct a type of
story the rhetor wants to tell about something:
[M]etaphor plays a crucial role, helping us create a ‘story’ we can make sense of and identify with. We are all familiar with the experience of telling a story from different perspectives, adding or deleting—or altering—details depending on our observations, feelings, and thoughts. This selection process is driven by the metaphor maker’s worldview, which comes out of the nexus of assumptions, life experiences, moral and religious beliefs, political affiliations, and so on that shape us. (Booth & Frisbie 167)
Narrative metaphors generate mythemes (e.g., birth, struggle, journey/quest, death and rebirth),
which emerge from certain archetypal positions. If crime or poverty is a disease, the reader
becomes a medical researcher looking for a cure; if crime is a beast, then the reader becomes an
animal-tamer trying to track and cage it. Narrative metaphors therefore rely on certain archetypal
positions to “tell” the story, to get us to identify with it and accept its underlying assumptions, to
persuade us to immerse ourselves in its vision of the world.
42
To date, there has been minimal research demonstrating the relationship between
conceptual metaphors and archetypes, even though it is hard to study one without the other.
Swiss analytic psychologist Carl G. Jung (1959) defined archetype as a deep universal structure
of the psyche. These universal images, patterns, or ideas are the unconscious source from which
literary archetypes manifest, making literary archetypes conscious, cultural projections of the
archetypes of the unconscious. Our earliest archetypal examples are mythological; the gods and
goddesses of ancient religious traditions are among the primordial literary archetypes.
Furthermore, Jung claimed, “There are as many archetypes as there are typical situations in life”:
Mother, Father, Child, etc. (48). In the rhetorical tradition, Michael Osborn (1967) was among
the first to demonstrate persuasive connections between metaphor and archetype, analyzing the
archetypal metaphors of “light and darkness, the sun, heat and cold, and the cycle of the seasons”
(117).
An archetype is the root source of a conceptual metaphor. For example, ARGUMENT IS
WAR is manifest in the cultural milieu because the Warrior archetype—or its destructive shadow-
side—continues to be associated with argumentation, producing the meta-narrative of conflict in
argumentative discourse. Each metaphor, therefore, has an archetypal pattern or meta-narrative
associated with it. The metaphors interlocutors use to identify themselves thus identify which
archetypes are giving rise to those metaphors.
Beyond literary criticism, archetypes have been implemented in psychometric
assessments, which, on therapeutic grounds, argue, “Identifying which archetypes are influential
in our lives can thus lead us to self-discovery, self-awareness, growth, and self-actualization”
(“Archetypes: Discovering Unconscious Patterns,” para. 7). From this perspective, archetypes
are rhetorical energies we summon power and energy from. If we need to be courageous, we
43
summon the power of the Warrior. If we need to be prudent and discerning, we summon the
power of the Sage. American, Jungian analyst James Hillman (1989) offers, “Let us then imagine
archetypes as the deepest patterns of psychic functioning, the roots of the soul governing the
perspectives we have of ourselves and the world” (23). Like conceptual metaphor, archetypes too
govern our perspective of ourselves and our world, which is why defining the relationship
between the two is critical for furthering identity research.
Most identity research in Literacy, Rhetoric, and Composition can be attributed to James
Paul Gee’s (2012) sociolinguistic approach developed in Social Linguistics and Literacies:
Ideology in Discourses as well as Elizabeth Moje (2009) et al.’s “Literacy and Identity:
Examining the Metaphors in History and Contemporary Research,” in which she follows the
metaphorical trajectories of “(1) difference, (2) sense of self/subjectivity, (3) mind or
consciousness, (4) narrative, and (5) position” (415). Gee posits that reading and writing are not
only cognitive skillsets but performative identities out of which we make meaning as we
respond, conjecture, and argue positions (32). He takes a narrative approach to identity, where
readers and writers project something of their core identity into the discourses they participate in
(24). Literacy researchers Cynthia Lewis and Antillana del Valle (2008) present that we “do
more than perform [our] identities; [we] are discursively engaged in a process that brings identity
into being” (316). Moreover, this defines “literacy [as] a medium for self-discovery and self-
formation” (Moje et al. 426). Narrative positioning in literacy allows for an evolving concept of
identity, where people “tell stories about themselves . . . but also . . . shift positions and tell new
stories” (431). Archetype and metaphor capture this narrativization as readers and writers talk
and write about their experiences with reading and writing.
44
Using CMT in conjunction with Archetypal Psychology provides a unique heuristic for
analyzing the metaphorical, archetypal identities that—in the context of my study—college-
writers use to situate themselves and their writing. My research repurposes archetypal theorist
Carol S. Pearson’s work, arguing that the metaphors we read and write by are motivated by the
archetypes we read and write by. Pearson’s archetypal taxonomy was first outlined in Awakening
the Heroes Within: Twelve Archetypes to Help Us Find Ourselves and Transform Our World
(1991) and was later used to design the Pearson-Marr Archetype Indicator® Instrument.
Pearson describes, “Freedom begins the moment we become conscious of the plot line we
are living and, with this insight, recognize that we can step into another story altogether. . . . .
What our lives are like, then, depends on the scripts we consciously or, more likely,
unconsciously have adopted” (17). The plot line she refers to, then, is the meta-narrative, which
is sustained by a variety of metaphorical assumptions, grounded in certain archetypal positions.
Being aware of the archetypes and metaphors we live by allows us to adopt new scripts and try
out new ways of seeing, being, and doing. She advises, “A good practice to ensure that you are
seeing all sides of an issue is to identify the archetypes that have been speaking through the
arguments you have considered and discover the other archetypal positions that might be of
help” (31). In the same manner, we need to be more conscious of the metaphors that frame our
arguments, seeking to discover new metaphors that may offer a more applicable degree of
meaning or improve outcomes.
The following table includes modified descriptions of Pearson’s 12 archetypes (each
description reimplements her original archetypal concepts as applied to literacy):
Table 1.1
Archetypes and Meta-narratives
45
Archetype Meta-narrative Literacy is about . . .
Idealist Optimism, trust, and faith.
Everyperson Resilience, survival, and community.
Warrior Discipline, courage, and competition/achievement.
Altruist Compassion, generosity, and self-sacrifice.
Wanderer Independence, authenticity, and self-discovery.
Romantic Enthusiasm, passion, and commitment.
Revolutionary Innovation, empowerment, and liberty.
Creator Imagination, invention, and advancement.
Magician Charisma, inspiration, and transformation.
Ruler Influence, leadership, and power.
Sage Curiosity, wisdom, and truth.
Comic Play, joy, and freedom.
This section has summed up the general progression of thought on metaphor from a
rhetorical perspective. I now turn to the history of metaphor as it pertains to Composition
Studies.
A Review of Metaphor Analysis in Composition Studies
In this section, I review handbook literature, the cognitive turn, the figurative rhetoric of
writing, and teacher-research applications.
Composition, according to the Conference on College Composition and
Communication’s vision statement, is “a human activity that empowers individuals and
46
communities to shape their worlds” (“About CCCC,” para. 2). Writing Studies scholar Charles
Bazerman (2004) defines composition as “the study of writing—its production, its circulation, its
uses, its role in the development of individuals, societies and cultures” (32). Composing also
incorporates other activities and mediums associated with writing (i.e., multimodality), which
often integrate writing into their production but are not always manifest as solely written
products, such as advertisements, brochures, presentations, podcasts, videos, and web-texts of all
sorts, etc. In 1996, The New London Group proposed—what they referred to as—a more neutral
position for defining literacy studies: “[A] metalanguage of multiliteracies based on the concept
of design” (77); “we are both inheritors of patterns and conventions of meaning and at the same
time active designers of meaning. And, as designers of meaning, we are designers of social
futures—workplace futures, public futures, and community futures” (65). Gee (2007) also
metaphorically explores this relationship in What Video Games Have to Teach Us About
Learning and Literacy through the metaphor Education/Literacy is Game Design. While literacy
as a design study has yet to fully be realized or commonly accepted, it is important for us to keep
alternatives such as these in mind as composing and content-creation evolve. As cinematic
educator Elizabeth Daley (2003) points out—arguing for a multimedia definition of literacy—
screen metaphors have already made their way into our common, everyday vernacular:
Close-up is synonymous for ‘in-depth’ and ‘penetrating.’ We speak of flashing back to our earlier lives. We frame events to put them in context. We cut to the chase when we are in a hurry. We dissolve or fade out or segue from one topic to another, and we have background sound. (34)
The language of the screen and multimodal design have crossed over with how we (might) talk
about reading and writing: angle, background, capture, collage, continuity, contrast, cue, cut,
display, focus, forefront, juxtaposition, lens, montage, pace/rhythm, POV, project, (re)mix, scan,
47
scroll, sequence, and superimpose. In the age of DIY audio-visual content-creators, design may
very well be the new composition.
What Literacy, Discourse, Rhetoric, and Composition/Writing Studies all have in
common, however, is: they represent or manifest culture; they consider who empowers whom,
how and why; they focus on the usage of language in context; they substantiate and project
agency, mediating thought and action; and they create and hold together social realities.
Likewise, these are the social functions of metaphor, which is why it is—and should be—a
central concern for our field of study.
Handbooks and Writing Guides
The St. Martin’s Handbook by Andrea A. Lunsford is widely used in FYCs and offers
only a stylistic approach to metaphor—a point of critique Seitz made almost three decades ago.
As Jensen claims, metaphor “is a study of invention (and to some degree, disposition) more than
a study of style” (207). Occupying only 2-3 pages of the handbook, the advice on figurative
language broadly covers metaphor’s imaginative and comparative appeal and warns against
clichés and mixed metaphors. There is no mention of how it contributes to ideology, such as with
the conceptual metaphor ARGUMENT IS WAR, which perpetuates a penchant for conquest
rhetoric20. Describing the relationship between ideology and metaphor, Christopher Hart
explains:
Metaphors are ideological . . . in so far as they ‘define in significant part what one takes as reality’ (Chilton and Lakoff 1995: 56). According to Chilton (1996: 74), metaphors ‘can contribute to a situation where they privilege one understanding of reality over others’. (2)
20 In Inviting Transformation: Presentational Speaking for a Changing World, Sonja K. Foss and Karen A. Foss (2012) outline five different genres of rhetoric: conquest, conversion, benevolent, advisory, and invitation. Each genre is constituted by a specific metaphorical intent: “to conquer,” “to convert,” “to assist,” “to instruct,” and “to offer”. And each verb phrase represents an ideological position from which we communicate and persuade. This is how metaphor pervades all discourse and structures composition.
48
As Booth and Frisbie note, “It is troubling to see in [writing handbooks] a representation of
metaphor so contrary to the view of those most aware of metaphor’s cognitive force, its potential
to shape a writer’s prose or a reader’s views” (169). While Lunsford advances that “all language
is metaphoric, referring to something beyond the word itself for which the word is a symbol,”
conceptual or rhetorical implications are not furthered nor detailed (535). Indeed, Lunsford’s
own definition of writing implicitly highlights the importance of metaphor as a framing device—
WRITING IS A TECHNOLOGY:
[A] technology for creating conceptual frameworks and creating, sustaining, and performing lines of thought within those frameworks, drawing from and expanding on existing conventions and genres, utilizing signs and symbols, incorporating materials drawn from multiple sources, and taking advantage of the resources of a full range of media. (“Writing, Technologies, and the Fifth Canon,” 171)
While this may seem like an oversight, the St. Martin’s Handbook is a telling artifact,
showcasing how metaphor is still, by and large, taught as a stylistic device despite the fact that
it’s been almost 30 years since the conceptual turn in metaphor research. My suspicion is that
this is the typical approach which continues to dominate most FYCs today. Even the commonly
relied upon website The Purdue Online Writing Lab has no reference for conceptual metaphor.
The state of rhetorical education and metaphor reveal how it is still predominantly treated
as a matter of poetry or an economy of style, instead of being representative of the mental faculty
of conceptualization itself.
The Cognitive Turn and the Composing Process
A model is a metaphor for a process: a way to describe something, such as the composing process.
—Flower and Hayes from “A Cognitive Process Theory of Writing”
To situate the history of metaphor research in Composition, it is relevant to review the
emergence of cognitive rhetoric in writing studies during the 1970s-80s.
49
The cognitive turn was forwarded by Linda Flower and John R. Hayes’ (1981) “A
Cognitive Process Theory of Writing.” In it they propose, “Writing processes may be viewed as
the writer’s tool kit. In using the tools, the writer is not constrained to use them in a fixed order
or in stages. And using any tool may create the need to use another” (376). Cognitivists shifted
their attention to inquiries regarding what occurs meta-textually as writers compose, for the
purpose of understanding the composing process based on what writers actually do when they
write. Much of the early research in cognition and writing, however, was fueled by a desire to
close the disparity gap between novice and expert writers. Flower and Hayes were also reacting
to the previous Stage Model, which approached writing as a prescriptive linear checklist:
prewriting, writing, and rewriting. They otherwise identified three recursive strategies in writing:
planning, translating, and reviewing (i.e., evaluation and revision).
Extending Flower and Hayes’ initial model, Carl Bereiter and Marlene Scardamalia
(1983) revise the reviewing process to include compare, diagnose and operate. Later Flower and
Hayes (1986-7) modified their own model to include the sub-stages of: “1) processes, which
involved reading to evaluate, selecting a strategy, and executing the revision; and 2) knowledge,
which included task definition, criteria for planning and text, problem representation, and
revision procedures” (Becker 29). Furthermore, N. Ann Chenoweth and Hayes (2001)
subsequently devised a new model around the processes of proposing, translating, revising, and
transcribing. (26-36)
Because these models are based on the tasks, operations, choices and decisions of
individual writers while they compose, there is an attempt to portray the composing process as
varied and more complex than previously thought. The limitation of these models, however,
belies the fact that they are more representative of the researcher’s perception and perspective
50
than the participants’. If writers were to invent and investigate their own models or metaphors for
their composing, we would encounter the complexity of a participant’s own perceptions and
perspectives rather than the researcher’s. For instance, a writer may reject or accept the
composing process as Flower and Hayes’ tool(kit)-metaphor or Bereiter and Scardamalia’s
surgical-metaphor or Chenoweth and Hayes’ translation/transcription-metaphor. Writers may
present us with new metaphors altogether. As we can see, conceptual metaphors inform and
contextualize the cognitive processes outlined in each model. For this reason, developing a
conceptual model of the composing process that incorporates metaphor as the frame for
understanding process expands our understanding of how the composing process is modeled by
actual writers.
Overall, the cognitive turn brought renewed interest to the dynamics of the composing
process, of which metaphor is still an under-researched or under-acknowledged component.
Calls for Research
In one of the first studies to investigate college-writers’ composing processes, “Self-
Evaluation Strategies of Extensive Revisers and Nonrevisers,” Richard Beach (1976) explores
the subject of revision. In it he sets the problem of college-writers borrowing
conceptions of revising [that] reflect teacher and textbook conceptions of revising as final polishing of wording and mechanics. It suggests that in order to help students learn to self-evaluate effectively we need to provide alternative, helpful models of the revision process. We also need to know much more about individuals’ cognitive strategies. (164, emphasis added)
His concern with discipline-generated metaphors indoctrinating college-writers to hold
conceptions that are not representative of their own commonplace, subjective experiences hints
at the need to research writing from the college-writer’s perspective. Evidenced by
compositionist James Zebroski (1994), “Students often have internalized a former teacher’s
51
theory of writing or a theory from textbook versions of the writing process that does not fit at all
with actual writing experience. Student theory is often plural, contradictory, heteroglossic” (17).
Theory, in both cases, is often implicit. Uncovering and analyzing a college-writer’s underlying
metaphorical assumptions about writing allows those theories to become more tangible,
accessible, and interactive: “An important reflection of writers’ pretheoretical views can be
found in the figurative language that they use to describe their composing. Patterns of figurative
expressions can function as resonant narratives, bringing structure and coherence to our
conceptions of the world” (Tomlinson 58). Moreover, according to Beach’s data, some of the
students’ metaphors for revision included: rearranging, smoothing, cutting, throwing out,
polishing, and tying. His findings reveal that metaphor is a door to the conceptual inner-workings
of the composing process. To date, our field is still in need of understanding more about
metaphor’s impact on individual writers’ cognitive strategies.
Beyond the scope of the classroom, Barbara Tomlinson (1986) in “Cooking, Mining,
Gardening, and Hunting: Metaphorical Stories Writers Tell About Their Composing Processes”
studies professional writers’ metaphors for writing, conducting interviews of their composing
processes. Likewise, she calls for additional research into “what people think and say is going on
when they write and how that may influence their writing activities” (77). This emphasizes the
field’s growing interest in writers’ cognitive strategies.
Like Beach and Tomlinson, Leonora Smith (1988) acknowledges in “Revising the Real
Way: Metaphors for Selecting Detail” that metaphor is “already deeply embedded in the
language of revision and editing, both in the questions we pose (does it ‘flow’?; is it smooth or
rough?) and the kinds of suggestions we can make about what to do with it (prune it, develop
it)” (38). Our very discourse reverberates with metaphor, where most of our vocabulary is
52
metaphorical in and of itself: content, mechanics, device, research, exercise, outline, draft,
overview, reflection, review, revision, transition, block quote, passage, body paragraph, focus,
viewpoint, structure, support, insight, and framework.
Following the realization that the lexicon of our discourse is rife with metaphor, Seitz
proposes in “Composition’s Misunderstanding of Metaphor” that “[i]f metaphor plays [such] a
decisive role in the rhetorical stance and development of texts, then it should surely be an issue
of significant concern to those of us involved in the study of writing” (288). He recommends “we
pay more attention to the implicit metaphors that often dominate our own discourse” (292, my
emphasis). As “Jacques Derrida and Paul Ricœur, among others, [have argued, . . .] metaphor
serves as the very process by which new concepts are produced;” therefore, composition research
and pedagogy should further recognize “how metaphor inevitably shapes, enables, and constrains
the range of [college-writers’] discourse even when they are unaware of it” (289 & 294).
More recently, Philip Eubanks’ (2011) research in Metaphor and Writing: Figurative
Thought in the Discourse of Written Communication draws on a corpus of texts authored by
workplace, creative fiction, non-fiction, technical, professional, and academic writers to examine
“the connections between everyday writing metaphors and other rhetorical elements such as
categories, stories, and metonymies” (1). Although writing studies has pursued research in
metaphor, he admits Rhetoric and Composition is coming to metaphor analysis late and has some
catching up to do (13 & 15). His work draws attention to the role of identity in metaphor:
“Writing studies has paid little attention to the figurative landscape within which the figure of the
core self operates” (122). How we conceptualize the verb phrase “to write” impacts how we
conceptualize the noun. If WRITING IS COMPOSITION, then WRITERS ARE COMPOSERS, so on and
so forth. Metaphor analysis is identity work. Wherever there is writing, there is the writing of an
53
identity. A writer’s performative narrative identity enables them to “accomplish different whos
and whats through using different social languages” (Gee 87). As we write, we bring different
identities and narratives into existence: “‘to write is to exist. . . . writing is an essential
component for performing identity’ (p. 366)” (Thomas qtd. in Lewis & del Valle 314). American
fantasy writer, Patrick Rothfuss even describes the formation of identity as narrative itself: “It’s
like everyone tells a story about themselves inside their own head. Always. All the time. That
story makes you what you are. We build ourselves out of that story.”
The Figurative Rhetoric of Writing
Eubanks’ major contribution involves the development and definition of what he terms
the figurative rhetoric of writing. He asserts that it reflects “some of writing studies’ most
important contributions[, which] are framed as endorsements and rejections of key metaphors”
(2). For instance, at the heart of every paradigm shift21 in the field there is an argument regarding
the rejection of an old metaphor or the adoption of a new metaphor (e.g., see Murray (1972) and
Flower & Hayes (1981). Some other unique examples include:
Gregory Clark (1998) has advocated seeing writing as travel; David Kaufer and Brian Butler (1996) have advocated seeing rhetoric as a design art; Barry Kroll has written about argument as aikido; Nedra Reynolds (1998) has written insightfully about composition and geographies. (17)
Janet Emig’s Writing as a Mode of Learning (1977), Marilyn M. Cooper’s The Ecology of
Writing (1986) or Marie Louise Pratt’s Arts of the Contact Zone (1991) are among other
influential examples. Most, if not all, of our research is to a degree argument-by-metaphor, for
“composition might exhibit the irony of its recognition that it can only study writing
21 Scientific philosopher Thomas Kuhn developed the concept of the “paradigm shift” in The Structure of Scientific Revolutions (1962). Though there has been some conjecture on what Kuhn meant by the phrase, in general parlance it has come to mean the gradual or radical change from a predominant way of thinking to a new way of seeing, being, and doing.
54
by writing” (Seitz 297, emphasis in original). How we conceptualize what writing is determines
how we study it.
Pedagogical Applications
Moving from theory to practice, Donald McQuade (1983) contemplates metaphor’s
relationship to composition pedagogy. He describes metaphor as a means for college-writers to
better “understand . . . the processes of both their own thinking and their own writing” (221). The
purpose of his essay, “Metaphor, Thinking, and the Composing Process” is to demonstrate “how
thinking about metaphor can help us to understand rhetoric and the composing process more
fully and to teach them more effectively” (222). Metaphor can liberate the college-writer by
aiding them in discovering their own language for writing, highlighting “the potential for student
empowerment” (Paulson & Armstrong 500-1). In other words, “metaphor is an essential
component of intellectual freedom” (Charteris-Black 253).
Furthermore, McQuade believes that college-writers need to understand that metaphor is
“a frame for building meaning in writing” (222). Likewise, Rubano and Anderson (1988) in
“Reasoning and Writing with Metaphors” warrant that “[m]etaphor is a linguistic tool for
discovering meaning” (37). As instructors, we need to be reminded, and our students need
instructed, that metaphor “is a powerful mental act that underlies all discourse and pervades all
rhetorical structures and strategies” (McQuade 225). Indeed, it is pertinent to reflect on the whole
of the composing process as a metaphorical act:
Metaphor can play a critical role throughout the entire process of composition. It can simulate, screen, and direct writers’ preliminary thinking, help guide their selection of material, control their particular emphasis, and, in general, furnish them with a uniform frame of reference within which individual observations, ideas, and snippets of information about a subject can be enhanced and consolidated. . . . In sum, metaphor can not only actualize but stabilize the nascent meaning of a composition. (228)
55
In conjunction, Gretchen Schwarz (1988) adds, in “Metaphor and Cognition: Beneath the
‘Basics,’”
English teachers can encourage higher order thinking by having students both create and analyze metaphors. Moreover, we can improve our own effectiveness as we explore the metaphors we live by as educators. Nothing is more basic than the language through which we construe the world. (33)
Future research and instruction must account for the framing power of metaphor.
The calls for research reviewed here include thinking through how metaphor plays a role
in the formation and execution of college-writers’:
• cognitive strategies
• rhetorical stances and textual development
• shaping, enabling, and constraining of discourse
• and the development and performance of self.
These directions are what my research intends to explore and amend.
56
CHAPTER 3: METHODOLOGY AND METHODS
In Chapter 2, I explored metaphor’s relationship to composition and the rhetorical
tradition. In this chapter, I detail my research design, situating my methodology, describing data-
collection methods and analytic procedures.
Epistemology
WE NEED TO PROJECT OURSELVES INTO THE THINGS AROUND US. My self is not confined to my body. It extends into all things I have made and all the things around me. Without these things, I would not be myself; I would not be a human being.
—Carl Jung from The Earth Has a Soul: The Nature Writings of C.G. Jung
It is important to recognize that CMT is positioned within a philosophy of Embodied
Realism (ER). From this standpoint, my research investigates the metaphors we read and write
by as a matter of experiencing the world on the basis that we have a body and are a body.
ER acknowledges that the “[m]ind is embodied, meaning is embodied, and thought is
embodied” (Johnson & Lakoff 249). Because our minds have a particular type of body, how we
experience something depends on our bodily orientation (246). As an “empirically responsible
philosophy” ER distinguishes itself from Objectivism and Subjectivism through accepting that
both universals and cultural particulars exist (252 & 262). In this way, ER is akin to Social
Constructivism, holding that knowledge and truth are socially-constructed by minds and bodies
in interaction: “We have argued that truth is always relative to a conceptual system, that any
human conceptual system is mostly metaphorical in nature, and that, therefore, there is no fully
objective, unconditional, or absolute truth” (Lakoff & Johnson 185). As clinical psychologist
57
Noam Shpancer sums up, “It turns out that the meaning of reality—the experiences, events,
objects, processes, and facts we encounter—is not set but rather it is dynamic. It’s not absolute,
it’s contextual” (para. 3). Identity is constituted through relationships with others, communities,
and institutions as well as our relationship to our body through which we experience the natural
and social world.
Metaphor itself, as seeing and experiencing one concept in terms of another, is social-
constructivist, in that, we create, negotiate, and sustain knowledge through metaphor. Metaphors,
while they emerge from our interactions, are determined by our bodily experiences,
environments, and artifacts we create within, and out of, those environments. Jensen’s work
contributes to this point, arguing that “metaphors . . . are based on artifacts” (206). As tool-
inventors and users, a significant part of what it means to be human involves creating artifacts
for influencing and manipulating our world. Our interactions with natural objects and artifacts
therefore play an important role in our metaphoric conceptualization, as demonstrated in the
common examples THOUGHT IS A TRAIN or THE BRAIN IS A COMPUTER. Metaphors are
figurative artifacts for structuring human activity.
Methodologies
My research design consists of a variety of methodological positions, and each position
determines how the object of study is approached and what types of data to collect as well as
methods for analysis. From this standpoint, I draw from Teacher-Research, Critical Pedagogy,
(Auto)Ethnography, and Critical Metaphor Analysis.
Teacher-Research22
22 Monumental advocate of teacher-research, Ray Ruth (1993) in The Practice of Theory: Teacher Research in Composition, outlining “The Argument for Teacher-Research” cites typical criticisms and perceived limitations of studying one’s own population:
58
Teacher-Research is the (auto)ethnographic23 study of classroom theory and practice—by
the teacher of that classroom—for the purpose of improving pedagogy, empowering students,
and furthering praxis (i.e., the relationship between theory and practice). Teacher-research works
recursively to build theory by revising practice. From this position, I investigate the enculturation
of the composition classroom, reflecting on the relationship between self, metaphor, and culture
(see Berthoff (1981), Hermann (1989), Berlin (1990), Ray (1992), Lankshear and Knobel (2004),
and Nickoson (2012).
A common limitation, however, in studying one’s own population is the concern that the
teacher-researcher has too much control over the data-set or samples, that the teacher-researcher
may be inadvertently manipulating the object of study by means of a confirmation bias—seeing
only what they want to see. To establish trustworthiness, I practice transparency regarding my
methods and coding procedures and their limitations.
The types of texts and classroom practices I use are common to most composition
classrooms, aside from the MIEs and surveys, which have been implemented in similar studies.
To avoid reducing the data to specially designed data-collection methods, like the MIE (as other
studies have done), I intentionally include a variety of common exercises that are not necessarily
(1) without benefit of an outsider’s perspective, teachers themselves lack an understanding of what they do in the classroom; (2) teachers conduct ‘biased’ research that does not meet the standards of established researchers; and (3) teachers do not have the theoretical perspective needed to interpret their findings for the research community (Stenhouse 1985). (62)
On the contrary, she explains that the insider’s perspective provides the benefit of “self-reflective inquiry” (62). She also reminds us that teacher-researchers can strengthen the legitimacy of their data by triangulating it with others’ findings. And, lastly, she describes that teacher-research requires us to redefine theory as “function rather than form, as process—a way of seeing and thinking—rather than product—a body of information” (65). 23 Sociolinguist A. Suresh Canagarajah offers:
The best way to define autoethnography is through the three words that make it up—that is, auto, ethno, graphy. Auto: The research is conducted and represented from the point of view of the self, whether studying one’s own experiences or those of one’s community. Ethno: The objective of the research and writing is to bring out how culture shapes and is shaped by the personal. Graphy: Writing is not only the main means of generating, analyzing, and recording data; there is an emphasis on the creative resources of writing, especially narrative, for accomplishing the social and scholarly objectives of this research. (locs. 1485-1489)
59
unique to my classroom. I chose to include data-collection methods conducive to meta-writing,
that is, exercises that inspire writing about writing. Being able to have control of this enabled me
to maximize my efforts to include a diversity of data-points.
While my own population may be just as generalizable as another instructor’s, I would
not be able to exert the necessary control over another’s classroom. I believe it would be
unethical to expect another instructor to modify their course based on my research questions. A
teacher-researcher is particularly invested in the outcomes because of the impact on their own
pedagogy and the import of giving voice to their own students’ experiences.
Critical Pedagogy
In conjunction, critical pedagogy is grounded in the advancement of classroom practice
through creatively problematizing how writing is taught. It involves teaching students to question
the underlying assumptions embedded in how something is defined. It also involves teachers
taking critical approaches to their own assumptions, inquiring into what students have to teach
them. To me, this reciprocity is integral to critical pedagogy. The focus is to empower students to
develop their own perspectives instead of merely accepting the status quo, which is often
reinforced by the authority in the classroom—the teacher or the text. Critical pedagogy
encourages students and teachers alike to challenge and question “habits of thought, reading,
writing, and speaking which go beneath surface meaning, first impressions, dominant myths, . . .
traditional clichés, [and] received wisdom, . . . to understand the deep meaning, root causes,
social context, ideology, and personal consequences of” holding and valuing specific beliefs and
conceptualizations (Shor 128). Shor’s mentor, Freire in “The ‘Banking’ Concept of Education”
reimagines the power dynamic between student and teacher as: “Through dialogue, the-teacher-
of-the-student and the students-of-the-teacher cease to exist and a new term emerges: teacher-
60
student with students-teachers. The teacher is no longer merely the-one-who-teaches, but one
who is himself taught in dialogue with the students, who in turn while being taught also teach.
They become jointly responsible for a process in which all grow” (249).
Autoethnography
As an integral component of teacher-research and critical pedagogy, autoethnography
bears semblance to the ethnographic methods of “participation, observation, interviews, and
artifacts,” triangulating between multiple data points, using inductive-coding and theorizing
(Canagarajah loc. 1497). What differentiates autoethnography from ethnography is “the
researcher/subject roles are fused;” the researcher becomes an active member of the research site
(loc. 1501). In “Autoethnography, personal narrative, reflexivity: Researcher as subject,”
qualitative communications researchers Carolyn Ellis and Arthur P. Bochner outline the value of
the autoethnographic approach:
• Connects the personal with the cultural, integrating the researcher’s own experience
with that of the participants’ (739, 740, & 757).
• “[F]unctions as an agent of self-discovery or self-creation, for the author as well as
for those who read and engage the” research (746).
• Questions and resists valuing “arguments over feelings, theories over stories,
abstractions over concrete events, sophisticated jargon over accessible prose,”
focusing on “caring and empathy” instead of “controlling and knowing” (746).
• Makes apparent the role of the observer on the observed, acknowledging that our
conception of truth and fact are indistinguishable from our values as researchers
(747).
61
However, critics might question, “Is classroom research more legitimate from an outside
researcher’s perspective or from the teacher-researcher’s perspective?” Scholars like
Canagarajah answer this by suggesting, “There is agency in the fact that one can articulate one’s
own experiences, rather than letting others represent them” (para. 9). Autoethnographic methods
are more intimate and provide detailed knowledge of the site and its participants that only a
teacher-researcher could provide. My intention in using my own classroom was to utilize the
autoethnographic details of my own experiences as well as utilize my proximity (or intimate
knowledge) to the subject matter being studied. To minimize any unintended efforts on my part
to sway the data, I chose to represent myself through, what I consider, more naturally-occurring
or spontaneous data, such as instructor commentary or conferencing.
Critical Metaphor Analysis
My application of CMT is inspired by the work of Lakoff and Johnson (1980),
Fauconnier and Turner (2003), Charteris-Black (2004), Kövecses (2010), and Cameron and
Maslen (2010). Again, the main tenet of CMT is that metaphor is a feature and function of
cognition before it occurs in language, allowing the analyst to theorize about cognitive processes
by working from linguistic evidence. In this sense, metaphor constructs conceptual domains or
blended conceptual spaces in cognition. A frequent example of conceptual blending occurs with
framing, as it has meaning in multiple discourses, such as framing in construction or framing in
photography and film.
In particular, I adopt Charteris-Black’s model of Critical Metaphor Analysis where he
argues that, while MLEs form concepts, MLEs are also pragmatic and rhetorical,24 that is, they
24 The rhetorical nature of conceptual metaphor, according to Eubanks, consists of three dimensions:
Conceptual metaphors are not only systematically related but are also rhetorically constituted. This rhetorical constitution takes three forms: (1) rhetorical inferences, culturally and historically contingent reasoning we apply to concrete situations; (2) ideologically motivated mappings, the configuring of
62
are not entirely determined by the language system we inherit. In the discursive or persuasive
sense, MLEs are selected—consciously or subconsciously—based on an agent’s context,
audience, intention, or personal preference:
Metaphors are—like many aspects of language—chosen by speakers to achieve particular communication goals within particular contexts rather than being predetermined by bodily experience. I claim, therefore, that a complete theory of metaphor must also incorporate a pragmatic perspective that interprets metaphor choice with reference to the purposes of use within specific discourse contexts. (Charteris-Black 247)
Charteris-Black’s rhetorical model demonstrates that metaphoric selection draws from three
areas of meaning: the cognitive/affective, pragmatic, and linguistic. In addition, there are also
three realms of value that influence metaphoric selection: ideological, cultural, and historical.
Each of these elements contributes to a user’s intent to persuade (see Fig. 1). I, however, do not
see rhetoric as relegated to the persuasion box as much as rhetoric encompasses the whole
diagram.
metaphors in accordance with cultural and ideological assumptions; and (3) rhetorical responsiveness, politically and philosophically motivated patterns of response among conceptual metaphors. (161)
63
Fig. 1 – Charteris-Black’s Discourse Model of Metaphor
Methods
While the aforementioned methodologies establish my research stance, the following
methods demonstrate exactly how I propose to answer how college-writers’ conceptions of
reading and writing influence, shape and impact their interactions with literacy. To inquire into
college-writers’ cognitive strategies, textual development, use of discourse, and identity
representation, the following data-collection methods are employed: sampling, surveying, and
audio-capture. All data is assignment-based and has been analyzed for the purpose of considering
how college-writers’ compositional metaphors might inspire us to reimagine composition
pedagogy.
Research Site and Participants
The data was collected at a public research university in the suburban Midwest over a
single semester. The college’s gender distribution averages around 40% male and 60% female.
64
The college’s ethnic diversity is about 75% Caucasian, 9% Black, 3% Hispanic, 1% Asian, 6%
International, and 3% unknown. The research site for the study was comprised of two sections of
First-Year Composition. The course theme, at the time, consisted of “Metaphors and
Perspectives in Writing.” All participants were traditional college students. And during the
administration of the data-collection, each student was given the option to participate in the study
(as it was in no way a requirement, nor did it have an impact on classroom assessment). All data
is the result of the students’ natural participation in the course curriculum. Consent was acquired
per IRB (#15-171) for use of written documentation and audio-recording. Overall, 29
participants were involved in the study.
The catalog course description for First-Year Composition details that it is “[t]he study
and practice of academic writing, including an introduction to rhetorical principles, the writing
process, critical reading research and technology.” First-Year Composition runs a semester and is
typically followed by the subsequent course, Second-Year Composition. Selecting two of my
own sections is the result of pursuing teacher-research, as I believe no one is better suited to
study their classroom than the teacher of that classroom, due to their proximity and intimate
knowledge of the site. I value the relationship between research and practice, where teaching
should inspire research and research should enrich teaching. To me, this is the essential dynamic
of what it means to be a teacher-researcher. In addition, my site is unusual in that my pedagogy
and course design are structured using metaphorical themes, which is how the present document
came into being in the first place. And many of the data-collection methods were already a part
of the course design, which enabled me to study the site without interrupting the dynamics of the
classroom or another’s classroom.
65
Moreover, the reframing power of metaphor has also always been an integral part of my
teaching philosophy. In fact, it was metaphor that opened my eyes, in the first place, to the
transformative, magical dimension of writing, which is what led me to become a Rhetoric and
Composition scholar.
My course design employs weekly meta-themes (e.g., Writing as Conversation) each
week to encourage different perspectives. The classroom exercises used in the study are:
• The first exercise asks participants to research a quote on reading/writing and dissect
its importance.
• The second exercise asks participants to invent their own metaphor for literacy.
• The third exercise involves writing a literacy narrative using literacy journal
observations and research.
• The fourth exercise is a reflection letter and revision memo for the literacy narrative.
• Other exercises include peer-review commentary, conferencing, and a survey
questionnaire.
Additional texts to consider for future investigations might also include writing instructors’
syllabi, assignment prompts, and lectures, to comprehensively inquire into the metaphors that
form a teacher’s implicit theory of literacy.
Why College-Writers?
First-year college-writers are an optimal group to study because entering university life
entails an increase in academic literate activity. Because college is a time of transition, it requires
students to take on new perspectives, where their self-sponsored literacies and their school-
sponsored literacies come together in unique ways as they discover what it means to write in the
professional sphere. For many, college is where their writing development really begins.
66
What metaphors do college-writers bring to the classroom? What metaphors do they
leave with? How have these metaphors effected their writing development? College may very
well be the last time students are challenged to think about how they conceptualize literacy.
Next, I detail each exercise that was used to research the site and its participants.
Data-Collection
To capture the effect of genre and time on the object of study, the data was gathered
using a variety of classroom assignments administered at different points during the semester:
analyzing quotes on reading/writing, inventing personal metaphors, composing literacy
narratives, participating in peer-review, reflecting on previous writing assignments, defining the
reading/writing process, and discussing invention and revision. The variability and
diversification across these data points enables “what Clifford Geertz calls a ‘thick description,’
a detailed, in-depth look at local practices from multiple angles” (Sheridan locs. 1029-1030).
Each exercise shifts perspective in unique ways.
To reiterate, within the current body of research certain limitations remain: 1) relying too
much on solitary data-collection methods (i.e., focusing on the invention of explicit metaphors
solely), 2) lack of genre-coding (i.e., reducing literacy to a catch-all, omitting how genre affects
metaphoric invention and conceptualization), 3) lack of addressing metaphors for reading or
analyzing metaphors for literacy which occur naturally in talk, and 4) a lack of detailed student
case-studies. The methods of data-collection and analysis outlined here seek to improve upon
these limitations. Closer analyses of student case-studies will enrich our understanding of the
meta-discourse occurring in and around the college composition classroom. From this data we
can draw metaphorical profiles of each participant, revealing the complexities of a college-
writer’s implicit theory of literacy.
67
In the following section, I describe and detail my data-collection methods:
Literacy Quote Analysis
For the first exercise participants research a quote—of their own choosing—on the
subject of reading/writing and dissect and explain its significance. (Using other writers’ quotes
often aids college-writers in defining their own perspectives on writing, moving from imitation
to invention.) The response format involves emulating others’ models to produce one’s own
concept of something. As classical rhetorical theorist Edward P.J. Corbett (1971) relates,
imitation “unlocks our powers and sets us free to be creative, original, and ultimately effective.
Imitate that you may be different” (250, emphasis in original). In practice, encouraging
participants to focus on the meaning and application of a single quote begins to reveal their own
conceptualizations of literacy, genre, and the various constituent parts of composing. Most often
the quotes themselves employ metaphor, serving as an introduction to the framing and naming
power of metaphor. In terms of practical classroom application, quotes serve to facilitate
conversation about defining what writing is.
Metaphor Invention Exercises
For the second exercise, once at the beginning of the semester and once toward the end,
participants are assigned Metaphor Invention Exercises (MIEs), which require them to define
literacy using explicit figurative language. The exercise is meant to draw out explicit
conceptualizations, meaning the college-writer’s metaphorical invention is prompted and
intentional.
MIEs were administered in Tobin (1989) and Paulson and Armstrong’s (2011) research.
While these studies implemented MIEs as the sole method of data-collection, I implement them
here as ways to explore explicit levels of conceptualization. Again, I distinguish between
68
metaphor as something that occurs implicitly through the way we naturally communicate and as
something we make explicit to generate a poetic turn of phrase or extend an analogy.
Each time a MIE is administered it generates content regarding how college-writers
define their experience and understanding of the composing process, asking them to develop
their own theory of writing using analogy, metaphor, or simile. MIEs encourage the use of
explicit, figurative language to describe and define the writing process: “The writing process is
_______. / The writing process is like _______. / OR The writing process is to _______ as
_______ is to _______.” Analogy, metaphor, and simile are all conceptual comparisons.
Analogy, however, is an extended metaphor and simile is a truncated or short-circuit analogy.
Participants elaborate, extend, and explore the entailments of their metaphors by engaging in a
stream-of-consciousness free-write. The time constraint on composing each MIE is 30-45
minutes. The pedagogical goal of conducting multiple MIEs is to have college-writers reflect on
how their metaphors have evolved: What are their preconceptions entering the course, and what
are their final reflections upon resolving the course?
One distinct limitation of a MIE is the subjective relativity of the nature of invention
itself. For instance, each time a writer is asked to invent a metaphor it may inspire a different
result. Each response is therefore contingent upon a writer’s mood, current experience, or level
of creative energy. But the primary advantage of a MIE is that it tracks conceptual change,
allowing the analyst to compare data at different points to speculate about how pedagogy and
experience have influenced invention choices. Beyond anecdotal use, the researcher may
construct a taxonomy (i.e., general categories) or data-tree (i.e., relational categories) to
showcase how various types of conceptualizations emerged from the data-set, that is, to account
for quantitative generalizability, occurrence or frequency. But to corroborate and aggregate the
69
data, methods for capturing implicit, more naturally-occurring data are required. In the end,
MIEs explore the invention of explicit, novel metaphors25.
MIEs have the potential to open up dialogue, making literacy relatable, personable, and
powerful. They enable college-writers to begin devising their own theory of composing, inspired
by their own experiences and creativity. Using “[t]heory [as] an instrument . . . to think about
writing,” claims Zebroski, begins with, “What is the root metaphor of writing? (What is writing
like?)” (29). Metaphor impacts theory; theory impacts practice; practice is metaphor-in-action.
Literacy Narrative
For the third exercise, to generate more nuanced types of data, participants compose
Literacy Narratives (LNs). As a genre, LNs teach primary research (i.e., writing
autoethnographies) and are acts of meta-writing—writing-about-writing. The WAW (Writing
About Writing) movement, which is related to the WAC (Writing Across the Curriculum)
movement, holds that composition is not just about teaching mechanics and style; as a discipline,
it has its own content, which we should encourage students to research as an integral part of the
curriculum. The assignment differs from the traditional literacy narrative in that it asks students
to conduct data-driven research by keeping a journal of their literate habits across the span of two
days.
Occasionally students do not see themselves as writers, a common obstacle of the
composition classroom. Many a lecture or admonition is spent, first and foremost, convincing
students they are already writers, as many confuse “writer” with professional “essayist” or
25 To give an example of a novel metaphor, I cite the following anecdote from Tobin’s study:
‘Writing is like carrying a torn bag of groceries because I have all of these ideas and they spill out onto the page like those falling groceries. I pick up the ones I can and try to hold everything together till I get to a place I can put them down. But it’s tough. I believe in those first ideas that get written down during brainstorming. But they are all jumbled and disorganized and falling apart. And by the time I get them down, I’ve usually dropped a few.’ (452)
70
renowned “author.” The pedagogical goal of the LN is to create an awareness of how literacy
impacts the everyday as well as gives expression to who they are. While the MIE focuses on the
composing process, the LN focuses on the roles of reading and writing in the college-writer’s
day-to-day.
Each student keeps a literacy journal26 for a two-day period: one, a typical, average day,
and, the other, an academic-oriented day. The journal divides each day into consecutive 2-hour
periods, asking the participant to reflect on—in detail—the literate practices engaged during
those windows. The LN allows the researcher to learn about the participant’s academic-
sponsored literacy, workplace literacy, and self-initiated literate practices by means of self-
reporting.
Limitations inherent in self-reporting may include exaggeration, non-disclosure,
forgetfulness, and mood-related biases. Self-reporting also allows participants to edit the version
of themselves the researcher perceives. While these issues disguise certain aspects of the data, it
demonstrates how identity is shaped by the narrative students tell. Self-reporting gives
participants control over how they are represented.
Because the LN generates meta-discourse, conceptual metaphors are implicit in the
language students use to narrate, describe and detail their literacy practices/events, allowing for
more naturally-occurring data. The LN enables participants to become, to an extent, co-
researchers.
Peer-to-Peer and Instructor Marginalia
26 I borrow the time-diary protocol from Dale J. Cohen et al.’s (2011) “A Time Use Diary Study of Adult Everyday Writing Behavior” to capture college-writer’s everyday reading and writing practices. Cohen et al. define everyday writing “as any writing that is carried out in the daily lives of an individual (e.g., Barton & Ivanic, 1991)” (4). General purposes of everyday writing include “personal communication (e.g., Barton & Hamilton, 1998; Kalman, 2001), organizing one’s life (e.g., Barton & Hamilton, 1998; Fishman, 1991; Kalman, 2001), and record keeping (e.g., Barton & Hamilton, 1998; Munger, 1999; Schryer, 1993)” (4-5). Categories for analysis associated with the time-use diary are: purpose of reading/writing, type of text/medium, and time spent on task.
71
In tandem with the third exercise, college-writers engage meta-writing through peer-
review commentary, response, and feedback. As assessment writing, marginalia provides the
researcher with instances where reviewers may choose to use figurative language to
communicate with each other about the tasks and operations of writing. (All marginalia was
captured using Microsoft Word’s “Review” > Comments and Track Changes.)
Peer-review incites conversation about the composing process. The intent behind
capturing marginalia is to observe the reviewer’s assessment, the author’s response to that
assessment, as well as the instructor’s overall assessment, all in one document. As college-
writers and instructors communicate through textual dialogue, conceptual metaphors are an
inherent part of the meta-discourse.
Peer-review also engages reading-as-editing. While response, commentary, and feedback
are not overly substantive, nor extensive, college-writers do however often adopt figurative
discourse terminology (e.g., transition, highlight, space, etc.) as well as develop their own
expressions.
I chose to focus on instructor marginalia and conference dialogue as primary sources of
autoethnographic data because they are instances where the instructor directly interacts with
students and their texts. While this could have included syllabi, assignment prompts, lectures and
presentations, I narrowed the representation to instances of direct, personal interaction to capture
my own spontaneous metaphor invention. Other types of teaching materials have a tendency to
be more scripted, whereas marginalia and talk are generated in the moment. These data-types
address and represent what metaphors instructors rely on to assess college-writers.
Reflection Memos and Revision Letters
72
After the student submits their LN, they compose a standard reflection and memo: What
worked; what didn’t? What were they proud of? What did they regret? What would they change?
What did they have problems with? What did they learn? The reflection and memo generate
additional meta-commentary, getting the writer to critique their writing through writing. These
exercises give the instructor a unique pre-assessment of the writer by the writer—to see the
writing through the author’s perspective. The purpose of the reflection and memo are to help
develop a critical understanding of their writerly identity and process.
Open-ended Survey
In the sixth exercise, participants complete an open-ended survey27 hosted on
qualtrics.com, entitled “Your Theory of Writing: Writing Process Survey.” The survey is meant
to break up the creative process, to get at participants’ personalized definitions of literacy. The
survey divides the composing process into its constituent parts:
1. In everyday life, what prompts you to read/write; why?
2. Define/describe your notetaking/research process:
3. What is writing? Define/describe your writing/composing/design process?
4. Define/describe your revision process?
5. What is the most significant thing about writing?
Each question engages the college-writer in what rhetorician Edward Schiappa (2003) calls
definitive discourse.
In Defining Reality: Definitions and the Politics of Meaning, Schiappa posits that
definitions all consist of context, ought-ness, usage, and classification. When we ask someone to
define something, we are, in part, asking for his or her metaphor for that thing. As he describes,
27 The open-ended format gives participants the opportunity to provide answers in their own words instead of being forced to select prescribed choices.
73
definition is “X counts as [or ought to be] Y in context C” (xi). In the same way, this formula is
useful for understanding the pragmatic, contextual nature of a metaphor: A ought to be viewed as
B in the context of C. A concept may also be defined by what it is not, by inverse metaphor.
While metaphor commonly takes the form A is B, we may discover its inverse in A is (not) B.
He outlines that definitions may be mundane or novel in the same way that metaphors are
ingrained or disruptive. Definitional discourse entails that “as people and beliefs change,
yesterday’s metaphor may be literalized tomorrow” (66). There is a fine-line between metaphor
and definition because definitions are metaphors that have been abstracted and literalized over
time.
Conferences
Lastly, individual conferences were held per student request, with each conference being
audio-recorded. (Additional consent was acquired for audio-recordings according to IRB.)
Like peer-review, with a focus on invention and revisionary writing, conversing about
writing parallels writing-about-writing; it allows for a more spontaneous exploration of what
writing is and does through the discursive moves of proposing, responding, negotiating, and
translating. Literacy researchers Haas, Takayoshi, and Carr (2012) encourage integrating text
and talk as an important analytic data-collection strategy. Transcribing talk into text enables us to
revisit discourse, for it to “become the basis of reflection, text production, and further
discussion” (loc. 833). The transcription process for the conference recordings employs an
occurrence-by-occurrence method, selectively transcribing sections with figurative dialogue.
Data-Reduction and Representation
The goal of my study is to explore how individual college-writer’s conceptualizations of
literacy impact their literate activity across time and genre, which is why I am representing a
74
majority of the data as case-study. I chose to reduce the data-set using case-studies because they
are particularly useful for capturing what is unique, personal, and context-specific.
To establish a balance in gender representation and role representation, one case follows
a female student; one, a male student; and one, my own work, as the instructor. I narrowed the
data by selecting from the students who participated in the conferencing, so that I could
incorporate talk data. Out of the 11 students who participated, 4 were male and 7 were female.
From this reduced pool, Sara was the only female to attend two conferences, and David was
selected because he provided a larger audio sample than the other male participants. I initially
saw this as a random way to attempt to capture as much data variety I could.
Due to the size of the data collected for each of the 29 participants, it was impossible to
represent the intricacies of all the data, so there was an essential need to reduce the data. Student
case-studies had been previously missing from the body of research, so to address a gap in the
research and provide acute, detailed levels of metaphor analysis, I decided that case-studies
would be the most useful way to showcase the nuances of the data without experiencing data
overages.
Case-studies yield in-depth investigations, multiple data sources, unique insights for
future research questions, and narrative data, where the researcher can trace the evolution of a
participant’s identity and thought development, humanizing the content of the research. Teacher-
researchers, Lytle and Cochran-Smith (1992) note “by definition” that “teacher research is case
study” (21). Literacy researcher Glenda L. Bissex (1990) offers one of the most formidable
arguments for case-study research:
Case study is a genre of research—most effective, I believe, for understanding (not controlling) human beings; most suitable for studying the human acts of composing and of interpreting literature. . . . It seems altogether fitting, then, that teachers who know the ways of interpretation should interpret the texts of their
75
own classrooms, and that teachers who understand the value of the story should see and tell the stories of themselves and of their students. If any mode of inquiry speaks from and to the heart and soul and mind of our profession, it is surely case study. (75)
Case-studies provide “multiple data sources, a strategy which also enhances data credibility
(Patton, 1990; Yin, 2003)” and an “holistic understanding of the phenomenon being
studied” (Baxter & Jack 554).
While I acknowledge that case-study participants are not necessarily generalizable, the
methods by which they are researched are replicable. And further case-studies increase the
generalizability and value of previous data-sets. Case-studies, most importantly, put metaphor in
context, showing how real writers use it to conceptualize, acquire, and enact literacy in their
lives. Case-studies are the most formidable method for representing the literate identities of the
participants, because they situate the data within a narrative context.
Data Analysis and Interpretation
In “MIP: A Method for Identifying Metaphorically Used Words in Discourse” the
Pragglejaz Group presents a streamlined empirical method for determining metaphoricity. The
procedure “adopts a maximal . . . approach such that a wide range of words may be considered as
conveying metaphorical meaning based on their use in context” (2). They provide an important
caveat about metaphor analysis, in general, proposing that “we make no claims as to whether
actual writers or speakers intended their specific words to express metaphorical meanings” but
that the identification method provides “a reliable research method for determining whether
words in contexts convey metaphorical meaning” (2). Their method involves the following steps:
1. Establish the contextual meaning of the entire text.
76
2. Determine which words—lexical units—are used metaphorically by establishing the
contextual meaning of each unit, considering the surrounding text and “how it applies
to a specific entity, relation, or attribute” (3).
3. Determine the word or phrase’s most basic, literal meaning.
4. If the word or phrase being used appears in a context different from the one it derives
its basic meaning from, then mark it as metaphorical.
I adopt this method along with Charteris-Black’s model and Lakoff and Johnson’s conceptual
coding system to identify, catalogue, and categorize MLEs.
More specifically, to analyze and code the data, I employ CMT and Archetypal Theory,
where both take the form of a semi-inductive approach (see Charmaz; Spinnuzi), arguing from
specific cases to postulate general principles, involving unique stages of coding. Instead of
intentionally mining for specific conceptual metaphors, an inductive approach means that we
first identify MLEs, generate categories, and then compare them with existing findings and
theory to aggregate and corroborate the usefulness and value of our findings.
In qualitative research, inductive-coding means to identify parts of a sentence with a code
(i.e., a descriptor identifying the type of metaphor), allowing the theory (i.e., the metaphorical
domain or system) to emerge from the data: “The vehicle grouping procedure in part resembles
coding data within ‘grounded theory’ approaches (e.g. Charmaz, 2001), since it works
inductively from the data, rather than starting from assumptions about what will be found”
(Cameron & Maslen 118). Induction in this context refers to building theory using a ground-up
approach—specific to general—and then moving recursively to a top-down approach—general
to specific. As coding develops, the researcher works recursively with both approaches as they
find previous domains useful for categorizing additional MLEs. For instance, I may highlight
77
that “building” is a ‘construction’ metaphor—working from specific to general—and then
generate the domain THEORIES ARE BUILDINGS, which now allows me to work from the general
category to look for other occurrences that fit the domain. Other metaphors related to theory will
now be grouped under this domain, until a new domain for theory is needed, such as THEORIES
ARE LENSES, etc.
I detail this approach as follows.
Coding begins with starter codes. These preliminary codes involve distinguishing
between figurative and non-figurative usage, abstract/explicit/implicit levels of meaning,
positive/neutral/negative affect (Paulson & Armstrong 498), and the type of figure: analogy,
metaphor, simile, etc.
There are three levels of metaphoric representation: abstract (meta-cognition), implicit
(conceptual), and explicit (literary).
Abstract metaphors inform how we conceptualize something based on thought evidence.
A composition may be conceptualized as an act of SELF-DISCOVERY, and this may influence and
shape the whole of the composing process, yet it may never appear as either an explicit statement
or implied in the grammar. This type of data is accessible through think-aloud protocols or
stimulated-recall interviews. For example, author James Mustich (2018) discusses in an
interview how, when he was strategizing how to compile content for 1,000 Books to Read Before
You Die, he conceptualized the organization and user-experience of the book as browsing a
friendly local bookstore: “I want readers to open this book; they might be looking for something
in particular, but they could really be empowered to browse around and follow their own
instincts” (Mckay 6:18). Mustich’s analogy is an apt example of how abstract metaphor
structures the entirety of a composition.
78
Conceptual metaphors inform how we conceptualize something based on linguistic
evidence, that is, through MLEs embodied in nouns, verbs, adjectives, and adverbs. This type of
data is accessible through discourse analysis.
Novel metaphors appear as surface figures, tropes, or symbols—metaphor as poetic or
literary device. This type of data is accessible through rhetorical analysis.
Moving from starter codes, the analyst may apply theory-generated codes, which consist
of previous researchers’ conceptual keys (i.e., conceptual domains used to categorize MLEs).
Examples include Jensen’s taxonomy of conceptual domains for rhetoric: “(1) journey metaphor,
(2) edifice metaphor, (3) adhesive metaphor, (4) military metaphor, (5) natural phenomena
metaphors, (6) anthropomorphic metaphors, (7) miscellaneous human activity metaphors, and (8)
artifact metaphors” (201) or Tomlinson’s conceptual domains for professional writing: cooking,
mining, gardening, and hunting.28
After the analyst performs a surface reading, they code for instances of lexical metaphor
occurrence-by-occurrence. An MLE is the basic unit of analysis or in-vivo code arrived at
inductively. Next, the analyst initiates open-coding, comparing in-vivo codes, identifying what is
being conceptualized and how? After comparing the relationship between codes, the analyst
performs axial-coding—grouping metaphors by conceptual keys. Lastly, the analyst converts all
datum into typologies. Qualitative findings may be considered quantitatively in terms of instance
or frequency as well.
To outline the coding process, I analyze a random sentence from the current section to
demonstrate just how prevalent metaphor is: “More specifically, to analyze and code the data, I
28 Tomlinson’s categories reveal how our conception of “writing” is linked with our understanding of what an “idea” is. The primary metaphor governing this relationship is WRITING IS THINKING. For instance, if IDEAS ARE INGREDIENTS then WRITING IS COOKING; if IDEAS ARE RESOURCES then WRITING IS MINING; if IDEAS ARE PLANTS then WRITING IS GARDENING; if IDEAS ARE PREY then WRITING IS HUNTING.
79
employ CMT and Archetypal Theory, where both take the form of a semi-inductive approach
(see Charmaz; Spinnuzi), arguing from specific cases to postulate general principles, involving
unique stages of coding.” Possible MLEs include “employ,” “take the form,” “cases,” “stages,”
and “coding.” These expressions are the in-vivo codes that may or may not have figurative
potential. To open-code, we identify the referent for each phrase. In this case, all figurative
words and phrases are categorically related to conceptualizing the domain “analysis.”
Next, axial-coding identifies the conceptual metaphors governing each word or phrase by
inference. Conceptual metaphors are evidenced in MLEs. For example, the first metaphorical
word encountered is “employ,” which conceptualizes ANALYTIC METHODS AS HIRED SERVICES
(i.e., they perform a labor). The second phrase “takes the form” conceptualizes ANALYSIS AS A
SHAPE-SHIFTING/PLIABLE SUBSTANCE because “form” is a matter of shaping. The third mention
“cases” conceptualizes ANALYSIS AS A CONTAINER (FOR INFORMATION). The fourth mention
“stages” conceptualizes ANALYSIS AS STAGING. The final verb “coding,” like cases and stages,
is an ingrained discourse term, which conceptualizes ANALYSIS AS ENCRYPTING/DECIPHERING
SECRET INFORMATION. To begin devising a conceptual taxonomy, the researcher establishes the
following conceptual keys: HIRED SERVICE, PLIABLE SUBSTANCE, CONTAINER, STAGING, and
ENCRYPTING/DECIPHERING. Each category organizes mutual MLEs. The researcher may choose
to modify or group current categories, that is, to either be more comprehensive or selective, or
they may invent new ones altogether.
If an analyst is unsure about whether a word or phrase is metaphorical, they may perform
a couple of tests. For instance, if the definition is literally true then the conceptual key is not a
metaphor and is instead a literal entailment. For example, we might ask: Is analysis literally a
pliable substance? No, it is not. Therefore, it is a metaphor. Is analysis literally
80
encrypting/deciphering secret information? The answer to this is a bit trickier. So, we might
rephrase the question: Is all encryption/deciphering of secret information analysis? No, it is not.
Therefore, it is also a kind of metaphor. As one can see, analyzing metaphors is a matter of
interpretation, as there may be need for debate regarding how the analyst classifies and
categorizes the data.
Other interpretative issues involve how certain words themselves are metaphors or how
metaphorical meaning has been compounded or invented. Insight is an example of a word that is
a metaphor, meaning ‘seeing within’. Develop, on the other hand, is an example of a
compounded metaphor. Originally meaning ‘to unfold,’ develop has applications in the
discourses of biology (i.e., growth), industry (i.e., production), design (i.e., iteration), and
photography (i.e., imaging). It is almost impossible to separate these associations from each
other. Others may even refer to the develop-example as polysemy; words have different
definitions in different contexts. There are also words that appear to be metaphoric but are
innovations. Take for instance, the word “relationship.” While “-ship” appears to be
metaphorical, etymologically the suffix has nothing to do with a seafaring vessel (though we
may invent that it does); we innovate when we express that a relationship is on the rocks or it has
been smooth sailing.29
Furthermore, if analysis is conceptualized as a pliable substance it can be formed,
molded, or transformed. Like a potter using clay or a machinist using a plastics mold, the
researcher takes the raw materials of analysis and converts them into meaningful, usable
29 For Derrida, trace is the absence of origin, a concept related to words which are now considered sleeping or dead metaphors. For instance, “understand” has a trace that meant ‘to stand among or between’. The metaphorical meaning is both non-present and present in the literal meaning. Even the word “trace” itself is a trace. In the literal sense, trace meant ‘to follow by foot’ and, in the figurative sense, ‘to follow an outline’. Our current literal meaning has reverted to the archaic figurative meaning.
81
artifacts. One might also explore the metaphor in terms of substance: solid, liquid, gas, or gelatin.
Even the use of passive voice in the phrase “takes the form” attributes agency to analysis instead
of the researcher. In terms of a metonymy, the ACT of analysis stands in for the ACTOR, the
researcher performing the analysis. The final interpretation may appear as a hierarchical data-
tree, going from the most general category to the most specific: TACTILE CRAFT→ARTIST or
MACHINIST→PLIABLE SUBSTANCE→FORMING = “takes the form.”
As we can see from the previous example, metaphors and archetypes are uniquely
associated. For example, the aforementioned MLE for “analyst” draws on the archetypes of
SCULPTOR or MACHINIST, which are CREATOR archetypes. Archetypal analysis is used as an
additional stage for coding conceptual keys to determine how metaphors enact roles. Because
mental processes are often represented as material processes, the mental process of analysis—the
analyst archetype—is therefore represented through the material process of “forming”—the
sculptor or machinist. While CMT identifies conceptual keys, archetypal analysis defines the
script or role that substantiates the use of an MLE (see Table 1.1 for descriptions of the
archetypal codes).
The final act of interpretation therefore involves asking questions about how each
conceptual metaphor helps us understand why the referent has been conceptualized a particular
way. To draw an analogy, metaphor interpretation is akin to psychoanalysis because it
investigates intrapersonal schema, imagery, and symbolism. Similar to Carl Jung’s active
imagination or David Grove’s clean language, applying metaphor analysis to case-study work
focuses on the participant’s internal metaphorical landscape.
82
Lastly, conceptual metaphors may be compared over a single case or across different
cases to reveal how certain conceptualizations are particular to an individual or are commonplace
to a discourse community.
To rely on a simile, coding metaphors is like interpreting literature. A code is a “a word
or short phrase that symbolically assigns a summative, salient, essence-capturing, and/or
evocative attribute for a portion of language-based or visual data” (Saldana 3). There is always
room for speculation, conjecture, or multiple interpretations:
Grouping metaphor vehicles is interpretive, in that there is no single ‘right answer’ and in that the researcher must make judgements about how best to group the vehicles on the basis of available evidence. The set of groupings evolves as the researcher works through the metaphor vehicles; each new addition may lead to adapting and adjusting the existing groups. (Cameron & Maslen 120)
Just because you can code or interpret something multiple ways does not make all interpretations
any less valuable. For instance, if I refer to how I framed the study, how do I code ‘framed’?
Does frame relate to construction or photography? Is one discourse borrowing from the other; is
photography using a construction metaphor? Or when I use the term, am I even aware that I am
using a metaphor; am I just borrowing a common phrase that I have heard again and again, and it
is not saying anything unique about me? Yes. These are all pertinent interpretive issues and they
should be debated, but the researcher, whether or not they use interrater reliability (studies differ
on their approach as to whether this is necessary), must decide on an interpretation to run with:
“[A]lthough we strive for as much rigour as possible, the process is unavoidably hermeneutic,
and its success depends upon imagination and creativity combined with as much trust-worthiness
as is possible. The vehicle groupings that we construct will inevitably at times have blurred
boundaries and a degree of overlap” (120).
83
Does the coding provide sound implications that enhance the legitimacy and credibility of
the interpretation? The goal is to achieve systematicity, internal logical consistency among
metaphorical groupings: “[A] set of related linguistic metaphors is what we call a ‘systematic
metaphor’. A systematic metaphor is a construct of the researcher, not necessarily of the
participants, created to help condense the discourse data, and to summarize metaphorical ways of
expressing ideas, attitudes and values” (128). Coding is rhetorical work.
In the following chapters, I introduce initial analyses and offer discussions.
Comprehensive catalogues of the case participants’ metaphors appear in the appendices.
84
CHAPTER 4: SARA’S TEXT AND TALK DATA
In literature we feel the pain of the downtrodden, the anguish of defeat, or the joy of victory—but in a safe space. In this space, we can, as it were, practice empathy. We can refine our human capacities of emotional understanding. We can hone our ability to feel with other people who, in ordinary life, might seem too foreign—or too threatening—to elicit our sympathies. Perhaps, then, when we return to our real lives, we can better understand why people act the way they do, and react with caution, even compassion toward them.
—Keith Oatley from “A Feeling for Fiction”
In the following case-study, I construct a detailed metaphorical profile of Sara. The case-
study does not propose to make assertions about Sara’s core identity or personality—or even
Sara “the person”—as much as capturing identifiers within particular texts, within particular
metaphors. In this regard, I am offering an analysis of Sara’s “textual” identity or literate
identity.30 Identity is situated and performative; situated in texts and performed through
archetypes and metaphors. But, because metaphor affects behavior as well, it is permissible to
suggest that textual metaphors do reveal something about the real person or how that person
orients themselves in the world. Claims I make about identity, however, are situated in textual
representations, no matter the extent to which they apply to the embodied person.
30 In “Inventing Literate Identities: The Influence of Texts and Contexts” Prisca Martens and Susan Adamson (2001) define literate identity as readers’ and writers’
perceptions of themselves in relation to literacy. These identities are not ‘fixed;’ they are shaped and invented as [readers and writers] draw on their experiences in different literacy events with the texts they read and write (Bloome & Dail, 1997; Harste et al., 1984; Martens, Flurkey, Meyer, & Udell, 1999). As [readers and writers] operate within various cultural and social contexts, literate identities also reflect the influence of particular cultural practices (Gee, 1990) and social practices (Luke & Freebody, 1997; Taylor, 1983). In the act of engaging in literacy events, [readers and writers] interpret themselves in relationship to their world, locating themselves both in view of the experiences they have had and the experiences they imagine (Sumara, 1996). (32)
Literate identities are also expressed in the metaphors readers and writers generate for literacy, whether explicitly or implicitly.
85
Each section of the chapter is divided by data-type and data-collection method, presented
in the chronological order in which they were administered for purposes of tracking the evolution
of the data over time and to demonstrate the relationship between genre and metaphor. The
chapter conducts a close reading and detailed analysis of the metaphorical landscape and
development of each type of data: writing quote analysis, literacy narrative, peer-to-peer
marginalia, reflection memo, revision letter, open-ended survey response, and conferencing.
(Appendices contain all conceptual keys, cataloguing MLEs for each.) The general progression
moves from data-collection to analysis to discussion, drawing on the relationship between
metaphor, identity, and pedagogy. I demonstrate the relationships between them by identifying
the metaphorical themes and archetypes that reveal how Sara conceptualizes her literate activity.
The analysis reveals what college-writers’ metaphors tell us about their literate practices
and identities. Metaphor analysis is pedagogically useful because educators and researchers alike
can learn more about how and why students read and write, as well as learn how to teach to their
motivations and concerns. Sara’s data is valuable because it identifies how genre determines
certain patterns of metaphoric conceptualization. For instance, patterns of space and navigation
are associated with developmental and editorial concerns. Patterns of imagination and immersion
are associated with Sara’s literate identity as a Creator and Artist.
A close analysis of Sara’s metaphors teach us how she uses literacy. For example, the
metaphor of purification teaches us about her prewriting rituals. Metaphors of expression teach
us about the sensory experiences of literacy. Painting and crafting appeal to the art and
imaginative appeal of literacy. Her nuanced metaphor of “inkless-writing” encourages us to think
about literacy beyond traditional confines. Metaphors of navigation, placement, and cutting teach
us about her editorial concerns. And her emphasis on living through literary texts teaches us
86
about literacy as roleplaying. Non-fictional genres, such as argument, become a place for
activism and self-discovery. These are the metaphors Sara reads and writes by.
Case Introduction
Sara identifies herself as an aspiring fiction/fantasy writer. Her goal for FYC includes
learning different styles and skills to improve her academic and personal writing. While she
distinguishes between writing for academic purposes or personal enjoyment, she hopes to have
meaningful crossover between the two. Sara sees college writing as “more of an opportunity for
[her] rather than a class of ‘useless torture.’” In class, she is quiet and reserved but quite the
opposite when she converses over her writing. While fiction is among her primary literate
interests, Sara, too, is influenced by political media.
Sara’s Writing Quote Analysis31
Data-collection
The first type of data-collection involves researching quotes on reading and writing. After
deciding on a quote, students are prompted to analyze and interpret the significance. As an
exercise, analyzing quotes utilizes imitation to uncover how college-writers define reading and
writing. Definition is an essential component for eliciting how we conceptualize something;
therefore, interacting with others’ definitions aids us in arriving at our own, moving from
imitation to invention.
Analysis
For this exercise, Sara chose an aphorism by Russian playwright and short-story author
Anton Chekhov: “‘Don’t tell me the moon is shining; show me the glint of light on broken
31 Refer to Appendix A for a catalogue of conceptual keys derived from Sara’s data for the Writing Quote Analysis.
87
glass.’” Providing some backstory for the quote, Sara relates that the quote is “a valuable32
message” Chekhov is “attempting to drive across to his brother, [sic] in a letter.” She employs
the conceptual metaphor WRITING IS A VEHICLE, as expressed in the verb phrase “to drive,” with
the addition of “across” portraying DELIVERY AS A BRIDGE or LAND ROUTE. This figurative
expression is associated with the conceptual domains JOURNEY (i.e., traveling) and COURIER
(i.e., delivering), which are observed in the common parlance ‘to drive a point home.’ The
underlying subtext conjures the mythopoeia of shipping valuable items (i.e., the message) over a
bridge or across land (i.e., the obstacle of interpretation and application). While this is a
relatively banal instance, it demonstrates the basic mythic, storytelling structure of implicit
metaphors.
As we take a closer look, as writers write within or about a genre, they inevitably
generate metaphors for that genre. In this regard, Sara generates metaphors for quoting:
demonstration, instruction, and magnification.
With demonstration, a metonymy (or conceptual substitution) occurs in the verb
“show”—quotes “show you how to write”—because the verb gives agency to the object (i.e., the
quote) instead of the subject performing the action (i.e., the author). Thereby, the metaphor
imparts the writer’s identity onto the thing produced by the writer. The metaphor personifies the
quote as performing or demonstrating something on its own—A QUOTE IS A DEMONSTRATION
(i.e., because it “shows,” the DEMONSTRATION stands in for the DEMONSTRATOR). In other
words, the metonymy assumes: THE WRITING IS THE WRITER because the writing takes on the
abilities of the writer, such as showing.
32 Italics appearing within participants’ quoted material are used to highlight MLEs—expressions from which conceptual metaphors are derived—unless otherwise stated.
88
Along with perceiving quotes as demonstrations, Sara expresses that a “quote is able to
provide, both, what to do and what not to do”—A QUOTE IS AN INSTRUCTION. She adds, “[T]his
quote has magnified to me the importance of using metaphors, images and accurately chosen
words.” A QUOTE IS A MAGNIFICATION. As a part of the focus-metaphor, magnification stresses
‘degree of importance,’ based on the conception IMAGINATION IS SIGHT.
Furthermore, the main definition Sara generates for writing is: WRITING IS IMAGINATION,
a “bringing [an] image to mind.” She goes on to explain: “to write means being able to show the
reader a vivid image.” Elaborating on the theme of imagination, she provides that the use of
show, as it appears in the quote, stands for “to be creative, innovative.” Honing in on the genre of
fiction, she details that (FICTION) WRITING IS A TRANSFER OF IMAGES and THOUGHTS ARE
VISIONS: “If it’s a novel, then the writer should work on transferring what he sees, in his mind,
to paper, for the reader must also be able to see what the writer had envisioned.” Sense of sight in
this context is a synesthesia, “the ability to perceive a stimulus in one sense organ through a
different sensory system” (Geary 77). For instance, we speak of the mind’s eye, where the
material sense of sight becomes the immaterial sense of insight. As she points out, writing
becomes the process of giving material form to the immaterial content of our imagination. The
intangible nature of our imagination is realized through the tangible act of writing: READING IS
SEEING.
Sara’s insights into imagination demonstrate the conceptual dichotomy between reading
and writing. We may recall Freire’s assertion that writing emerges from our reading of the world;
READING IS PERCEIVING (AN IMAGE) and WRITING IS (RE)CREATING (AN IMAGE).
Discussion
89
Two different types of metaphor are demonstrated here: 1) implicit metaphors about
conceptualizing what a quote is, and 2) implicit metaphors about conceptualizing what fiction is.
These instances reveal, in part, how metaphor defines genre. While Sara’s implicit knowledge of
quoting reveals certain commonplace metaphors, Sara’s exposition on imagination is unique to
her own personal experience with being a fiction reader/writer. The theme of imagination teaches
us about the visual appeal of writing; readers experience what they are reading by seeing it—
whether it be fiction or journalism. Even good arguments are not only about figuratively seeing
someone else’s point but imagining the world in a different way. Metaphors, such as
imagination, remind us literacy is sensory.
Particular metaphors reveal how quotes are demonstrations, instructions, and
magnifications. They teach us writing is seeing. The more we understand the metaphors we read
and write by, the more we can teach to these points in our classrooms. The pedagogical
application of Sara’s metaphors resides in asking questions about, “How mapping the discourse
of imagination onto the discourse of writing enhances what it means to be a reader and writer?”
How is writing image-making? How are instructors cultivating imagination, visual appeal or
immersion? These are just a few of the kinds of questions students’ metaphors confront us with
when we take time to experience writing from their perspectives.
Cataloguing Sara’s initial metaphors suggests that the identity of the Creator33 archetype
is prominent. Creator-types perceive WRITING AS IMAGINATION, to give life to an image and
sustain a reader’s immersion through descriptive world-building. Knowing what archetypal
drives are prevalent can aid instructors in generating course content around particular archetypal
33 All archetypal characters are capitalized to set them apart from other figures or tropes.
90
drives, such as the creative drive. Even the study of composition itself, in the most general sense,
is essentially an investigation into the creative process.
Sara’s Literacy Narrative34
Data-collection
Literacy Narratives (LN) involve participants recounting their history as a reader and
writer as well as recording and investigating their day-to-day literate habits. LNs have been
neglected as a subject for metaphor analysis, as none of the studies reviewed here include LNs in
their data-collection methods. LNs encourage meta-writing, self-reflexively revealing their
literate identities through their day-to-day literate habits. They offer an inside perspective into
what literacy has come to mean to an individual, that is, in terms of how they identify
themselves. LNs involve students observing and recording their literate habits, then analyzing
and interpreting those habits. Participants incorporate narrative examples from their lives in both
instances, demonstrating the impact and affect literacy has had on them or continues to have. In
the following analysis, we observe how Sara situates herself as a reader and writer. The data
provided here details Sara’s dominant archetypal influences, as associated with the development
of her LN.
Analysis
Over the course of the LN, Sara develops the archetypal identities of Ascetic, Activist,
Underdog, Enigma, and Analyst. Sara starts with the self-description: “I’ve come to the
conclusion that I’m a mixture of things; a jack of all trades. I read biographies, critical thinkers’
articles, novels, short stories, magazines, etc.” This declaration exemplifies the diversity of
Sara’s reading and writing activity.
34 Refer to Appendix B for a catalogue of conceptual keys derived from Sara’s data for the Literacy Narrative (with revisions).
91
A personal aspect of Sara’s composing psychology—her habits of mind—
is her preference to write in solitude. On occasion a writer’s preferred workspace speaks to how
their identity is projected or performed within that space. Seeing herself as an introvert, or
Ascetic, she intentionally seeks to separate herself from distraction to improve her authorial
authenticity:
[O]ne of my preferences is reading and writing in quiet isolated places where I can clear my mind from all other external thoughts, and focus on my own thoughts and ideas. I think one of the major problems faced by novelists and writers alike is the fear of coming up with an idea that has been written before. Since our thoughts and emotions are influenced by what we read, watch and get exposed to, we know that sometimes our ideas are not pure, and I believe that solitude is the key to get rid of such external ideas.
Many creatives seek inspiration and illumination in solitude: SOLITUDE IS PURIFICATION. While
writing is a social art form, it often takes shape in moments of solitude. The spiritual dimension
of writing allows writers to interact with their inward experiences. Solitude, for Sara, has the
potential to unlock something previously inaccessible. Writing rituals, such as this, demonstrate
archetypal motivations. Ritual is an integral part of what makes a literacy event, and Sara’s
ritualistic behavior speaks to her need, as a writer, to cleanse herself mentally. This type of rite
prepares her for the task of writing. This type of mental purification is an interesting part of
Sara’s composing process because it highlights a significant prewriting ritual.
Sara also focuses on the transformative world that opens up as we develop literacy:
We first start reading and writing when we are only a few years old. Suddenly, the world around us changes, and we find ourselves indulging into a new spectrum of things. Now we are able to communicate, argue, express our opinions and speak our minds, through combining words and sharing our work. Words then start holding additional meaning to us, and we begin looking at life in a novel manner.
LITERACY IS TRANSFORMATION. Reading and writing shape and reshape our experiences of the
world. They allow us to verbalize and express our thoughts. LITERACY IS ORALITY/THOUGHT.
92
When we make literacy our own it involves what Sara calls “knowing your own language.”
Literacy affects how we look at life because LITERACY serves AS A LENS. Sara possibly even
uses the double-meaning for novel, meaning narrative and “new”.
Sara primarily develops the spiritual dimension of her literate behavior through the
archetype of the Activist. She explains,
The dream of being an activist came from the thought of standing up for the rights of those facing injustice. The idea of standing on a podium in the midst of a crowd, head held high, yelling and shaking with passion appealed to me, greatly. Then there was the dream of becoming a writer, with a pen-name rather than my own. Something fascinated me about writing with a hidden identity. I don’t know if it was simply the mystery, or if there was more to it. I suppose I wanted people to think, ‘Wow; who is this person?’. I’m no longer pursuing most of these things, but don’t get me wrong; I do still take myself back to those thoughts from time to time.
Later in her argumentative research, the archetype of the Activist reemerges in a discussion
surrounding the Palestine-Israeli conflict. Because she sees herself as an Activist, writing
becomes a platform for motivating readers to empathy and action. In the closing paragraph of the
argumentative research paper, she pleads, “I urge activists and politicians to take a stance, a
stance for the children, the women, and the elderly, for humanity. The impunity must stop. Those
responsible should be held responsible. This is not a political debate, this is a humanitarian
crises.” The persona of the Activist demonstrates how archetypal influences affect and frame a
composition because archetypes are the rhetorical energies that inform the whole of the
composing process. Writing as activism is about intervention and justice. Literacy becomes a
place for positive action and reaction to real-world injustices. This level of metaphoric
conceptualization resides in the archetypal identity associated with the genre, mood, or voice of
the writing. The Activist archetype is a hybrid of the Altruist and Revolutionary, someone whose
concern is to fight for the well-being of others.
93
In addition, an important subtype of the Activist is the Underdog, which Sara expresses
through the literary theme of overcoming: “I’ve noticed that I tend to relate to novels about a
story of struggle before massive success. It’s one of those things that strikes a chord in me.” The
appeal of coming from nothing, overcoming life’s struggles, and achieving lasting success are
the essential thread of the Hero’s Journey. The stories or genres we have an affinity for correlate
with metaphors we hold about life, such as the archetypal Cinderella-story: LIFE IS A STRUGGLE.
For the Underdog, reading is searching for anecdotes for overcoming life’s obstacles.
Another way Sara conceptualizes the Activist is through the hidden identity of the
masked hero or the Enigma. Fantasizing about an alter-ego such as this reveals a paradoxical
sense of humility paired with a desire to be recognized not for who a writer is but for the ideals
the writer stands for. In this regard, the Enigma holds that the writing itself is more important
than the author—the writer is a vessel for an ideal. This highlights an important quality of the
Activist as Idealist, where a writer’s faith in the message takes precedence.
As I have demonstrated, Sars’s literate identity—in the form of the Activist—relies on
the archetypal intersections of the Altruist, Revolutionary, and Idealist, which impact the
narratives she’s drawn to and the topics she writes about.
Lastly, the identity of the Analyst is situated at the end of the LN:
I thought I was a novelist. Perhaps even still do, but after further pondering an outsider’s look, I realized that the answer was before me all along. I am an analyst, and quite frankly, it doesn’t surprise me. I’ve always analyzed texts, but it had become a habit to the point where I’m no longer consciously doing it.
The Analyst archetype is a hybrid of the Warrior, Wanderer, and Sage, one who conceptualizes
literacy as a challenge, self-discovery, and knowledge-construction. Furthermore, to exemplify
her penchant for analytical thinking, she reflects on a recent literacy involving the script to a film
she was watching:
94
Sometimes we don’t realize it, but when we hear words and we pause to think about them, it is not only an analysis, but it is reading. Food for thought; anything that makes us think, can and should [emphasis in original] be considered, not only a form of reading, but also a form of impromptu inkless writing. The act of forming words, through any medium, even verbally, is writing.
For Sara, literacy itself has become INTERPRETATION IS READING; MEANING-MAKING IS
WRIITNG. Defining speech as “inkless” writing reminds us that, while speech is not always
recorded in a tangible way, it can have an invisible staying power. It can be written into our
memories. She reminds us that other forms of writing, such a scripts, take on a verbal life of
inklessness, writing that has taken on another form other than alphabetic text.
Discussion
The variety of archetypes discussed here reveal the intricate character of Sara’s literate
behavior. They reveal the exigency or motivations for why she reads and writes. What begins to
emerge is a spirituality of writing. The archetype of the Activist teaches us that literacy is about
sharing our ideals with one another to improve the quality of life.
In addendum to Sara’s original draft of the LN, I include here a brief analysis of her
revision. In revision, writers make choices to explore new directions, simultaneously reducing
and adding content. Sara’s revision, in contrast with the previous draft, adds the identity of the
Novelist. Delineating between different genres of interest, Sara highlights the appeal of each
genre, “In opinion columns it was delivering a message and convincing an audience, in novels it
was imagination and release, and in writing short stories it was a template – an empty canvas
rather, to paint on.” (ARGUMENTATIVE) WRITING IS DELIVERING. (FICTION) READING IS
IMAGINATION AND RELEASE. (FICTION) WRITING IS PAINTING. For her, argument is about
movement, while fiction is about visualization.
95
Adding the identifier of Novelist reveals some indecision on her part as to whether or not
she is serious about this aspiration. She describes her experience with fiction as sporadic
“snippets [emphasis in original]” that she collects and hopes to “expand . . . into a novel.”
(FICTION) WRITING IS COLLAGING: “[The snippets] continue to grow from time to time.” The
collaging-metaphor exemplifies writing as cutting and piecing together narrative. The snippets
are pieces of incomplete information that eventually create a bigger picture.
Sara, too, bolsters previous identities by drawing on interests in “social and political
issues” and having a penchant for “not simply conforming [to] the crowd.” She relates, “After a
long while of going back and forth from one description of my reading and writing to another,
I’ve settled. I am an activist, for I read and write about global issues. I am a novelist, for I read
novels and aim to write ones.” The revision assists Sara in coming to terms with her identity as a
reader and writer by rewriting it out. The revision also reinforces how Sara sees writing as the
artistic acts of painting and collaging—“crafting the image.” The collaging-metaphor
communicates that inspiration comes in bursts or at random moments and cannot be planned for
as much as it is captured in the moment. The emphasis on growth reminds us that composing is
about collecting and gathering pieces, where the author sometimes does not know what the big
picture is but feels an unavoidable impulse toward it.
Sara’s Peer-to-Peer Marginalia35
Data-collection
Peer-review is a common class exercise where college-writers roleplay through the
editing process. Review involves critiquing writing through writing, which allows the analyst, in
this case, to uncover metaphors in the reviewer’s meta-writing. In the following section, I look at
35 Refer to Appendix C for a catalogue of conceptual keys derived from Sara’s data for the Peer-to-Peer Marginalia.
96
Sara’s peer-review as well as my review of Sara’s work. Peer-review marginalia and instructor
feedback, like the LN, are underrepresented as methods of data-collection for researching
compositional metaphors, as none of the studies reviewed here include review workshops as part
of their data. In peer-review writing, we observe how college-writers emulate their instructors or
enact their own discourse. In instructor marginalia, we see how instructors reinforce dominant
disciplinary metaphors or incorporate personal metaphors. Like the LN, review writing is a
natural way to encounter the metaphors we read and write by. Review writing often takes the
form of short response—small phrases, succinct sentences, and short summary—and the data-set
reflects these minimalistic conventions.
All peer-review is developed in conjunction with the rough-draft of the LN, whereas the
instructor feedback is a response to the final draft.
Analysis
Sara begins the peer-review by encouraging the author to provide additional content
using the phrase, “Expand more.” Expansion is a spatial concept and a building concept—to give
more space to an idea (not just physical space on the page, but ideational space).
REVISION/EDITING IS EXPANSION.
Addressing issues of placement, Sara suggests, “Perhaps it would be best to add this to
the paragraph about social media, since it already carries that theme.” MOVEMENT IS ADDITION.
PARAGRAPHS ARE SHIPPING CONTAINERS, making THEMES, SHIPPING CONTENT. In another
instance, she instructs the author to consider elaborating on one of the quotes because “it carries
a lot of meaning.” QUOTES ARE CONTAINERS (FOR MEANING).
Discussion
97
Sara’s brief metaphorical commentary focuses on issues of space and movement,
revealing how review assessment is a matter of navigation and delivery. These metaphors give
focus and attention to the reader’s concerns of figuratively moving through the writing, gathering
information, and obtaining meaning.
Implicit metaphors like these communicate the reader’s experiences with texts-in-
progress, of their concerns with remodeling and spatialization. Navigation is a commonplace
way readers experience reading; for instance, we talk about giving a text a walkthrough or
readthrough. Navigation allows writers to consider how to develop their writing through
spatialization. Because spatial metaphors frame the text as a type of setting or space, navigation
aids us in thinking about issues of place(ment). For instance, the concept of “topics” in rhetorical
education comes from the Greek topos, meaning “place.” Writers construct ideational spaces or
places for their readers to inhabit and explore.
Instructor Feedback36
Analysis
Like Sara’s emphasis on space and movement, my own metaphors, too, attend to figures
of architecture, organization/cleaning, and vision. Beginning commentary on Sara’s paper, I note
the “introduction is useful for setting up the memoir” portion. INTRODUCTIONS ARE DISPLAYS.
In addition, I remark that the memoir provides a “Nice portrait”—MEMOIRS ARE PORTRAITS.
Cumulatively, these metaphors allude to the interior design of the document, its display and
decorum.
Likewise, elements of exterior design are established through the language of
architecture. Because ESSAYS ARE CONSTRUCTIONS, INSIGHTS ARE a part of that
36 Refer to Appendix D for a catalogue of conceptual keys derived from the Instructor’s Feedback.
98
ARCHITECTURE: “If this is your overarching insight you might want to go back and rethink how
each section develops/doesn’t develop this identity???” Even in other discourses, we refer to a
design’s information “architecture”. Along similar lines, I refer to WRITING AS
(RE)CONSTRUCTION: “Good reflection on extending the definition of reading.”
Because design and architecture define the space of writing, THOUGHT becomes
MOVEMENT/NAVIGATION: “Right, this says something about your identity and the process
necessary for thinking things through your own way.” Other elements of design, such as
“reflection,” “transition,” and “fit,” are observed in: “The theme and identity of being an activist
is apparent, but how these reflections transition or fit with the rest of the paper is not.” WRITING
IS A MIRROR (FOR THE WRITER). WRITING IS NAVIGATION/CONSTRUCTION. WRITING IS
PUZZLING.
I also address issues of design through organization, mentioning “what goes with what”
to draw attention to cleaning up the meaning. Additional issues of movement and direction—
“discovery draft,” “navigation paragraph,” and “locating,” these, too, are associated with
clarifying meaning: EDITING/ORGANIZATION IS DIRECTION/PLACEMENT. Along with clarifying
meaning, I refer to the exertion of physical strength or force as a matter of emphasizing meaning,
such as ‘reining in her voice’ or starting the paper off “strong.” (DEGREE OF) MEANING IS
PHYSICAL STRENGTH.
As Sara develops different motifs, I ask if “there [is] a way that [she] could be more
precise about what [she] want[s] to focus [her] attention on here: activism and the underdog
motif or ???” THEMES/MOTIFS ARE FOCAL POINTS. Extending the sight-metaphor, I advise,
“Provide a clearer transition here.” In this sense, understanding is perceived as a liquid substance
or transparent material. For instance, we often speak of an idea’s clarity or lack thereof.
99
Discussion
As the instructor, my concerns about revision utilize metaphors of organization, clarity,
and impact, and Sara and I both gravitate toward concerns of spatialization and
navigation/delivery. Metaphors of construction, organization, navigation, clarity, and strength are
dominant figures in the rhetorical canon of revision and review, for each one reveals how we
conceptualize writing development through concerns of structural integrity, mapping space,
ordering, clarity, and impact. They emphasize the writerly identities of architect, cartographer,
designer or engineer. In this regard, these are the implicit rubrics or heuristics reviewers use to
provide writing instruction.
Sara’s Reflection Memo and Revision Letter37
Data-collection
In the previous section, we looked at peer and instructor commentary; in this section, we
consider Sara’s self-assessment. Self-assessment gives the analyst a behind-the-scenes sense of
what writers hope to accomplish, what their writing has come to mean to them and what
aspirations motivate them. Because reflection generates meta-writing, it provides insight into
how college-writers conceptualize their own writing processes. The intent behind the memo and
letter is to engage the college-writer in thinking about how to revise their work as a matter of
innovation. The student must assess the effort, quality, and evolution of the text. Introspection
encourages them to confront what they are insecure about or acknowledge what they are proud
of, and why. The following analysis is a demonstration of how Sara feels about the evolution of
her LN, replete with its design choices and insecurities. Like peer-review marginalia and
37 Refer to Appendix E for a catalogue of conceptual keys derived from Sara’s data for the Reflection Memo and Revision Letter.
100
instructor feedback, memos and letters have been underutilized in the body of research
investigating compositional metaphors.
Analysis: Reflection Memo
In her memo, Sara focuses on issues of placement. She mentions, “I tried to refrain from
writing any fillers,” though “not everything was placed properly.” While she expresses
contentment with utilizing space, she is indecisive about the placement—WRITING IS PLACING
(OBJECTS). She contemplates, “I think there’s a paragraph that I need to get rid of in my paper,
since it seems so out-of-place, and does not seem to fit anywhere. The only reason I’m keeping it
is because I love it. I just still don’t know how to incorporate it within the text, or how to
transition to it and from it.” Metaphors of placement continue to reveal the tension involved in
deciding what to do with content the writer is not sure how to arrange or fit. While Sara
acknowledges the paragraph does not belong in its current location, it is emotionally hard for her
to part with it, which reveals that, for her, editing is not only a matter of removing content but of
emotionally letting go—the tension between the Ruler (i.e., “incorporate”) and Romantic (i.e.,
“love”).
Sara proceeds by defining writing as “finding the right words to express meanings.”
WRITING IS DISCOVERY/EXPLORATION. WORDING IS ETHICS. WRITING IS EXPRESSION. The
ethics of style are concerned with the accuracy of word choice, with right or wrong depictions or
emphasis.
Sara is also concerned about arriving at her intended destination. She remarks, “I think
the paper’s flow was neat, but it’s not at the point that I’d like it to be. It’ll never be at the point
that I’d like it to be, at least not now.” WRITING IS FLOW. WRITING IS ORGANIZATION. WRITING
IS NAVIGATION. For her, the writing has not yet arrived. Flow and navigation represent Sara’s
101
retrospective levels of dis/satisfaction. How close a writer is to a sense of arriving correlates with
the level of control they feel they have over their text. Like before, the Ruler is manifest in her
personal dissatisfaction, an element of the psychology of composing that signals whether or not
the writing has been brought to order. The mytheme of the voyage underlies these feelings too—
the voyage is incomplete.
Aside from issues of placement, ethics, and navigation, Sara interestingly conceptualizes
GENRE AS COLOR: “Typically, this paper isn’t the color that I usually write, so I had to come up
with a new way to deliver information; one that I’m not used to.” Genre colors the writing,
altering the look and feel of it, which adds to Sara’s sense of insecurity because the “color” is not
her usual style. We might talk about how something colors a work or colors an attitude. Using
color to emphasize the type or manner of composition is, again, evidence of the Artist archetype,
which is later explicitly portrayed as the Painter in Sara’s first MIE. Additional artistic
metaphors of crafting (i.e., “snippets”) or cinematography (i.e., “scenes”) identify her as a
collager or filmographer. GENRE IS also (A WAY OF) DELIVERY because it impacts how a
message is presented and received.
Altogether, details of placing, selecting, arriving, and delivering allude to varying degrees
of both insecurity and precision. Sara explicitly refers to INSECURITIES AS VOICES: “My voice
emerges overall confident, but at the back of my head there’s that tiny voice that tells me that I
still need to work on it even further.” In this way, the voice of the Ruler instills a growing sense
that the writing’s potential has not been explored completely, taking on the persona of critic or
coach.
Metaphors of placement, ethics, navigation, and inner voice all speak to the emotive
aspect of Sara’s writing process. Are things in the right place; described with the right words;
102
going in the right direction and arriving at the right destination? These are the concerns of the
Ruler. What we learn from the memo is how personal assessment metaphors speak to Sara’s own
concerns for her writing development.
Analysis: Revision Letter
Likewise, in her letter, Sara claims her primary struggle writing the LN was handling the
proportion criteria of the assignment, which involved blending and balancing primary research
and narrative. She addresses, “I had to chop out a lot of my memoir writing, despite it being the
part I loved to write about the most.” Since her metaphor for editing takes on the connotation of
a butchery or rough-cutting metaphor, it draws attention to the negative aspect of editing—
EDITING IS CHOPPING, the reluctant removal of what the writer is attached to. This reflects the
tension between what Sara feels obligated to do and what she would love to do, the rhetorical
tension of being constrained by others’ expectations.
Between the memo and letter, Sara shifts between states of confidence and insecurity.
Metaphors associated with this dynamic become integral to her composing process and sense of
accomplishment. The interplay between insecurity and confidence directly affect the recursive
nature of her composing.
Discussion
Metaphors in Sara’s memo and letter make her editorial concerns apparent, concerns of
placement, ethics, navigation, and cutting. The main insight of both is the characterization of the
emotive dimension of her composing, that is, feelings of not having arrived, getting it right, or
parting with content. These metaphors speak to the motivations of her writing development,
evidenced by the “unfinished”-attribute of each, framing her composition as a literal work-in-
103
progress. The writer as voyager, designer, and craftsman highlight: the voyage is incomplete; the
design is unfinished; and the materials are not set.
The emotional nuances of metaphor covered here provide insight into how writers feel
about their writing, reminding us of how important emotion is to motivation, creativity, or sense
of accomplishment, resulting in drives to reinvent, procrastinate, or scrap an idea altogether.
Sara’s Open-ended Survey38
Data-collection
The survey is intended to address what prompts writers to write, capturing descriptions of
their composing process and definitions of writing. Participants were able to provide as little or
as much as they would like in answering each of the five questions.
Analysis
The first survey question addresses what prompts college-writers to read and write. Sara
reveals that she reads and writes from a desire to live through fictional personas: “I like the idea
of forming words to express a meaning, and that’s exactly what it is; a way to express.
Ultimately, I like to write because I can write about virtually anything. I can live through my
characters what I can’t live.” (FICTION) WRITING IS A SIMULATION OF LIFE. Author and literary
scholar, C.S. Lewis claims that reading “can give us experiences we have never had and thus,
instead of ‘commenting on life,’ can add to it,” which is what Sara is alluding to here (310).
Through the development of this metaphor, the Creator archetype reemerges as Sara describes
the author’s incarnation through WRITING IS LIVING. Creator-types live through their writing, so
that they and their readers may experience another life altogether.
Moving from motivation to defining process, Sara posits:
38 Refer to Appendix F for a catalogue of conceptual keys derived from Sara’s data for the Open-ended Survey.
104
Writing is the ability to express through the formation of sentences using words. I like to do impromptu writing, and then ponder over what I’ve written at night. Then, I go back for one final edit. I tend to fix things as I go, rather than fixing everything at the end, so it saves me time and a headache.
Elsewhere she echoes, “Writing for me is usually impromptu.” Her impromptu style highlights
an important archetypal dichotomy in writing, the Planner and the Adventurer—WRITING IS
PLANNED or WRITING IS SPONTANEOUS. Writing inspiration is something we make happen or
that happens to us. As outlined by Sara, spontaneity, pondering, and review are the phases of her
composing process.
Furthermore, when discussing revision, Sara outlines: “I read through my writing out
loud. I try to express the meaning using my voice, and that’s how I notice what I need to fix. It
doesn’t necessarily mean that I’m always right to edit certain things.” She utilizes the verb ‘fix’
to describe the editing process—EDITING/REVISION IS FIXING. Fixing, however, is a complicated
mechanical metaphor. Fixing assumes that writing is a machine or mechanism. If a piece of
writing needs fixed it is because we conceptualize it as broken, not working or not running
efficiently, much like an engine or processor. This can have negative emotional implications.
When we encounter something broken it costs us time and frustration; it locks us into the binary
of ‘it works’ or ‘it doesn’t work,’ instead of thinking about it organically as a matter of
reconfiguring or improvisation.
All in all, Sara argues what is most significant about writing is “[t]he ability to stir deep
emotion within the reader.” EMOTIONS ARE LIQUID SUBSTANCES/CHEMICALS. DEPTH IS
DEGREE OF MEANING. LITERACY IS AN EMOTIONAL INTERACTION, engaging readers to feel
something. Her rhetorical intent compliments her motivation as a fiction writer, to live through
others’ stories, to essentially feel what others feel—empathy. This draws on the identity of the
Creator as Empath.
105
Discussion
Sara’s metaphors about fiction reveal how writing is about simulating life and engaging
emotion. Her focus on the impromptu aspect of the composing process emphasizes a progression
from spontaneity, to pondering, to review. Her simulation-metaphor frames literacy, in the
literary tradition, as role-playing. WRITING IS LIVING posits that writing development is not just
about developing skills but about developing one’s life or one’s emotional intelligence. This
perspective has the potential to impact writing pedagogy because it addresses how we imbue our
writing with life, commentary, and the virtual experiences other narrative possibilities. These
metaphors establish the writerly identities of the Wanderer (i.e., writing is an unplanned
adventure), the Avatar (i.e., writing is a medium to live through), and the Empath (i.e., writing is
a medium to feel through).
Sara’s Conferences39
Data-collection
This final section addresses metaphor in conversation. Writing conferences are an
opportunity to capture the instructor’s and college-writer’s spontaneous ideas about writing
through conversation. Conducting a metaphor analysis of conference dialogue reveals how
students and instructors position, exchange, and negotiate conceptualizations of literacy.
Conversation analysis seeks to represent how “speakers jointly create meaning” (Taylor 16) and
represent the constructive and constitutive nature of the social exchange of meaning and
knowledge: “[D]iscourse is socially constitutive as well as socially shaped: it constitutes
situations, objects of knowledge, and the social identities of and relationships between people
and groups of people” (Fairclough & Wodak 258). Altogether, the data was recorded over the
39 Refer to Appendix G for a catalogue of conceptual keys derived from Jason and Sara’s data for the Conferences.
106
period of two separate conferences: one about revision and the other about writing development.
Sara’s first conference addresses her revisionary concerns for the LN. Conferencing dialogue
provides different kinds of metaphors for writing that exist on the periphery, like metaphors for
theses, editing, revision, introductions, and themes. Throughout, I highlight the domains and
conceptual keys that were predominant and consider how certain occurrences exemplify how
metaphor is used to position, exchange/share knowledge, or negotiate meaning.
Analysis: Conference 1
First, positioning metaphors are used to educate, persuade, or establish a perspective. As
the instructor, my commentary positions that THESES ARE ANSWERS, INTRODUCTIONS ARE
EXPECTATIONS, DRAFTING IS A STORM and REVISION IS RESHAPING. In addition, I position
READING AS COLLECTING (pull out), IMPACT (hit), and MOVEMENT (jump to). Furthermore,
WRITING IS positioned as ARCHITECTURE/FRAMING, DELIVERY, DESIGN, DISCOVERY, and
PHYSICAL STRENGTH.
From the student’s perspective, WRITING IS positioned as COLLAGING.
Metaphors of exchange occur when speakers concur by implementing similar metaphors,
such as with both our reliance on EDITING IS CUTTING and WRITING IS BOUNDED SPACE. Sara,
too, emphasizes that WRITING IS PUZZLING, which correlates with my conceptualization that
WRITING IS A CHALLENGE. Another correlation of this type occurs when Sara refers to WRITING
AS MUSIC and I later mention the ‘musicality’ in her writing.
Lastly, metaphors of negotiation result in proposing different metaphors. Let us take for
instance the following dialogue:
Jason [24:00]: I would say that there is some theme with imagination. I don’t know. What, what do you think you could say about imagination in the introduction and conclusion that would . . . Sara [24:05]: . . . tie everything together?
107
Jason [24:07]: Yeah. Or is there a link between imagination and enlightenment?40
One metaphor is a textile activity, and the other is a metal-working activity. The implicit
figurative language enables us to negotiate what a theme does by employing figurative
reasoning. Tying and linking both serve the rhetorical goal of synthesis and emphasize the shared
property of connection through different visual arguments. Negotiation of a similar sort may also
occur when different metaphors are proposed by the same speaker, such as with my emphasis on
THEMES AS HIDDEN OBJECTS or THREADS.
Analysis: Conference 2
Sara’s second conference addresses her developmental concerns with the Argumentative
Research paper. While much of Sara’s figurative content repeats from her first conference, I,
however, utilize metaphors of SHARING, TRANSFORMATION, and VOICE, attempting to
communicate how revision writing is concerned with how the writing is changing the writer,
how writing involves sharing that change, and how that change develops a voice around the
impact that change has made or is making. I mention, “To me, that’s what writing is all about . .
., sharing your viewpoint with someone else.” Capturing the transformative power of writing, I
comment, “[W]hen I am interested in any argument, usually it’s something where its changing
me in some way.” I propose that writing is about sharing our voice, “developing your voice on
the issue;” writing is a medium where you can “get your voice out,” “have our voices heard,” and
add “your voice to an issue.”
Discussion
40 Idiosyncrasies such as the use of “um” and “like,” where they function as pauses, have been removed from all transcriptions to ensure improved readability.
108
Being aware of the natural metaphors that occur in talk with our students says something
about the identities that situate our views of literacy, such as with Sara’s view of the artistic
experience or my position on literacy’s ability to incite change.
Interpretation
The previously discussed data-collection methods are by and large the result of analyzing
implicit levels of metaphoric conceptualization, which means that none of the data-collection
explicitly asked the writer to use metaphor, for all metaphors are the result of natural dialogue. I
summarize here the predominant genres, themes, archetypes, and teaching points that can be
gleaned from Sara’s use of metaphor.
One of the reoccurring highlights of Sara’s data showed how different metaphors are
associated with different genres of reading and writing. For instance, with the writing quote
analysis, metaphors of demonstration, instruction, and magnification were associated with
conceptualizing what quoting is. In addition, Sara’s peer-review and memo focused on the
metaphorical concerns of spatialization, with relation to matters of placement and navigation,
addressing the figurative, ideational space of reading and writing.
While it is quite clear that the primary genre Sara is drawn to is fiction, she associates
fiction with themes of imagination/visualization/sense perception, painting, collaging, film,
release, and simulation/living. As I’ve previously mentioned, particular genres are associated
with particular archetypes, that is, to summon specific writerly identities. With regard to fiction,
the Creator archetype is dominant, with the subtypes of Novelist or Avatar (i.e., living through
one’s characters) and Artist—Painter, Collager, Filmographer, and Musician as subordinate. The
Artist even influences how Sara addresses genre and style as “color.” The subtype of the Altruist,
the Empath is also another important archetype for Sara, with an emphasis on expression,
109
feeling, and release. As a fiction reader, the subtype of the Warrior, the Underdog is apparent in
her affinity to plots about overcoming.
Sara also develops certain archetypes associated with the genre of argument. She
associates argument with themes of positive political action by means of the hybrid archetype of
the Altruist, Idealist, and Revolutionary, the Activist.
The predominant themes that emerged from Sara’s data tended toward the emotional or
spiritual dimension of her composing process, such as the ritual of writing in solitude, using
solitude as a means of purification. Likewise, the Wanderer archetype is apparent in her general
approach to composing as impromptu. In the end, her metaphor of inkless writing, too, speaks to
her sense of self as a critical thinker and poet, applying literacy as a metaphor for understanding
linguistic expression as a whole.
For Sara, other emotional concerns involved editorial issues, such as puzzling things out
or struggling to arrive at a destination or having to chop out content she was proud of. As with
the memo and letter, the archetype of the Ruler is present in the emotional tension to keep
pushing the writing further, to put things in the right place, to describe things with the right
words, to go in the right direction, and to arrive at the right destination.
Metaphor can tell us something about the spiritual/emotional state of a writer, about their
predominant identities grounded in specific genres of writing, and about the cognitive dimension
of conceptualizing literate activity. Researchers and educators alike can use metaphor analysis
and archetypal analysis to inquire into how individual writers conceptualize their literate activity,
discovering what that means for their evolving literate identities as well as aiding in the
development of those identities. Using metaphor analysis these ways expands our notions of
what it means to be a reader and writer the more metaphors we catalogue for reading and writing.
110
To speculate about the pedagogical value of the data-collection exercises, I want to
reflect on how the exercises encourage different aspects of writing development. With regard to
the writing quote exercise, having college-writers reflect on what writing is by using another’s
quote allows the students to teach themselves about what writing is, to personalize what writing
is. With regard to the LN, identifying a college-writer’s emergent archetypes aids the instructor
in being able to incorporate different genres to develop certain writerly perspectives. This aspect
of writing development is more about developing the motivations behind the text. Because Sara
is drawn to the Underdog (in reading) and the Activist (in writing) we can encourage her to
explore these identities in framing future texts. Applying metaphor analysis and archetypal
analysis are important ways to repurpose LNs. LNs teach to the writerly identities our students
are developing, those that have played significant roles in framing their history as readers and
writers. With regard to reflection, using memos and letters to reveal metaphors about students’
own editorial concerns and how they are dealing with them on an emotional level are vital for
meeting students where they are at developmentally. With regard to the survey responses, they
allow the participant to offer definitions of writing that naturally utilize metaphor, yielding
results that reflect what prompts a writer to write. Surveys also reveal unique aspects of a
writer’s composing process or what they consider to be most significant about writing. And,
lastly, the conferences allow one to observe and record metaphor in interaction.
111
CHAPTER 5: DAVID’S TEXT AND TALK DATA
We are simultaneously readers and writers. . . . As a writer, you live while you watch yourself living. You write while you watch yourself writing. You are simultaneously the director and the actor. You are the performer and the audience at the same time. You enter constantly into an internal dialogue. Writers are by nature ‘schizophrenic,’ not in any psychotic sense, but in the sense that you can’t help splitting yourself into two.
—Lawrence K L Pun from “The Writer as Reader – the Complexities of ‘as’”
In the following case-study, I construct a detailed profile of David’s metaphors. While it
may be permissible to suggest that the textual metaphors and their archetypal counterparts
discussed here assert something about the person existing outside the text or possibly how that
person orients themselves in the world, I am only asserting that the claims I make about David’s
identity are situated in textual representations, no matter the extent to which they apply to the
embodied person.
Continuing with the same format, this chapter performs a close reading of David’s
writing quote analysis, literacy narrative, reflection memo, revision letter, open-ended survey
response, conferencing, and argumentative research. As I consider his responses to the various
exercises, I provide a detailed analysis of the metaphorical landscape and development of each
text. The chapter moves from analysis to discussion, drawing on the relationship between
metaphor, identity, and pedagogy. I demonstrate the relationships between these areas of inquiry
by identifying the metaphorical themes and archetypes that reveal how David conceptualizes his
literate activity.
112
A close analysis of David’s metaphors teaches us how he conceptualizes literacy through
personal reflection, self-improvement, and therapy. For example, his mirror metaphor reveals
how literacy provides a reflection of ourselves, while his conversation metaphor invites us to
think about literacy as a way to talk things out. Metaphors of embodiment and health teach us
about how writing is an extension of ourselves and can serve to mend and heal. Embodiment
deals with how cognition is influenced and shaped by our bodily experience and, like writing
itself, is a tangible representation that gives form and expression to ideas and emotions (see
Dabrowska & Divjak). Metaphors of morphing, piecing, placing, puzzling, and capturing
exemplify editorial concerns. Even when faced with being unable to produce content, he
embraces the metaphor of inner-struggle. With regard to reading, the simulation-metaphor
teaches how reading mimics experience. David’s emphasis, too, on poetry as a language of
emotion and connection teaches us about the unifying power of literacy. Likewise, as an aspiring
educator, he perceives literary education as breaking students’ illusions or misconceptions and
providing counsel on how to deal with the depth and complexity of language. The value of
understanding how these metaphors coalesce is foregrounded in the archetypal expressions of the
Philosopher/Sage and Altruist, using knowledge to better himself and others. These are the
metaphors David reads and writes by.
In addition, the instructor marginalia for David’s LN, like Sara’s, reveals different
compositional procedures, that is, stages of mapping, mining, constructing, organizing,
clarifying, and weighing/impacting/balancing—the roles of developer, cartographer/surveyor,
archeologist/miner, architect/engineer, designer, chemist/optician, and the athletic concerns of
power, agility or dexterity. Continued research into instructor commentary may confirm that
there are, in fact, consistent metaphorical heuristics that pervade all composition commentary.
113
Because this chapter replicates the format of the previous one, with the exclusion of the
introductory data-collection sections, it is important to note that David’s discussion sections now
include comparative commentary, to explicate what we are learning by comparing Sara and
David’s responses. This chapter, again, argues for ways to use metaphor analysis to interpret
college-writers’ literate identities. Here I build a case for the dominant themes and archetypes
associated with David’s figurative thinking.
Case Introduction
David identifies himself as a Philosopher and Poet and hopes to become a Language Arts
teacher: “I consider myself a poet and poetry as a whole has influenced my life immensely.” In
general, David too desires to “improve [his] grammar and writing style.” He mentions this
includes learning new and different “writing techniques.” Within the classroom setting, David is
often contemplative in his responses. And music and lyrics are also among his primary literate
interests.
David’s Writing Quote Analysis41
For David’s response to the Writing Quote Analysis, he chose a common quote by
American novelist and short-story writer Ernest Hemingway: “‘There is nothing to writing. All
you do is sit at a typewriter and bleed.’” He interprets Hemingway as alluding to writing as “a
mirror of the self”—WRITING IS REFLECTION. David’s metaphor emphasizes how writing is an
act of identity. The mirror-metaphor reiterates how writing allows us to re-encounter ourselves.
While David acknowledges the quote is geared more toward fiction, he recognizes all
writers have “a natural bias and lens that they cannot escape from; it is a blessing and a curse.”
Bias is conceptualized as a constant constraint—LENSES ARE INESCAPABLE CONTAINERS. The
41 Refer to Appendix H for a catalogue of conceptual keys derived from David’s data for the Writing Quote Analysis.
114
lens-metaphor pervades academic discourse through the SEEING IS UNDERSTANDING conceptual
domain, and THEORIES AS LENSES is a predominant way we refer to the affect our beliefs and
philosophies have on our experiences of the world. Continuing with the theme of perspective,
David explains, “One cannot experience something wholeheartedly through someone else’s eyes,
but they can get as close as they possibly can through reading what a person has written.”
Analogically, he is relating that reading is a type of experience: Reading : Writing :: Simulation :
Experience. This dynamic portrays the act of READING AS EMPATHY/SYMPATHY/A SIMULATION
(OF EXPERIENCE). We read to relate to others’ experiences or experience what we have not or
even what we cannot.
Furthermore, writing may also allow us to reshape our thoughts. David expresses that a
writer may “morph whatever topic or situation they are expanding on into a new piece of art that
has their signature branded within it.” WRITING IS MORPHING (OUR LIFE EXPERIENCES INTO
ART). He explains, “When a person truly is passionate to put their heart and soul into writing, it
can easily become something of intellectual beauty.” WRITING IS A CONTAINER (FOR HEART
AND SOUL). He establishes the analogy Physical Beauty : Vision :: Intelectual Beauty :
Imagination. David later remarks that Hemingway’s quote inspired him “to put [him]self
[emphasis in original] into [his] writing.” WRITING IS A CONTAINER (FOR THE SELF).
Discussion
While Sara focuses on literacy as a sensory, imaginative activity, David’s analysis deals
with the theme of perspective as well as the topics of reflection, embodiment, and identity. His
metaphor usage is suggestive of the Wanderer archetype because Wanderers tend to perceive
WRITING AS INDIVIDUATION. A Wanderer’s primary drive is to find one’s Self, to let the creative
process take over for the sake of personal revelation. The pedagogical application of David’s
115
metaphors resides in asking questions about, “How does mapping the discourse of identity onto
the discourse of writing reveal new perspectives for what it means to be a reader and writer”?
How are writing instructors cultivating identity, the projection, formation, and representation of
the Self in writing? How do we teach writing as identification and identifying, as an extension of
our mind, body, or sense of being? These metaphors teach us how literacy is an extension of
what makes us who we are, and, when we develop our writing, we are developing our sense of
self, making the body of the text a virtual body for ourselves.
David’s Literacy Narrative42
In David’s LN, he develops the archetypal identities of Philosopher/Sage, focusing on
embodiment and self-improvement. First, reflecting on past literacy sponsors, David begins by
remarking that one of his past language arts classrooms was “a sanctuary of thought and joy for
[his] unimpressed, unmolded mind.” He expresses that many of the authors introduced to him
during this time were doors to new experiences: “These are just a few of the many writers [i.e.,
Ernest Hemingway and David Foster Wallace] that [my teacher] exposed me to, opening new
doors for me.” AUTHORS AND THEIR WORKS ARE DOORS (TO NEW KNOWLEDGE). This class
taught him “reading and writing can be joyful [emphasis in original]—once an individual finds
literature that has meaning to them,” giving them “a love for composing essays and devouring
literature.” On an emotional level, LITERACY IS represented as A JOY AND LOVE. David also
associates these emotions with the synesthesia of eating—“books that I really spent time
consuming and digesting.” The religious and emotional language, too, illustrates the spiritual
affect this period of literacy has had on him.
42 Refer to Appendix I for a catalogue of conceptual keys derived from David’s data for the Literacy Narrative.
116
Building on the emotional psychology of composing, David intersperses quotes from
literary influence, German philosopher Friedrich Nietzsche. Nietzsche himself admits how he is
“‘annoyed and ashamed of [his] writing’” and David empathizes, stating, “[A]t times it is a
bothersome and vulnerable thing to put your thoughts down on paper; into form and solidity
where they are naked for all to see. In this way they can be shameful in a sense, but also very
real [emphasis in original] at the same time.” THOUGHTS ARE PHYSICAL OBJECTS/BODIES that
experience vulnerability or shame as well as take on a life of their own. The embodiment
metaphor highlights the vulnerability and shame associated with the emotional psychology of
writing, which is juxtaposed with the earlier influence of joy and love.
David again references Nietzsche, “‘I have not discovered any other way to get rid of my
thoughts,’” which he interprets as meaning “writing can be equally stressful as well as
therapeutic.” WRITING IS THERAPEUTIC because “the act itself [medicates] our brains.” He
further explains, “The real questions that stick out to me most is ‘Why I want to [get rid of
them]? Do I want to?’ For me, this becomes the essence of philosophical writing: in that there
are these emotions, thoughts, feelings, and questions that will either torment or really excite us to
put down on paper.” The stress of writing can be torture, while the therapeutic value is exciting.
EMOTIONS/THOUGHTS/FEELINGS/QUESTIONS ARE TORMENTS OR EXCITES. The affect writing
has on the body is emphasized in the binary of stress and therapy.
Next, David asserts that LITERACY IS PERSONAL IMPROVEMENT/SELF-HELP. While
observing his reading habits, he notes, “I spent half hours and full hours reading, underlining,
and struggling to comprehend . . . to be reflective towards myself.” READING COMPREHENSION
IS A STRUGGLE or a “consciousness altering challenge.” Additionally, he explains,
“[P]hilosophers and writers inspire me to write and read as hard as they did, hopefully improving
117
myself in some way through the process.” For him, the struggle and challenge of writing
hopefully result in inspiration and personal growth.
Lastly, defining the social aspect inherent in literacy, David relates, “To me reading and
writing can be as social as talking to another person.” LITERACY AS CONVERSATION is
encapsulated in two distinct ways in the actual development of David’s LN: one, because he is
figuratively conversing with Nietzsche throughout; and, two, because he is dialoguing with
himself, as explicitly demonstrated in the use of rhetorical questions. Nietzsche’s quotes are
points of invention, talking us through his interaction, interpretation, and application. The
conversation-metaphor is practical because writers talk things out with themselves and talk
through others’ ideas, and the result is like Freud’s ‘talking-cure’.
Discussion
LNs, such as Sara and David’s, give us a much more detailed sense of how archetypes
influence or situate a reader and writer’s identity. Though LNs have not been previously used to
research college-writers’ metaphors, I have demonstrated the significance of using them for this
level of inquiry. Sara foregrounds her identity as Activist, whereas David foregrounds his
identity as Philosopher. David has a tendency to compose from an emotional spectrum of joy,
stress, shame, and love, emphasizing the mental health associated with his literate behavior.
David’s Instructor Marginalia43
Turning from the composing of the LN to the assessment of it, I advise, “[The memoir]
really replicates the memory in a strong narrative sense. Reflect more on the importance of
reading/writing mentors, in general.” MEMOIRS ARE REPLICATIONS. AFFECT IS PHYSICAL
43 Since David was unavailable for the peer-review, that data is not available, which is why the focus of this section is on the instructor commentary solely. Refer to Appendix J for a catalogue of conceptual keys derived from the Instructor Marginalia.
118
STRENGTH. DEVELOPMENT IS REFLECTION. Next, I implement the navigational/construction
metaphor of ‘transitioning’ for the purpose of getting David to think about how we get the reader
from one place to another or draw connections (e.g., “rethink the transition here”), followed up
by the metaphor of ‘giving’ to visualize what content still needs delivered (e.g., “give an
example???,” meaning EXAMPLES ARE OBJECTS). Occasionally, I offer brief comments like
“good” to describe the quality or development, implying the metaphorical relationship: SUCCESS
IS MORALITY (i.e., it denotes if something is pleasurable or sufficient). Generally, these quick
criticisms undergird a major part of the literal meaning of any review, that is, if certain parts are
structurally weak or strong, or bad or good.
Lastly, I utilize archaeology or mining to get David to visualize how themes are the result
of an iterative process of discovering and making connections. I offer: “You could possibly
reread the paper through this lens. It’s kinda a buried theme that might be worth digging up. This
is really your own answer to ‘Why write?’ isn’t it???” The metaphorical lens to which I am
referring is David’s statement: “improving myself in some way through the process.” THEMES
ARE LENSES. THEMES ARE BURIED TREASURE. RESEARCHING/DEVELOPING IS DIGGING.
Discussion
With Sara’s LN, I addressed the revisionary concerns of construction (structuring),
organization (ordering), clarity (understanding), impact (meaning), and spatialization/navigation
(mapping). Unsurprisingly, most of the metaphorical commentary from David’s LN mirrors
similar concerns: concerns of use, vision, success, size and weight. With the addition of the
archeological trope, the metaphor of digging/mining is a common example of how we talk about
evidence, that is, as uncovering, revealing, or emergent. With regard to genre, in Sara’s feedback
119
I framed memoir writing as a portrait and as a replication in David’s, which reiterates how genre
inspires different metaphors.
Overall, these short instances of metaphorical meaning demonstrate why we should not
overgeneralize studying metaphors for writing without considering the constituent parts of
composing—metaphors of thought, development, placement, movement, paragraphing, quoting,
theming, and genre. It is simply not enough to strictly research general metaphors for writing (as
other studies have done). We need to pay more attention to the metaphorical framework that
encompasses the whole figurative rhetoric of writing, from the miniscule to the macrocosm.
David’s Reflection Memo and Revision Letter44
Analysis: Reflection Memo
Transitioning from my assessment to David’s own assessment, he himself addresses
issues of personal growth and structure. Returning to the theme of self-improvement, David
aspires, “Hopefully when I get this paper back I can go over it with the Prof. and better myself in
this way.” (WRITING) CONFERENCING IS SELF-IMPROVEMENT. David focuses on how the writing
process improves a writer’s sense of self.
Employing parallelism, he refers to the basic organization of the paper as both an abstract
structure and a skeleton: “I also learned that length of a paper isn’t that intimidating as long as I
have a basic skeleton for it. A structure can really help sometimes.” WRITING IS CONSTRUCTION
and WRITING IS A BODY. Referring again to WRITING AS CONSTRUCTION, he relates, “I felt that I
did a good job of transitioning in between topics, on a past paper I felt this was a weak point,” as
well as mentioning, “I am proud at how I transitioned the paragraphs into one another.”
44 Refer to Appendix K for a catalogue of conceptual keys derived from David’s data for the Reflection Memo and Revision Letter.
120
In addition, reflecting on his experience with different genres, David compares and
contrasts his weekly responses with the official papers, noting, “It is odd because for most of the
responses I made up the structure as I went along, maybe it just depends on what I am working
on.” RESPONSE WRITING IS A SPONTANEOUS JOURNEY versus RESEARCH WRITING IS
STRUCTURED. Certain genres require a plan, while others allow us to tinker and innovate as we
go.
Analysis: Revision Letter
In the letter, David alludes to the performative aspects of composition, focusing on the
visual aspects of presenting, displaying, and expressing. Giving an overall assessment of the LN,
he describes, “I feel that my paper and the information is presented fairly well.” INFORMATION
IS PRESENTATION. Along the same lines, structure is conceptualized as an act of displaying—
MESSAGES ARE DISPLAYS: “I think I spent a good amount of time structuring my paper to the
way I wanted it. I think it is interesting and displays my message well. The theme that I tried to
express throughout my paper is about the joy of getting into reading, writing, and thinking,
whether it be in English for [sic] Philosophy.” THEMES ARE EXPRESSIONS. LITERACY IS A JOY,
as previously expressed in the LN.
Outlining his overall impression, David describes: “I think my voice emerges in a
confident way, but I would call it friendlier in a sense, if that makes any sense at all. I feel that I
guide the reader in well with the use of placing my narrative in the start of the paper. Then, I felt
that I smoothly guide the reader into my thesis and the beginning of my argument.” His ethos is
made apparent in the metaphors: AUTHORS ARE FRIENDS; AUTHORS ARE GUIDES. In terms of
expression and tone, David’s emphasis on joy and friendship outline his authorial intentions for
the LN. His purpose, as he states, is to emphasize the theme of joy and establish a friendship
121
with his readers. Framing metaphors such as WRITING IS A FRIENDSHIP are crucial for
understanding the kinds of audience relationships a composition inspires.
Discussion
The metaphors in David’s memo and letter make his editorial concerns explicit through
concerns of growth, structure/body, placement, and performance. The difference between Sara
and David’s approaches has to do with their overall sense of accomplishment; Sara feels her
writing is an unfinished voyage, design, or craft, whereas David feels confident in his
performance as a friend and guide. Sara’s memo and letter provide a sense of the felt-difficulties
college-writers encounter through self-reflective writing. David’s memo and letter focuses on
planning, transitioning, and learning. Self-assessment is a genre which gives the analyst insight
into the meta-composing process, that is, the concerns of the writer and their level of satisfaction
with their own work. It is important to see the college-writer’s own assessment of their work, so
that we can engage their metaphorical concerns and assist them, working through them together.
Analyzing metaphors in memos and letters helps to identify how writers see themselves and their
work.
David’s Open-ended Survey45
As we observed in David’s self-assessment, what prompts him to read and write is a
desire “to learn and better [him]self. Reading and writing can be a great way to reflect on
yourself and you’re [sic] thought processes. Reading challenges me to reassess my values based
on what the author is trying to tell me through the text.” Because literacy is about self-
improvement, it is (A WAY OF) RELFECTION or PERSONAL CHALLENGE. LITERACY IS A
45 Refer to Appendix L for a catalogue of conceptual keys derived from David’s data for the Open-ended Survey.
122
REASSESSMENT (OF VALUES). From a philosophical standpoint, literacy provides a reassessment
of who David is.
Offering his own definition, he claims:
Writing is a medium to trap your thoughts in, before they fly away from you. It is an attempt to capture the dense thoughts that come into our heads. Sometimes this process falls flat on it’s [sic] face and needs to be reevaluated. I would say my process normally consists of envisioning a thesis, and then getting quotes and points to back up the quotes with. After this, I try to puzzle it together in a way that works within the boundaries of the assignment, as well as expressing myself through it.
THOUGHTS ARE WINGED CREATURES. WRITING IS TRAPPING/CAPTURING/BOUNDED SPACE.
WRITING IS PUZZLING. Emphasizing the temporality of inspiration, David conjures the hunting
mytheme: WRITING IS A HUNT. The writer is paradoxically both the hunter and the object of the
hunt, the force doing the containing and the thing being contained. Thoughts are something we
go after or they are the shapes and images we arrange to create the bigger picture.
Lastly, David defines what is most significant about writing as being
that one should put their being into it as much as they can. This can happen subconsciously, because of course only one person is writing the paper. And this can also happen consciously, in that one tries to take their writing up from the bootstraps. A writer then hopes that what they have created will measure up to their goal that they started with.
WRITING IS A CONTAINER (FOR BEING). David often returns to themes of self-improvement and
embodiment, stressing how writing affects who we are and how we present ourselves.
Discussion
In the survey response, Sara focuses on the simulation-metaphor, where writing enables
her to live through fictional characters. David, however, focuses on writing as self-evaluation or
the act of encapsulating one’s sense of being. Both, however, see writing as an avatar. These
123
conceptions continue to develop the identities of the Creator as Role-player—living through
characters—and the Magician as Transformer—transforming values or sense of self.
David’s Conferences46
Conferencing gives us a behind-the-scenes look at what goes into a composition. David’s
conferencing dialogue addresses issues of inspiration regarding the development of his
Rhetorical Analysis project. David’s conference data focuses on the theme of tension and how
the instructor and student attempt to resolve or understand it.
The antithesis to David’s quest for self-improvement is self-struggle. David describes that
he is “battling against [him]self” or that he finds himself “in the way of [him] writing.” On two
accounts he refers to this feeling as an attempt “to force” himself to write or that he has no
“drive.” As much as we aspire to be inspired, inspiration can be an internal struggle. There are
times when we feel we have nothing left to give, that we are empty, that we do not want to
pursue what we were after any further. If inspiration is energy or fuel, how do we cultivate it
when we are low? Does it come from some metaphysical place or do we have to labor for it? I
present the argument to David that this feeling can be an illusion: “there’s nothing really in the
way except for us believing that there’s something there when there’s not.” And while this
potentially rings true, the illusion-argument does not get at David’s actual experience or resolve
his conflict. This raises the question of: How might instructors have more fruitful conversations
regarding the psychology of composing?
How we conceptualize writer’s block can also say a lot about how we conceptualize the
creative process. For instance, Sara’s conception of writer’s block is a damming of creative flow,
whereas David’s conception of writer’s block is a struggle with himself. Even the audio-
46 Refer to Appendix M for a catalogue of conceptual keys derived from Jason and David’s Conference data.
124
metaphor, where he describes his invention process as “jarbled,” reiterates this same sense of
confusion. In sorting out what he has produced, he returns to the puzzling metaphor in an attempt
to turn confusion into inspiration: part, put, fit, and move.
Discussion
David is effective at capturing the visceral experience of writing, especially when he
mentions that writer’s block is an issue of embodiment—his body not wanting to write. While he
often relates the act of composing to one’s sense of being, a writer must feel present in their body
to write. Writer’s block, then, for David, is a misalignment between what he wants to do and
what he feels his body and mental capacity will allow him to do. Being aware of the metaphors
we propose and exchange in conferencing dialogue aids us in understanding how writers make
sense of abstract concepts such as inspiration or the lack thereof.
David’s Argumentative Research47
Data-collection
In addendum to the LN and Rhetorical Analysis, I include an analysis of David’s
Argumentative Research project because he argues for the importance of teaching poetry in
secondary education. The argumentative research paper is the culminating project of the
semester. This paper is another form of data that incorporates meta-writing, as well as producing
unique genred conceptualizations for poetry, allowing us to observe specific metaphors for
poetry. Throughout his argument David exercises the hybrid archetypal subtypes of the Creator
and Sage, Poet and Educator.
Analysis
47 Refer to Appendix O for a catalogue of conceptual keys derived from David’s Argumentative Research data.
125
David begins with the following exposition: “Writing poetry is a way for me to capture
thoughts and intense emotions that sometimes I cannot express in any other way. I love the way
words can create images in the mind’s eye. I love capturing these images and finding my own
balance between words and the images they paint.” (POETRY) WRITING IS CAPTURING
(THOUGHTS AND EMOTIONS). POETRY IS CREATING IMAGES/PAINTING. These
conceptualizations hearken back to the hunting/trapping-metaphor which appears in the Survey
Response, where he emphasizes that inspiration is something that comes and goes and must be
contained, for fear it may escape the writer. In that previous instance, he had paired capturing
and puzzling, where he now pairs capturing and painting.
Detailing his own experiences with poetry, David expresses, “I have often begun poems
off of a single word coming into my head and it then spread into an idea of constructing a sort of
fluid-puzzle that makes a poem. The words in a poem can be constructed like a complex puzzle,
but often blend together the way a painter’s colors on the canvas do—they are less square and
defined and more versatile.” IDEAS ARE EVOLVING ORGANISMS/FLUID SUBSTANCES because
they spread. POEMS ARE FLUID-PUZZLES because they “blend” images, instead of piecing
together images, as in a traditional puzzle. The poet, therefore, is a type of painter.
Furthermore, from a pedagogical standpoint, David sees poetry instruction as an
opportunity for enlightenment and intervention. Arguing for the significance of poetry, he
conceptualizes POETRY AS IDENTIFICATION/EMOTIONAL EXPRESSION: “I believe poetry is
wholly significant and should be taught in high school writing classrooms because it is a mode of
identification and emotional expression, and it also develops critical thinking and close-reading
skills.” Elsewhere, he mentions, “If high school teachers break the negative expectations and
misconceptions of their students’ views of poetry, then the students will be more open (and
126
possibly encouraged) to discover poetry that attunes with their identities and sense of self.”
(RHETORICAL) EDUCATION IS BREAKING (ILLUSORY LENSES). Because David hopes to be an
educator, he sees WRITING INSTRUCTION AS INTERVENTION: “I see this as an opportunity for a
writing teacher to intervene and help her student through the complexity, to ultimately get
something [emphasis in original] out of the reading.” The identity of the Poet transitions to
Educator and takes on the attribute of Counselor. The different metaphors David proposes are
pedagogical because they offer a way to teach others how to understand poetry as a means of
representing their identity and expressing themselves. The metaphor of intervention is also
pedagogical in that it demonstrates how teachers are to act as guides for their students, to reveal
to them what is hidden in plain sight.
For David, poetry is connection, escape, and translation. David describes the social
dimension of POETRY AS CONNECTION and POETRY AS EMPATHY: “Poetry is just one of many
art forms connecting people to each other’s minds; it is a way to use language to experience one
another’s thoughts and feelings firsthand.” According to David, poetry is arguably a more
intimate genre of writing because it is the language of human emotion, offering us an intimate
experience. This is the Romantic archetypal quality of poetry.
David too argues, POETRY IS AN ESCAPE: “Poetry opens doors for the people that feel
damaged, broken, and cheated.” Poetry allows one to escape the feeling of being broken because
it repairs. Poetry allows one to experience the positive side of the binaries, the escape of feeling
repaired, fixed, and respected. This is the Healer archetypal quality of poetry.
Lastly, comparing poetry to essay writing, David focuses on translation. POETRY IS
TRANSLATION (OF THOUGHT AND EMOTION): “Poetry becomes the way to express intense
thoughts and emotions which cannot be translated simply, or even specifically in a five
127
paragraph essay.” He expresses that poetry is a matter of offering a translation—assuming
emotion/thought are languages—due to poetry’s sometimes mystic, cryptic, or abstract ability to
translate emotion into image or impression. He goes on to describe,
In my own experience poetry is a way for me to vent my intense thoughts and emotions into a tangible, yet open, form. In high school I discovered a love of poetry on my own through Jim Morrison’s writings, and the transparency and creativeness of poetry can be a catalyst for students seeking other means of expression.
Like the escape-metaphor, poetry offers another means for experiencing life and language. This
is the Magician aspect of poetry.
Discussion
David’s data from the Argumentative Research project gives us insight into specific
metaphors and archetypes for poetry: Artist, Romantic, and Healer. Poetry is painting or
translation, because of its emotive ability to speak through the language of imagery. Poetry is
connection, because of its ability to inspire intimacy. And poetry is escape, a way to transmute
negative emotion.
Interpretation
I summarize here the predominant genres, themes, archetypes, and teaching points related
to David’s use of metaphor. A reoccurring highlight of David’s data was the focus on self-
improvement, whether it be by means of essay writing or poetry. For instance, this focus is
apparent in writing as a mirror of the self and therapy as healing and escape. David, too, often
emphasizes the dual aspect of composition: psychology and embodiment.
Because David is drawn to philosophy and poetry, he associates philosophy with themes
of reflection, simulation, emotional psychology, and conversation, and poetry with themes of
hunting, puzzling/painting, connection, escape, and translation. As I’ve previously mentioned,
128
particular genres are associated with particular archetypes, that is, to summon certain writerly
identities from which to compose from. The transition from Wanderer/Sage to Magician is
David’s most dominant progression, with the Romantic, Altruist/Healer, and Everyperson
embodying themes of joy/love, therapy, and friendship. More specifically, subtypes like the
Hunter influence how David addresses inspiration, as an act of tracking and capturing.
Additional archetypal concerns, like challenge or self-struggle, stress the attributes of
perseverance and overcoming. David teaches us to reflect on ourselves through writing, to
consider its emotional depth and its ability to provide new experiences.
The next chapter continues to interpret and compare Sara’s, David’s, and my own data. It
moves from individual analyses of the MIEs to a presentation of the comprehensive results of all
participants’ MIEs, highlighting general trends and larger patterns of analysis.
129
CHAPTER 6: METAPHOR INVENTION EXERCISES
We are all heroes in our [own] right; we have our own thoughts and in some way[,] shape or form that single thought could be the one that saves someone. . . . By writing today I can do that with my words, I can become a hero in my own right. . . . By becoming a writer we are becoming a hero, we may not [know] it yet, but our writing is the ultimate symbol in the fight against evil.
—Anonymous Student A from their Beginning-of-the-Semester MIE
While chapters 4 and 5 focused on analyzing college-writers’ implicit metaphor usage,
Chapter 6 looks at participants’ explicit use of metaphor. That is, in the former chapters, I
analyzed metaphors which occurred naturally in the course of a college-writer’s writing. All
data-collection in previous chapters neither requested nor encouraged the use of metaphor. In the
present chapter, I request that students use metaphor to develop an exposition on what literacy is.
It is those explicit metaphors I analyze here. In design, this chapter is, by and large, a replication
of Tobin’s original research, with the addition of a comprehensive report of all MIEs. I begin
with a close analysis of Sara’s, David’s, and my MIEs and then move to the larger concern of
cataloguing the entire data-set of MIEs, paying particularly close attention to what metaphors
were predominant and what metaphors were rare. In addition, I employ archetypal analysis to
further categorize all results.
Data-collection
The MIE is an exercise that asks participants to intentionally use figurative language to
define what literacy is. MIEs are valuable because they make explicit how a writer
conceptualizes the composing process and how they see themselves as a reader and writer. Sara
130
asserts herself through the Artist and Explorer. David asserts himself through the Healer and
Philosopher. The instructor expresses himself through the Spiritual and Superhero.
An Analysis of Sara’s MIEs48
We should write because it is human nature to write. Writing claims our world. It makes it directly and specifically our own. We should write because humans are spiritual beings and writing is a powerful form of prayer and meditation, connecting us both to our own insights and to a higher and deeper level of inner guidance as well… We should write because writing is good for the soul… We should write, above all, because we are writers whether we call ourselves writers or not.
—Julia Cameron from The Right to Write: An Invitation and Initiation Into the Writing Life
The major premise of Sara’s beginning-of-the-semester MIE is: “Writing is like
painting.” The Creator as Artist/Painter is the archetypal nature of her first MIE. It develops her
reflections on imagination and imagery by defining writing as a visual art. The primary
conceptual key of the MIE is WRITING IS A TACTILE/VISUAL ART.
Sara narrates, “You start off with a blank space and you build on it, just like how you
start off with a white canvas.” The creative process is a building process: WRITING IS BUILDING.
Furthermore, Sara’s use of parallelism between “blank space” and “white canvas” implies that
THE WRITER’S MEDIUM IS (LIKE) A CANVAS. Equating the roles of writer and painter, Sara
details that “both work towards stirring emotions, producing thoughts, and creating a picture for
the admirer.” Sara provides distinct implicit metaphors for detailing the artistic process: stir,
produce, and picture. EMOTION IS conceptualized as A LIQUID SUBSTANCE, which is significant
because the act of painting involves liquid substances. This implies that painters/writers paint or
color their work with emotion.
48 Refer to Appendix P for a catalogue of conceptual keys derived from Sara’s data for the MIEs.
131
Sara describes THOUGHTS AS PRODUCTS and ARTISTRY AS CREATING IMAGES. Like
containers, thoughts store information and are intended to be delivered and unpacked. The
artist’s goal is to be “able to carry their thoughts out efficiently to the receiver.” In this particular
instance, the content is the image. Because the goal of the writer is to create an image, the
reader’s role is admirer—READING IS VISUAL ADMIRATION/APPRECIATION.
Sara also explores the concept of writer’s block. She defines WRITER’S BLOCK AS FEAR
(i.e., “the one thing every writer dreads”), consisting of “stages of inability” to create or satisfy.
What is obstructed is “the flow of ideas,” and this is consistent with EMOTIONS/THOUGHTS ARE
LIQUID SUBSTANCES. She emphasizes that this type of fear is instead a challenge to the artist to
amass additional inspiration until they reach a point of “experiencing an overflow of creativity.”
She refers to this state as the “artistic peak.” Typically, ‘peak’ is used in reference to mountains,
audio, or liquid volume. Whether it be a mountain or dam, this particular creative obstacle
encourages the artist to achieve peak performance, to rise to the occasion—
PROGRESS/OVERCOMING IS UP. For Sara, this obstacle is largely portrayed as a positive
necessity instead of an unfortunate event, even though it may be, as she says, the dread of every
writer.
Sara begins her final MIE by recalling her initial one:
At the beginning of the semester I began this course with a limited view on writing, or at least, with a favorite type of writing; story-telling; novel-writing. I thought of writing as painting, painting a picture for the reader to be able to recreate [i.e., READING IS RECREATION] whatever the writer imagines.
Addressing the limitations of her previous metaphor, she explains, “[W]hen it comes to debate
and argument, I think that writing as painting isn’t the ideal metaphor.” This reflection and
insight reveal a developing sense of genre awareness: “Little by little, I began to realize that for
every type of writing, a different metaphor can be extrapolated.” She goes on to express, “[W]e
132
cannot associate one specific thing with writing while disregarding the rest.” Sara has expanded
her view from fiction to argument, thinking of writing as being able to be conceptualized in a
multitude of ways based on genre and context. Getting college-writers to invent and reinvent
metaphors for writing allows them to come face-to-face with their own theories of writing—
applying, problematizing, and rethinking—revealing how those theories, in turn, impact their
writing, which is what Sara demonstrates here as she reorients her understanding of what writing
is through argument.
For Sara, the concepts of writing and argument have merged: “For debate and argument,
writing can be defined as a way to express a person’s opinion, in a sense that it makes an opinion
more concrete.” ARGUMENT AS CONCRETE EXPRESSION entails that the substance of our
internalized opinions, which can be thought of as non-solidified, is converted into a solid through
written expression. Chemical metaphors like this appear elsewhere too: “To begin an argument a
person must develop a clear view on their own opinions, through reading and research.”
ARGUMENTS ARE REFINED SUBSTANCES.
In the final MIE, Sara pivots from Painting to Discovery, summoning the Explorer
attribute of the Wanderer archetype: “For me, to write my opinion on paper means that not only
have I officially announced that I hold a specific stance on something, but I’ve also confirmed it
to myself. Writing is discovery.” The keyword that links argument and discovery for Sara is
“opinion”: OPINIONS ARE ANNOUNCEMENTS, STANCES, and CONFIRMATIONS. She points out
that we confirm what we believe as we write it out, “discovering oneself in a way that had not
been previously thought about.” Narrating how opinions develop, she describes, “[W]hen we
write about an argument, we are exposed to multiple points of views, many of which may be
compelling to consider. Through this exposure we find our own beliefs and points of views
133
questioned. Our minds go into a tug of war.” BELIEFS ARE POVs, where the surface level tug-of-
war metaphor expresses how forming opinions involves the pull of belief and push to change
stances. ARGUMENT AS EXPOSURE and EXPOSURE AS FINDING highlight the importance of
social interaction, which had been previously conceptualized in the dynamic of creation and
admiration in the first MIE.
Forming our own opinions through writing, she argues “helps to put our mind at ease. It
is our opinions that help us develop our identity as an individual, and as a nation of people.”
Expressing our opinions in writing settles uncertainty as well as represents those “foundations
[at] our cores.” Argument is an inward journey, where we discover ourselves as we go, where we
center our being and nurture identity.
Discussion
In the first MIE, Sara takes on the identity of the Artist as Hero, focusing on the visual
production or stimulation of the writing process, replete with its adversities and successes. This
mytheme exhibits the basic elements of Joseph Campbell’s Hero’s Journey: separation, the
writer sets out on a journey into the unknown—the blank canvas; ritual/test, the writer
experiences the wisdom of fear and joy in the form of some obstacle—writer’s block; and return,
the writer delivers a gift for others’ benefit—the reader’s admiration. The relationship between
these two levels of metaphoric meaning reveal how the target (i.e., writing) and source (i.e.,
painting) are conceptualized in terms of other implicit metaphors. And, as in the case of emotion,
they may be directly complimentary when compared with surface metaphors. This correlation
demonstrates what other researchers have often overlooked in interpreting MIEs, and it is a
significant one.
134
While Sara conceptualizes writing as painting, both writing and painting are
conceptualized as JOURNEYING, PACKAGING/SHIPPING, and FLOW. Typically, mixed metaphors
are discouraged in handbooks, despite the fact that they are a common occurrence at the implicit
level. The notion that mixed metaphors should be avoided is misguided, considering that we use
them all the time, as is the case here. Additional research is needed to demonstrate how blended
conceptual spaces generate mixed metaphor synergies. The idea that different metaphors should
not be mixed is antithetical to what metaphor is—a mixture.
In Sara’s final MIE, the archetypal trajectory goes from Wanderer to Sage, moving from
exploring to knowing. It develops her reflections on discovery and identity by defining writing as
expression and formulation. She takes on the Explorer subtype as she focuses on the implications
of the research process.
Sara’s MIEs demonstrate how college-writers sense of what literacy is, is an evolving
process. She reminds us that metaphors for literacy can be specific to genre and situate different
types of writerly identities, like the Painter for fiction or the Explorer for argument. The value of
her first MIE has to do with the cultivation of imagination in literacy, how we occupy an
imagined space as we read and write. The value of her final MIE has to do with the
understanding that literacy is a means to discover our identities, not just as readers and writers,
but as complex, evolving human beings.
An Analysis of David’s MIEs49
Writing is not only a salve but often a tool that opens our minds and hearts to things that are deep inside us.
—Karen Cangialosi from “Healing Through the Written Word”
49 Refer to Appendix Q for a catalogue of conceptual keys derived from David’s data for the MIEs.
135
David begins the first MIE with the assertion: “Writing is a Surgical Operation.” He
explains, “Writing in and of itself can be a painstaking process,” due to the inherent difficulty of
it “never [being] set in stone.” The surgical metaphor emphasizes the creative pains of writing.
He expresses how part of the pain is acknowledging and accepting that WRITING IS (A
CONSTANT STATE OF) CHANGE: “We envision a sole idea of what our end result ‘should’ look
like in our own mind’s eye and we think before we start that it will be this specific thing.” Such
pain is the result of experiencing discrepancies between the writer’s ideal self and their actual
progress.
Extending the surgical-metaphor, David explains, “A surgeon may be operating on a
patient performing a simple incision and removal of unwanted matter, although complications
may . . . arise.” He refers to the ‘unwanted matter’ as the “worries and concerns” that “bring . . .
to light inner struggles and fears.” Physical surgery allows David to efface the psychological
dimension or pathos of writing. He encounters the paradox of removing what is no longer
necessary to encounter what is.
Furthermore, David describes, “Using the tool of writing can become a scalpel that
breaks the skin and lets us bleed for a moment.” In this scenario, the writer-as-patient is also the
writer-as-surgeon, performing the operation on themselves. Recalling David’s writing quote
analysis, the surgical-metaphor may even draw some inspiration from Hemingway’s WRITING AS
BLEEDING metaphor.
Next, David integrates themes of transformation and antagonism. He mentions, “Our
greatest passions and antagonists can arise from the ashes of our writing.” WRITING IS A
REFINING FIRE. Predominantly, the figurative language of the MIE has negative connotations:
surgery, pain, struggle, uncertainty, change, and fire. But out of this struggle, the phoenix-
136
metaphor emerges—WRITING IS TRANSFORMATION—to personify how our passions and
antagonists are what remains after the writing process has burned everything else away. ‘Ashes’
represent the necessary, unwanted matter referred to earlier in the surgical analogy. David’s
metaphorical movement, too, like Sara’s, is reminiscent of the basic structure of the Hero’s
Journey. The writer is taken from his everyday life, experiences some type of threat in the form
of a struggle, and is reborn to face the struggle with renewed energy and power.
Continuing with the theme of antagonism and healing, David explains that the operation
of writing is not without its complications, because, when writers open themselves up to
vulnerability, they may be “infected by the germs of the world,” that is, if an audience “turn[s] it
back on them in . . . slanderous ridicule”—CRITICISM IS INFECTION/CRITICS ARE GERMS. All in
all, David’s closing insight provides: “The upside to all this pain and difficulty of and after
writing is that like stiches writing can close up the wound.” The wisdom of David’s metaphor
speaks to the pain and difficulty of the healing process because, paradoxically, surgery is
simultaneously both pain and healing. Writing cuts us open, extracts content, and brings healing.
On the flipside, David’s end-of-the-semester MIE utilizes identity language and
reflection/mirroring metaphors. He begins with the explicit metaphor “Writing is an expression
of the self,” expressed elsewhere as: “When one writes they are putting a bit of themselves into
their writing, whether it be from their individual reflection or not.” He states that a writer
“creates their own persona,” which is “what makes art human and imperfect—thus immensely
beautiful” (emphases in original).
Next, the MIE transitions to a fictional scene where two friends are walking alongside a
body of water, watching each other’s reflections. David interprets his analogy as follows:
What is the significance of this illustration? Why does it matter if your friend sees you unlike you do yourself? It is the way your reading of your writing is seen
137
differently because 1) you have only seen your face in a mirror (and you have never seen your body outside of yourself completely); thus you have only observed your own writing based upon your own [emphasis in original] personal standards and 2) your friend has been the observer of yourself i.e. your physical appearance, but this is rippled/distorted by her own perception of you; she reads you and your writing based upon her own standards . . . .
He depicts WRITING/READING AS PERCEPTION, expressing the paradox of never being able to
observe ourselves outside of ourselves, or someone else never being able to perceive who we are
from within.
Discussion
David’s first MIE—the surgical-metaphor—highlights aspects of the writer’s psychology
we might otherwise overlook, though often experience, that is, the struggle or pain of being a
Creator. What if we had more conversations with our students about the pains of writing? Some
level of pain, whether it be our basic frustration or an audience’s rejection, is a natural part of the
writing process we could incorporate into our discussions about what it means to be a writer, and
metaphors like David’s give us the language to do so. David identifies here with the Magician
archetype through themes of transformation and healing.
Furthermore, David’s second MIE—the mirror-metaphor—emphasizes how writing is, in
part, an illusion as well as a reflection: it gives the sense that we have seen ourselves, or that
others see what we see. The illusion or paradox of finding one’s self is the overarching concept
he continually wrestles with as he develops his writing philosophy, from healing to seeing.
An Analysis of Jason’s MIEs50
Maybe you could change this metaphor to writing is being an anti-hero/dark-hero, being someone who is a hero but maybe isn’t accepted by everyone. / As a high school writer, . . . I was told; how I was going to write, what style I would write in, and that my views on writing were wrong. . . . I felt that I would never write anything worth reading just what the teacher wanted to see. . . . . Coming into this
50 Refer to Appendix R for a catalogue of conceptual keys derived from Jason’s data for the MIEs.
138
class and being accepted for the type of writer I am was incredible, then being told that I had great ideas was even better. I felt that I could finally write about what was important to me and that would be something worth writing.
—Anonymous Student A from their End-of-the-Semester MIE
In the following section, I analyze my own MIEs. Each response was composed during
both preliminary MIE sessions. In the first response, metaphors of renewal and power depict an
exploration of the inward, spiritual dimension of writing. The second response, in turn, develops
the altruistic theme of saving ourselves and others.
I title the first MIE “WRITING is A NEW START,” a rephrasing of the quintessential
journey metaphor. Mentioned among my motivations to write are: “to feel the power of
redemption and resurrection” and the “hope that we can be [emphasis in original] our better
selves, that we can be renewed in some way.” WRITING IS
REDEMPTION/RESURRECTION/HOPE/RENEWAL.
Throughout, there is a continued interest in writing as a metaphysical place where “we
can be our better selves” and experience “the opportunity for a ‘new’ you.” This is summarized
in the explicit metaphor: “writing is the writing of an identity.” Arguing that non-fiction writing
is akin to what fiction writers do in inventing characters, I explain: “[W]e can reinvent ourselves:
our values, our beliefs, our relationships with people.” WRITING IS REINVENTION. An essential
part of the spiritual journey is self-discovery, as expressed in: “I always feel like I’m looking for
the me I truly am in my writing.” Writing helps us confront the question of who we are because
it forces us to articulate just that. Likewise, I relate that the revision process is not just about the
words themselves but about “revising the person who put those words on the page.” REVISION IS
PERSONAL REVISION. In the end, I claim, “Maybe I don’t really know who I am until I write it
out.”
139
Along with the concept of revising one’s self, I imagine that “[w]riting is a way to come
back to life.” Referring to my history as a reader and writer, I recount how LITERACY IS
RESURRECTION: “I can’t tell you how many times I’ve found a new start in a quote, in a song, in
a fantasy narrative, or religious text. I will die and be reborn a million times before I leave this
world because of reading and writing. This is how writing is a spiritual act.”
Lastly, I addresses another spiritual aspect of writing through the theme of connection:
“[S]omething magical happens when we really, truly connect with another human being through
writing—empathy maybe, but also this sense that we’re not alone in our fears and hopes.”
WRITING IS MAGIC/CONNECTION/EMPATHY.
Furthermore, my second beginning-of-the-semester MIE builds on themes of power and
salvation. Archetypal dimensions of the Ruler and Altruist evolve the transformative language of
the Magician. Beginning with the explicit metaphor “WRITING is BECOMING A
SUPERHERO,” I claim that, like a superhero, writers need to learn how to control their power.
In most superhero origin stories, their power is portrayed as “a hidden gift or misunderstood
gift,” and I link this with how writing is a power “inherent within us all.” Like the superhero
origin story, there may come a moment in a writer’s life where the “emergent power” of writing
“awaken[s],” either through “tragedy or an accident or epiphany.” Furthermore, I stress that a
superhero uses their power with the intention “to save lives.” Extending the analogy, I forward
that “writers could be known for the same things: writing is power—there is salvation in
writing.” A writer’s goal is much like a superhero’s because “[s]uperheroes[,] like great
writers[,] can change the world through their own personal transformation, to preserve and
honor life, to fight against injustice, to be the voice of the voiceless.” WRITING IS CHANGE (FOR
THE GREATER GOOD).
140
Moreover, “[w]riting unlocks the power of the imagination, an imagination that will drive
us to discover the superhero within.” Bringing attention to the moment we first recognize our self
as a writer, it is accompanied by “a sense of internal power, the discovery of an inner life.” I
restate: “My writing is often the superhero that I want to be.” The struggle or challenge central
to any superhero’s origin story is learning to control their power, so that it does not end up
controlling them—“[t]o have control in writing is to have voice—to become yourself.”
Discussion
I explore the spiritual capacity of literacy as a renewing energy, emphasizing its
inspirational power to incite change in ourselves and use that change to impact the lives of
others. As a spiritual force writing is magical; it connects us and inspires us to be our better
selves. In both exercises, I focus on literacy as a means of finding one’s self, confronting who I
am or what I believe I am meant to be, from spiritual rebirth to rescuing others. The superhero
metaphor carries with it the mandate of the educator, assisting others in the introspective act of
reading and writing, to find the superhero within.
Comprehensive MIE Results
When you’re cooking sometimes you don’t follow all the steps or you add your own special touch, and that’s what writing is all about; finding a way to make it your own. I think when writing and cooking you’re supposed to have a basic outline or recipe to follow, but it comes out better when it’s not the typical structure, you always want something different.
—Anonymous Student B from their End-of-the-Semester MIE
This section recounts the comprehensive results for the entire sample set of MIEs. For
this particular data-collection method, I replicate Lad Tobin’s (1989) “Bridging Gaps: Analyzing
Our Students’ Metaphors for Composing” and Paulson and Armstrong’s (2011) “Mountains and
Pit Bulls: Students’ Metaphors for College Transitional Reading and Writing” to revisit their
141
interpretations and results, to compare and contrast how MIEs could be implemented in future
classroom practice and research.
Past studies, however, have not comprehensively detailed their overall results; but rather
have represented their findings as anecdotal evidence, meaning they are used as exemplary
illustrations to develop criticisms and advances in thinking about metaphor without emphasizing
general trends, total quantity or frequency. While Shaw and Mahlios in “Adult literacy students’
metaphors of reading and writing” do present their results comprehensively, they are largely
constrained by the pre-scribed multiple-choice format of their data-collection method (see Shaw
and Mahlios).
Beginning with Tobin’s anecdotal highlights, he claims that certain students’ metaphors
exhibited elements of frustration, powerlessness, and detachment: “Again and again incoming
freshman writers describe writing as doing something they hated—going to a doctor’s checkup,
doing household chores, doing homework” (449-450). Other metaphors of note mentioned being
stranded on an island, visiting the dentist, or jumping into a freezing lake. Paulson and
Armstrong also point out that positive/neutral/negative connotations were useful for coding the
affective quality of their data. My data, however, did not corroborate that negative
conceptualizations were that prevalent. My data-set includes household chore metaphors and a
winter season metaphor, but these types of conceptualizations only contribute to roughly 5.2% of
the entire data-set and are not entirely negative in their emphasis. This inconsistency may reveal
that MIEs are challenging to corroborate over time because of contextual factors like
generational or sociocultural differences or the impact of writing programs or course designs,
which is why it is important to recursively revisit this research to investigate contextual trends. It
142
is a matter of conjecture as to why there are differences between the studies’ representations of
negative conceptualizations.
Additionally, Tobin, Paulson and Armstrong constrain how they model their data by
over-emphasizing the use of product and process to categorize their metaphors. Tobin interprets
that students “think of writing in terms of cooking, building, or manipulating objects, but often as
the result of these activities rather than the activities themselves; that is, writing as a pie rather
than baking, a house rather than designing or constructing” (447-448). Tobin seems to see
process-metaphors as more advantageous—a somewhat popular trend in the figurative rhetoric
of writing over the last few decades. I, however, disagree that these delineations aid us in
interpreting the worth or effectiveness of a student’s MIE development. I would even go so far as
to say that I am quite unsure exactly how product can be divorced from process in the first place.
Unfortunately, these categories eventually break down and outstay their usefulness. For instance,
Paulson and Armstrong categorize “College writing is like a video game. Because it will keep
getting harder” as a product-metaphor (497). How is experiencing increasing levels of difficulty
in playing a videogame not a process too? Games are products that engage the processes of play,
intellectual stimulation, efficiency, optimization, and tactical and strategic advancement. Again,
the research itself is constrained by its own framing metaphors. These generalizations are not
inherently bad but are only useful to a point and are often relied upon too heavily. By
overemphasizing product, Paulson and Armstrong are failing to address what the metaphor of
gaming is really communicating or what that might say about the student who composed it. It is
on this point that I believe archetypal analysis is a more sufficient way to code the exigencies
and rhetorical energies present in figurative language usage.
143
On the other hand, Tobin advances that MIEs are useful indicators of conceptual change,
that is, change in students’ perceptions of writing across time. For example, 18 out of the 29
students participating in my study chose to change their metaphor before the end of the semester.
However, 37.9% of the students’ conceptions remained the same, revealing that there are
implications that suggest certain conceptualizations remain consistent over time. Additional
longitudinal studies are needed to track semester-to-semester or year-to-year to see how
consistent or in-flux college-writers’ metaphors are over larger timespans. What triggers
conceptual change or reinforces conceptual consistency remains a matter of speculation.
Popular conceptual domains generated by participants drawn from Tobin, Paulson and
Armstrong’s research include: baking, building, drawing, expression, journeying, making music,
playing games/sports, shopping, dressing and cosmetics, and relationships. The most prominent
domains from my study include: art, sports, socialization, identity, technical procedures,
household chores, journey, human faculties, existence, experience, and seasons. Art and sports
metaphors dominated the beginning-of-the-semester data-set, whereas technical/procedural and
journey metaphors dominated the end-of-the-semester data-set. There was a tendency to move
from the themes of discipline and expression to technique and exploration.
Domains, which represent the most generic codes, are further broken into
types/categories (i.e. specifying codes), and are compared using overall percentages. Results
follow in order of quantity, from greatest to least.
Table 1.251
Beginning-of-the-Semester MIEs: Comprehensive Results
51 All percentages have been rounded to the nearest tenth and each count is equal to one student response, as each student generated one overarching metaphor per MIE.
144
Domain Art Metaphors (24.1%)
Type
Audial
Performance
Visual
Category
Music
Dancing
Magic Trick/Illusion
Painting
Count
2
1
1
3
Domain
Sports Activity Metaphors (20.7%)
Category
A Sport
Baseball
Basketball
Bowling
Preparing for States
Volleyball
Count
1
1
1
1
1
1
Domain
Social Activity Metaphors (13.8%)
Type
Existential
Relationships
Category
Life
Falling in Love
Meeting New People/Socialization
Count
1
1
2
Domain
Identity Metaphors (10.3%)
Category
Becoming a Hero
Self-Exploration/Self-Expression
Count
1
2
Domain
Technical/Procedural Activity Metaphors (10.3%)
Type
Culinary
Leisure
Medical
145
Category
Cooking
Learning How to Ride a Bike
Surgery
Count
1
1
1
Domain
Household Chore Metaphors (6.9%)
Category
Doing Laundry
Loading the Dishwasher
Count
1
1
Domain
Journey Metaphors (6.9%)
Category
An Amusement Park Trip
A Shopping Trip
Count
1
1
Domain
Human Faculty Metaphors (6.9%)
Category
Imagination
Count
2
Table 1.3
End-of-the-Semester MIEs: Comprehensive Results
Domain
Technical/Procedural Activity Metaphors (20.7%)
Type
Culinary
Financial
Leisure
Category
Cooking/Baking
Accounting
Learning How to Ride a Bike
Puzzle
146
Count
2
1
2
1
Domain
Journey Metaphors (13.8%)
Category
Discovery
Exploration
Packing for a Trip
Count
2
1
1
Domain
Art Metaphors (10.3%)
Type
Audial
Performance
Category
Music
Dancing
Magic
Count
1
1
1
Domain
Existential Metaphors (10.3%)
Category
Human Development
Life
The Universe
Count
1
1
1
Domain
Experiential Metaphors (10.3%)
Category
Everything and Nothing
Fun
Psychological/Emotional Release
Count
1
1
1
Domain
Identity Metaphors (10.3%)
Category
Being a Hero
Self-Expression
147
Count
1
2
Domain
Sports Activity Metaphors (10.3%)
Category
Basketball
Competition
Count
2
1
Domain
Human Faculty Metaphors (3.5%)
Category
Inspiration
Count
1
Domain
Seasonal/Weather Metaphors (3.5%)
Category
The Winter Season
Count
1
Domain
Social Activity Metaphors (3.5%)
Category
Getting to Know Someone
Count
1
Domain
No Response (3.5%)
Category
N/A
Count
1
148
To some extent, Sara and David are outliers, being a part of the 24.1% of students that
identify as readers and writers outside of the collegiate setting. With this in mind, how do their
metaphors compare with the rest of the participants? Sara’s first MIE falls into the category of
art, which makes up 24.1% of the first data-set, with painting contributing to 10.3%. Her second
MIE falls into the category of journey, which makes up 13.8% of the second data-set, with
discovery contributing to 6.9%. David’s first MIE falls into the category of technical/procedural,
which makes up 10.3% of the first data-set, with surgery being unique, as the only one in its sub-
set. His second MIE falls into the category of identity, which makes up 10.3% of the second
data-set, with self-expression contributing to 6.9%. My own metaphors, which are not included
in the statistics, align with journey and identity, which coincide with Sara and David’s own
persuasions.
To give some sense of how the other students perceived themselves, we will consider
how they identify themselves as someone who:
• does not enjoy writing (mentions disinterest)
• someone who emphasizes both enjoyment and difficulty/does not think too much
about writing (mentions writing as a challenge)
• someone who is familiar with writing (mentions specific stages of the composing
process)
• someone who identifies as a reader/writer (mentions either reading/writing outside of
college).
The following are the college-writers’ perceived attitudes about writing and the metaphorical
trajectories of each:
149
Table 1.4
Perceived Attitudes and Metaphorical Trajectories
Does Not Enjoy Writing (3.5%)
Trajectory
• SocializationàThe Winter Season
Count
1
Emphasizes Both Enjoyment and Difficulty/Does Not Think Too Much About Writing (27.6%)
Trajectory
• Doing LaundryàAccounting • Falling in LoveàLearning to Ride a Bike • Loading the DishwateràDiscovery • LifeàLife • DancingàDancing • Learning to Ride a BikeàLearning to Ride a
Bike • BasketballàBasketball • VolleyballàCooking
Count
8
Familiar With Writing (41.4%)
Trajectory
• Shopping TripàPacking for Travel • Self-ExpressionàFun • PaintingàHuman Development • BowlingàCompetition • MusicàSelf-Expression • SportàBasketball • Preparing for StatesàThe Universe • ImaginationàExploration
150
• Meeting PeopleàGetting to Know People • CookingàCooking • Magic IllusionàMagic Illusion • MusicàMusic
Count
12
Identifies As A Reader/Writer (24.1%)
Trajectory
• Self-ExplorationàPuzzle • Imaginative TransportationàInspiration • PaintingàDiscovery • Amusement Park TripàEverything and
Nothing • BaseballàPsychological Release • SurgeryàSelf-Expression • HeroismàHeroism
Count
7
The metaphors that remained the same over the course of the two MIEs included: life,
dancing, riding a bike, relationship, cooking, magic illusion, basketball, music, and heroism. The
metaphors that changed are significantly larger and consistencies are much harder to pinpoint.
Specifically, there were no general patterns to account for with these metaphors, meaning that
each student moved from one distinct metaphor to another. While general domains were
common among participants, the trajectories with which they shifted from one to the other were
altogether unique. Even the curriculum seemed to play a minor role in impacting these
trajectories, as the class moved from primary research to rhetorical analysis to argument. The
weekly topical metaphors used to introduce new writing concepts, such as writing as
151
conversation or writing as therapy or writing as design, were not overtly mimicked in the MIEs,
that is, at least not in any obvious way we could draw distinct connections to.
Some students altered the type of metaphorical activity within the same domain, such as
trip moving from ‘shopping’ to ‘travel’ or a specific sport, for example, like ‘bowling’ moving
to the general category of ‘competition’ or the general category of ‘sport’ moving to the specific
category ‘basketball’. Many of the students’ metaphors simply jumped categories, like ‘baseball’
to ‘psychological release,’ as some metaphorical shifts were more contrastive than others. One
distinct trend that emerged from the data is that a majority of the metaphors appear to be drawn
from students’ everyday experiences, current positions held, or hobbies (i.e., musician, athlete, or
significant-other, etc.); it is these identities which seem to have the most influence on the MIEs.
In terms of archetypal analysis, Creators, Everypersons, and Warriors dominated both the
beginning-of-the-semester and end-of-the-semester data-set, though Wanderers began to emerge
toward the end, reinforcing the trajectory of creating and achieving transitioning to discovery.
Table 1.5
Beginning-of-the-Semester MIEs: Archetypal Results
Archetype Meta-narrative Literacy is about . . .
MIE #1 Total Percentage
Idealist Optimism, trust, and faith.
0%
Everyperson Resilience, survival, and community.
• a shopping trip
• doing laundry
• learning how to ride a bike
• life • loading the
dishwasher
24.1%
152
• meeting new people
• socialization Warrior Discipline, courage,
and competition/achievement.
• a sport • baseball • basketball • bowling • preparing for
states • volleyball
20.7%
Altruist Compassion, generosity, and self-sacrifice.
• becoming a hero
3.5%
Wanderer Independence, authenticity, and self-discovery.
• self-exploration
• self-expression
6.9%
Romantic Enthusiasm, passion, and commitment.
• falling in love
3.5%
Revolutionary Innovation, empowerment, and liberty.
0%
Creator Imagination, invention, and advancement.
• cooking • dancing • imagination
(2) • music (2) • painting (3)
31%
Magician Charisma, inspiration, and transformation.
• magic trick/illusion
• surgery
6.9%
Ruler Influence, leadership, and power.
0%
Sage Curiosity, wisdom, and truth.
0%
Comic Play, joy, and freedom.
• an amusement park trip
3.5%
Table 1.6
153
End-of-the-Semester MIEs: Archetypal Results
Archetype Meta-narrative Literacy is about . . .
MIE #2 Total Percentage
Idealist Optimism, trust, and faith.
• inspiration 3.5%
Everyperson Resilience, survival, and community.
• accounting • getting to
know someone
• human development
• learning how to ride a bike (2)
• life • packing for a
trip
24.1%
Warrior Discipline, courage, and competition/achievement.
• basketball (2)
• competition • the winter
season
13.8%
Altruist Compassion, generosity, and self-sacrifice.
• being a hero 3.5%
Wanderer Independence, authenticity, and self-discovery.
• discovery • exploration • self-
expression (2)
13.8%
Romantic Enthusiasm, passion, and commitment.
• psychological/emotional release
3.5%
Revolutionary Innovation, empowerment, and liberty.
0%
Creator Imagination, invention, and advancement.
• cooking • baking • dancing • music • the universe
17.2%
154
Magician Charisma, inspiration, and transformation.
• magic 3.5%
Ruler Influence, leadership, and power.
0%
Sage Curiosity, wisdom, and truth.
• everything and nothing
• puzzle
6.9%
Comic Play, joy, and freedom.
• fun 3.5%
So, what do MIE case-studies reveal comprehensive results do not? While comprehensive
results reveal general trends in identifying domains, they do not focus on how implicit metaphors
interact with explicit metaphoric invention, such as with Sara’s painting metaphor utilizing the
implicit metaphors of journeying, packing/shipping, and flow or David’s surgery metaphor
utilizing the implicit metaphors of struggle, healing, and transformation. It is on these grounds of
analysis that Rhetoric and Composition has missed applying the full implications of Lakoff and
Johnson’s work. Solely focusing on explicit metaphor invention belies the full extent to which
we might understand how metaphorical meaning emerges and is situated.
Other studies reviewed here do not account for how rhetorical concepts such as
metaphors for emotion, thought, belief, identity, voice, imagination and power are integral to the
figurative rhetoric of writing. Genre is also rarely used to distinguish between types of metaphor,
though it often dictates what metaphor is dominant for a specific kind of writing, such as Sara’s
emphasis on painting for fiction or self-discovery for argument. I have sought to advance and
emend these issues by representing the data as detailed case-studies, demonstrating the
significance of including the interplay of these peripheral elements.
155
The final chapter concludes arguments addressing how case-study analysis—in the
context of researching college-writers’ compositional metaphors—allows us to create
metaphorical profiles of our students, to see writing from their perspective and value ways we
might reimagine writing instruction. I reflect on the relevance and significance of my research by
addressing each of my research questions and final interpretations of the case-profiles. Lastly, I
review my study’s contribution to the field and consider its limitations as well as how it
encourages future research.
156
CHAPTER 7: METAPHORICAL PROFILES
What makes metaphor possible . . . is what makes truth possible. —Jacques Derrida from White Mythology: Metaphor in the Text of Philosophy
Chapter 7 is the comprehensive interpretation of Sara and David’s data, as well as my
own. Each metaphorical profile presented here is a summary of the participant’s figurative usage
as considered from all data-points. I begin the conclusion by responding to a call from
contemporary research that encourages why we need to continue researching the metaphors
college-writers read and write by. Moreover, I review what we have learned from previous
chapters, returning to the results and findings of the analysis to extend the contributions of my
research. After these discussions, I review each research question to elucidate how the present
body of research advances them in unique ways.
Alignment with Current Practices in the Field
Since the metaphor boom of the 1980s, Rhetoric and Composition has only embraced the
‘conceptual turn’ in part. Daniel P. Richards’ (2017) “Dwelling in the Ruins: Recovering Student
Use of Metaphor in the Posthistorical University” calls attention to how scholarship and
pedagogy, which addresses college-writers’ metaphors, has waned: “Over the last three decades
or so, how much more have we learned about our students’ metaphors? How much effort have
we exerted to designing assignments that uncover their metaphors rather than asking them to
participate in ours” (para. 4)? I have sought to bring renewed interest to this very issue and have
demonstrated the types of data-collection that aid in advancing researching college-writers’
metaphors.
157
The case-studies presented here advocate for us to consider our practice from our
students’ metaphors instead of solely from our own field’s assumptions, that is, to reframe how
we teach writing, so that we can teach to our students’ experiences from our students’
experiences. While not all writing instructors explicitly teach writing by metaphor, they do so
implicitly; as the metaphor scholarship has so indisputably demonstrated how our thinking is
guided by and reflected in the metaphors we use. Thus, writing instructors should seek to be
aware of the metaphors that guide their teaching as well as those that guide how students develop
as readers and writers. College-writers need proper access to skillsets for generating and
analyzing metaphor:
For decades we have seen metaphor help us shape our field, our teaching practices, and our work with others, and this has undeniably affected our students in ways beyond their control. We have long honed our skills in and with metaphor and have collectively become quite dexterous in our usage of metaphor, but we have not placed enough attention on how to get students themselves to hone the same type of skills. (Richards, para. 14)
Richards goes on to say, “The challenge here is designing prompts that would help us as teachers
access these metaphors and have open discussions about what this realization of power might
mean.” Within the present body of research, I have outlined the types of prompts that elicit
meaningful metaphorical exchange between instructor and student. We should to continue to
encourage our students to see literacy through metaphor because “[m]etaphor is an accessible
and practical way to bring in different perspectives, . . . encourage student creativity, and develop
critical metacognitive skills to help them understand complex concepts.”
My research exists for instructors who want to pursue how to become better educators
because I believe that increasing college-writers’ experience with metaphor increases the
applicability of literacy to their lives. Kathleen Blake Yancey (1998) points out, “Through
reflection we teach ourselves through metaphor, and that is the primary mode of students’ native
158
languages” (201). College-writers need to be taught to make writing their own. Metaphor is an
excellent way to accomplish that.
Chapter Reviews
In Chapter 1, I argued for the value of researching college-writers’ metaphors by means
of case-study. I claim that CMT aids instructors and researchers to conduct a unique type of
identity research. Predominant studies to date have been: Tobin (1989), Miller (1993), Hart
(2009), Neaderhiser (2009), Paulson & Armstrong (2011), Dadurka (2012), and Shaw & Mahlios
(2014). These studies, however, do not provide detailed student cases that engage a variety of
texts and genres, nor distinguished between explicit and implicit levels of metaphorical meaning
or drawn valuable connections between metaphor and archetype. I demonstrate how metaphor
influences how we understand our discipline and how college-writers are impacted by metaphor.
I argue for a metaphorical literacy, that is, teaching students the ability to construct and
deconstruct metaphorical meaning. I define this rhetorical approach as an investigation into how
metaphor structures thought, behavior, and identity. The shift from metaphor as an ornament of
language to a frame for conceptualization is important for the composition classroom because
metaphor influences how we conceptualize the entirety of the composing process and specifics
of individual compositions, not just adding flare or decorum. In Chapter 1 we learned how
metaphor analysis can speak to a writer’s identity and encourage writing development.
In Chapter 2, I reviewed the major shifts in metaphor theory, analyzing the metaphorical
assumptions of each:
• Substitution Theory – Metaphor is allegory.
• Comparison Theory – Metaphor is similarity.
• Interaction Theory – Metaphor is exchange.
159
• Conceptual Theory – Metaphor is a frame.
• Archetypal Theory – Metaphor is identity.
In addition, drawing on examples like the St. Martin’s Handbook, I show how our field continues
to subscribe to an old rhetoric of metaphor. Booth, Frisbie, and Seitz have all called for a
revamping of our definition of metaphor to integrate CMT. Early work in metaphor paralleled
the cognitive turn and brought renewed attention to what goes on in the mind of writers while
they compose. Emphasizing cognition and composing led to the study of metaphor in
Composition, which was made more popular by calls like Tomlinson’s and MacQuade’s—the
call to focus attention on how people think about their writing and how that thinking influences
their composing. Or as Seitz offers, we should also investigate student’s implicit levels of
metaphor usage. Or as Eubanks’ encourages, we need to consider how identity is situated in our
metaphor usage. In Chapter 2, we learned what archetypal theory adds to CMT. The
compatibility of the two types of analysis reveal how identity is situated in the stories we tell
about ourselves. The narratives we construct, therefore, result from the metaphors we use, and
the metaphors we use summon certain archetypal identities.
In Chapter 3, I outlined my research design, laying out the importance of integrating
Teacher-Research, Critical Pedagogy, (Auto)Ethnography, and Critical Metaphor Analysis, as
well as drawing from a variety of data-collection methods. These positions allow me to
triangulate the data, to postulate results from multiple angles. I demonstrate the viability of the
following methods for researching compositional metaphors: collecting data on college-writers
analyzing quotes on reading/writing; inventing personal metaphors; composing literacy
narratives; participating in peer-review; reflecting on previous writing assignments; defining the
reading/writing process; and discussing invention and revision. I consolidate methods for
160
conducting metaphor analysis by combining procedures and practices from the Pragglejaz
Group, Charteris-Black, Lakoff and Johnson, and Charmaz and Spinuzzi. Furthermore, I
demonstrate how to apply Carol S. Pearson’s archetypal system, repurposing it to identify types
of literate identities. This new approach identifies the relationship between metaphor and identity
using meta-narratives, to make assertions about how literate behavior is motivated by the
archetypal positions we read and write from. In Chapter 3, we learned how to conduct metaphor
and archetypal analysis.
In Chapters 4, 5, and 6, I presented analyses of the implicit and explicit metaphors Sara,
David, and I read and write by. I demonstrated how researchers can construct metaphorical
profiles by identifying themes across various writing samples and talk data. I revealed how
implicit metaphors and explicit metaphors work together to establish mythemes; how different
genres inspire different metaphors; and how metaphors position different archetypal expressions.
In Chapters 4, 5, and 6, we learned about each participant’s predominant and subordinate
metaphors and archetypes, which are summarized and reported here:
The Instructor’s Implicit Theory of Literacy
Writing is how I process everything . . . . It’s kind of my church. It’s my faith. It’s my temple. It’s how I understand the world.
—Dani Shapiro, author of Inheritance
For me, writing was my outlet, my church, it was my healing, and my safe place. I would close my room door, and the outside world would melt away into a nothingness that felt so peaceful, a moment of peace when my mind was at war.
—Sunny Red Bear, Native Author and Activist
My data was relegated to the MIEs, marginalia, and conferences. The purpose of this was
to focus on my own spontaneous metaphor usage. I recount here the main arcs of my
metaphorical identity as a reader, writer, and educator across the span of the study. From Acolyte
and Superhero to Craftsman, Designer, Organizer, and Collector, each archetype foregrounds the
161
mythemes and discursive metaphors I use to situate who I see myself as, as a reader, writer, and
educator.
Starting with the first MIE, I align myself with the Spiritual archetype, a subtype of the
Magician, because I focus on the conceptualization WRITING IS A SPIRTUAL JOURNEY. In doing
so, I position myself as a spiritual mentor. Borrowing from religious discourse defines the
objectives and motives that influence why I read and write—themes of renewal, power,
redemption, rebirth, and hope. I perceive writing as an extension of spiritual expression. An
important part of that is self-discovery and self-improvement; this happens, for example, when I
stress that the revision process is not just about revising the text but about revising the person
who composes the text. This exposition on spirituality shows how my religious life has
influenced and impacted my views on literacy in unique ways.
Related to religious discourse, I briefly allude to the metaphor of magic to emphasize the
rhetorical connection between interlocutors: “[S]omething magical happens when we really,
truly connect with another human being through writing”—a force that moves us, provides us
with an experience or shifts our perspective. Likewise, Kennedy uses the metaphor energy and
Burke implies a correlation between rhetoric and magic as something that not only persuades us
to think differently but to act differently. These theoretical concepts have had great influence on
my philosophy as a rhetorician.
In the second MIE, the concepts of spirituality and magic morph into a fascination with
superhero mythologies. The prototypical superhero narrative deals with accepting and integrating
some special power, learning to control it, and exercise it for the benefit of all. WRITING AS A
SUPERPOWER establishes my aspiration to write from the identity of the Superhero, a hybrid of
the Warrior and Altruist archetypes.
162
The Spiritual and the Superhero establish integral parts of my theory of literacy, that
reading and writing are about personal transformation and the exercise and control of power.
Moving from the MIEs to the instructor marginalia reveals how I conceptualize the
processes of editing and revision. A majority of my commentary utilizes some degree of implicit
metaphorical meaning, whereas the use of explicit metaphor is rarer in these circumstances.
Reflecting on the theme of organization, I hold that writing is about displaying (“setting up”),
fitting (“fit with the rest”), and cleaning (“cleaning up”). Likewise, I conceptualize the external
design of a text through architectural discourse: frame, transition, arch, and extension. While
Lakoff and Johnson demonstrated that we conceptualize THEORIES AS BUILDINGS, this type of
discourse corresponds directly with my own real-world identities as carpenter or craftsman,
visualizing the design space of my writing as a virtual construction. Other discourse terms I
frequent are: lens for perspective, reflection for idea generation, morality for production,
economy for value, focus for emphasis, strength for meaningful impact, mining for development,
cutting for editing, and tying for synthesis. While I speculate that these are common in other
instructors’ responses, the metaphors of cleaning and design are activities I identify with outside
of writing, and impact on how I engage the activity of writing and criticism as a Designer and
Organizer.
Lastly, the conferencing data, like the marginalia, engages review discourse, so again the
emphasis is on instruction and recommendation. In general, the conferencing data contains more
content from the instructor’s perspective.
One of the major discourse frames of the conferencing dialogue is WRITING IS A
CHALLENGE/QUEST, dealing with venturing, testing, answering problems, and
struggling/wrestling with an obstacle. An important part of this dynamic is leveling: “The next
163
level that I’m trying to get you at is that you can show me you know how to write a thesis, you
know how to tie it all together.” The challenge or quest of writing relies on issues of navigation,
where spatial-relationships establish how writing is an abstract, mental space, like a physical
space, one we create and move through: location, area, walk-through, go back, start, end, move,
step, and expand; route, stance, and position or ground. In addition, I focus on the discovery of
theme as a matter of puzzling things out: “find a theme.”
In an explicit example, I emphasize that writing is a matter of balance or exploring
multiple ways to construct a message. I see this approach as a solution to relying too much on
templates. The design approach puts power in the hands of the writer, to realize that their writing
can go in many different directions. As such, the designer must reason out why they chose one
over the other: “Yeah, so you bring up two really interesting dilemmas. And this gets at when I
talk about writing as design, this is what I mean. You’re getting at, well, ‘I realize I can design it
two different ways, so what’s the best way?’” In another instance, I explain,
And that’s why I say writing is also a matter of design. You, as the writer, are gonna have to design how you think it’s best to discuss it, right? Realistically, I can tell you what to focus on but I can’t tell you how you need to actually shape the text. . . . . There are various ways that you can envision how this paper gets written.
I often attend to the metaphor of voice as well: “To me it’s [i.e., writing’s] important
because it’s where you get your voice out there. And as humans we have that desire to connect,
to have our voices heard. And for us to be remembered for something. Adding your voice to an
issue like that. That’s something worth being remembered for.” Along the same lines, writing
involves the relational aspect of “sharing your viewpoint with someone else” and “usually it’s
something where it’s changing me.”
164
While metaphors for reading were far less common or more challenging to elicit or
observe, one of my own metaphors for reading, mentioned in the conferencing, is collecting:
“Reading isn’t just reading something on paper. There’s a process of, like you pull out things that
affect you.” While we refer to texts as collections, we perceive knowledge as something to
acquire and collect. The identity of the Collector, which is a subtype of the Sage, is another
identity that carries over from my real-world identity as a hobbyist, which is how I conceptualize
and engage the research process itself, as curating a collection.
In retrospect, with the conferences, I myself became more and more aware of the use of
metaphorical scripts. For instance, I begin all conferences stressing how revision is not about
fixing a paper. I refrain from the assumption that revision is the mechanical process of fixing
what is broken, which often leads to students assuming revision is about correcting typos or other
sentence-level errors instead of evolving the writing at a conceptual level. The notion of fixing
tends to focus on what is already on the page, instead of considering what more can be added and
how that might help evolve or improve the text. In my experience, fixing emphasizes editing
over developing. Based on this thinking, I substitute fixing with shaping or improving. Likewise,
metaphorical scripts, such as this, are more prevalent than realized, embedded in prompts and
lectures. How we script out our implicit theories of literacy could lead to other possible research
opportunities.
Sara’s Implicit Theory of Literacy
From Creator, Artist, and Painter to Role-player, Activist, and Investigator, these are the
archetypes that Sara uses to position herself as, as a reader and writer.
From the outset Sara defines writing as “bringing [an] image to mind” or “creating a
picture,” showcasing that she focuses on the imaginative, creative aspect of reading and writing,
165
especially with regard to fiction. Verbs such as “paint” are a way for her to express, both
explicitly and implicitly, this aspect of writing. The Painter archetype, a subtype of the Creator,
is apparent in most of Sara’s earlier data. In her reflection memo, she claims, “[T]his paper isn’t
the color that I usually write,” revealing how the Painter is not solely associated with her explicit
conceptualization. Sara also refers to her fiction writing as “snippets,” which showcases the
Artist as scrapbooker, where composition is a matter of collaging images together. In the
conference dialogue, she refers to jotting down ideas as “snippets” too.
Another important aspect of the Creator appears in Sara’s survey data, where she
mentions that her fiction writing enables her to live through her characters. Fiction involves
creating avatars or fictional bodies for the author/reader to live through. WRITING IS
INCARNATION.
In Sara’s second MIE, she expresses how each genre has the potential to breed its own
metaphors. She critiques her first MIE as being limiting, developing the new metaphor of self-
discovery, which now emphasizes argumentative expression and identity. She moves from the art
of creating imagery to recreating one’s self, shifting from Creator to Wanderer, from Painter to
Explorer. While this realization reveals a greater sense of genre awareness, Sara could have also
reflected on how she might approach argument through the lens of imagery, to push the
metaphor even further. This allows one to ask, “What images do writers impress upon their
readers in an argument? How do these images immerse the reader in the content of the argument
or imply claims?”
Furthermore, in her LN Sara mentions her preference to compose in solitude. The
Explorer becomes the Seeker or Ascetic through the metaphor SOLITUDE IS PURIFICATION. And
the Activist, a subtype of the Revolutionary, becomes more apparent as the LN progresses—
166
themes of standing for something or standing-up for others. Other identities foreground different
facets of Sara’s Activist identity, like the Underdog, a subtype of the Everyperson; the Enigma, a
subtype of the Idealist; or the Analyst, a subtype of the Wanderer. The main insight of the LN
culminates in the realization that reading and writing themselves can be metaphors—any kind of
meaning-making is writing and any kind of interpretation is reading.
Another important aspect of the college-writer’s creative process demonstrated in Sara’s
reflection and dialogue is her experience with the tensions of decision-making and content
development. Sara’s philosophy of writer’s block, while it brings attention to fear, dread, and
inability, reframes it not as a lack of substance but a damming up of substance until it reaches an
eventual overflow of creativity. This means, for her, writer’s block is much more about acquiring
the patience needed to deal with adversity. She refers to her own personal psychology of writing
being about coming face-to-face with insecurity, the critical inner voice one has to satisfy or
quiet. Lastly, in the revision conferences, we see Sara sorting out issues of proportion, cutting,
and fitting. She even mentions dealing with her own “shifting” views. This posits that refining a
composition often involves the act of puzzling things out.
David’s Implicit Theory of Literacy
From Surgeon and Nature-hiker to Philosopher, Psychologist, and Poet, these are the
archetypes that David positions himself as, as a reader and writer.
From the outset, David defines writing as “a mirror of the self” by highlighting the
reflective aspects of literacy, especially with regard to poetry and philosophy. From his writing
quote analysis to his MIE, metaphors of embodiment are used to express, both explicitly and
implicitly, this aspect of writing.
167
David, too, returns to issues of comprehending something from another’s perspective or
seeing beyond his own bias, as with the pond-metaphor in the second MIE, relating how his own
perspective is something he “cannot escape from.” He comes to the conclusion that we may truly
never come to know another person’s experience or intent. From this standpoint, the hybrid
archetype of the Wanderer and Sage—the Philosopher—is prevalent in most of David’s musings.
Furthermore, David attends to the psychology of writing in his surgical–metaphor
developed in the first MIE, which emphasizes pain, inner-struggle, and fear. He, however,
counters these negative connotations through themes of transformation and healing. From the
perspective of a surgeon performing surgery on themselves, we get an intriguing portrayal of
how the psychology of writing is akin to physical surgery. For David, the identities of surgeon
and patient merge to express that writing is not just something writers do for others; writers
cannot separate themselves from what happens to them during the writing process. The subtypes
of the Sage—the Psychologist and Philosopher—are reinforced throughout: “Writing is an
expression of the self.” Along these same lines, in his LN, David explores the psychological
themes of vulnerability, shame, and therapy. Carrying over into the survey data, the archetype of
the Psychologist is again reinforced through his focus on writing as self-improvement, making
the motives of self-reflection and the betterment of one’s self apparent.
In his argumentative research paper, David reflects on the intimacy of poetry, recounting
that it connects people and allows them to experience another’s thoughts and feelings. He even
refers to the poetry of song-writing as a “spiritual experience.” Human connection is brought to
the forefront as he stresses the emotional dimension of writing. The archetype of the Poet as
Romantic is emergent in the theme of empathy, where writing is about feeling something deeply
and sharing that with others.
168
Lastly, in the revision conferences, we witness David “battling against [him]self” and
coming up against an unidentifiable roadblock. Much like Sara’s exposition on the frustrations of
generating content, David experiences writer’s block not as a resolve to patience but of admitting
confusion, trying to understand why he is getting in the way of his creative process. This
experience is a timeless paradox for the writer, being the hero who is, at the same time, their own
worst enemy or critic.
Contributions: Research Affordances
Each profile summarizes the character arcs of each participant, reviewing how metaphor
situates and positions their literate identities. My research contributes to previous research by: 1)
implementing the frames of METAPHOR AS MYTHEME/NARRATIVE and METAPHOR AS
ARCHETYPE/IDENTITY to capture how identity is expressed through metaphor; 2) coding for
particular genres of writing; 3) coding for different levels of metaphoric meaning, and 4)
engaging case-studies that present college-writers’ individual literacy-metaphors from a variety
of writing samples and data-points. Overall, I have sought to demonstrate how explicit and
implicit metaphorical conceptualizations translate or tell a story about who we are as readers and
writers. My study amends the limitations of previous research, of relying too heavily on solitary
data-collection methods (i.e., focusing on the invention of explicit metaphors solely); of not
including various genres or analyzing metaphors for literacy that occur naturally in talk, or did
not consider detailed student case-studies.
To explore each contribution, I review my initial research questions, responding to each:
1) How do college-writers’ conceptions of reading and writing—their figurative thinking—
influence, shape and impact their interactions with reading and writing as well as situate
themselves as certain types of readers and writers?
169
For example, the different metaphors Sara uses for fiction position her as a Creator, Artist
or Painter. In the case of her expository writing, she is a Wanderer, Seeker and Activist. As with
David, his metaphors for poetry position him as an Idealist/Romantic. In the case of his
expository writing, he is a Sage/Magician, Philosopher or Psychologist. My own explicit
conceptualizations position me as a Magician/Spiritual or Superhero, and the instructive
commentary positions me as an Organizer, Designer, and Craftsman. A distinct reciprocity exists
between the metaphors we use and the archetypal exigencies we embody.
Archetypal positioning has implications for how we frame and shape texts. For Sara, the
position of Artist frames and shapes her texts as visual art forms. For David, the position of
Psychologist shapes his texts as personal investigations and education as counseling. For me, the
position of Organizer captures how I visualize writing as putting everything in its place. The
adage, “A place for everything, everything in its place,” captures, at least, one of the perspectives
for how I perceive composing, from chaos to order. Clearly, metaphors position different
archetypal identities that influence our writing development.
2) What are some of the most prevalent as well as rare metaphors for conceptualizing
literacy among first-year college-writers?
According to the comprehensive data involving the MIEs, the general domains of art (i.e.,
creativity and performance), sports (i.e., preparation and performance), and social activity (i.e.,
life and relationships) were dominant metaphoric responses in the first MIEs. Metaphors of
household chores, journeying (i.e., preparation, travel, and experience), and imagination (i.e.,
visualization and virtual experience) were rare or far less frequent. Technical/procedural (e.g.,
making food, leisure activities involving play, and money management) and journey metaphors
(e.g., discovery, exploration, and travel) were more predominant in the second MIEs. Metaphors
170
of inspiration, social activity, and seasons were rare or less frequent. A majority of the results
speak to the college-writers’ everyday experience and how those experiences intersect with their
identities as readers and writers. The MIEs demonstrate how real-world identities crossover with
literate identities, borrowing from common domains of experience to understand other more
abstract experiences, such as writing.
I classify metaphors that occurred once—or are uncommon in the literature on
compositional metaphors—as rare, meaning that they are outliers in relation to other more
commonplace conceptions. Metaphors of this type were heroism, surgery, and the abstract
metaphors of the universe (i.e., limitless) and everything and nothing (i.e., taking nothing and
making it something). Additional research is necessary to garner or confirm, outside of my study,
what metaphors are, in fact, rare examples. The more this type of research is replicated the closer
researchers can get to being able to determine the delineation between commonplace and rare.
3) How do instructors’ and college-writers’ metaphors compare or contrast?
Many of the generic metaphors are universally shared—metaphors of art and journeying,
to name a couple. This is consistent with CMT due to the fact that we all share a common
conceptual un/conscious. As the instructor, my explicit metaphorical identities as Designer and
Spiritual (i.e., focusing on art and contemplation) relate with Sara’s identity as Artist and
David’s identity as Philosopher. This highlights how metaphor helps us understand one another
from different vantage points or establish a common ground of experience. Comparatively, all
case-study participants sympathize with the tensions of writing through metaphor (i.e.,
whirlwind, damming, and inner-struggle) and reflect on finding themselves in their own ways
through metaphor. Distinctively, Sara tends to focus on the imaginative, immersive qualities of
writing; David tends to focus on the contemplative aspects; and I tend to focus on the spiritual
171
attributes. When it comes to reading, both Sara and David gravitate toward the simulation-
metaphor, whereas I allude to a collection-metaphor.
Because composition is an established discourse, it is comprised of ingrained metaphors
that are often used by those who participate in that discourse, whether an entry-level learner or
professional. These types of metaphors were predominant across the various writing samples and
were developed explicitly in the marginalia data discussion: mapping, mining, constructing,
organizing, clarifying, and weighing/impacting/balancing—the roles of developer,
cartographer/surveyor, archeologist/miner, architect/engineer, designer, chemist/optician, and the
athletic concerns of power, agility and dexterity.
4) In what ways might college-writers’ literacy-metaphors encourage us to reimagine
composition pedagogy?
From the outset, I have argued that college-writers may have more to teach us about our
craft than we give them credit for; moreover, instructors should actively seek to see things from
students’ perspectives to influence what we teach. This is an essential reciprocity of the
classroom, meaning that we should be encouraging ways that we can learn from one another. An
awareness of our students’ metaphors allows us to teach to their experiences. Enacting this type
of methodology is a valuable way to teach students to see writing as an essential component of
identity representation—to see how the identities we write from shape what we write and how
we write. Sara’s perspective has taught us about creative imagination and activism. David’s
perspective has taught us about the psychology of composing.
In addition, other metaphors mentioned in the MIEs such as heroism bring attention to
the ethical and inspirational components of writing. If we let our students inspire us through their
metaphors, we gain opportunities to integrate their metaphors into how we teach writing.
172
Integrating MIE exercises into the classroom as a pedagogical tool aids us and our students in
tracking conceptual development. Perspective-taking is an essential component of metaphor and
using metaphor invention allows one to experience writing from another’s perspective, and
possibly helps us all see literacy in a nuanced way.
Limitations: Research Constraints
Particular constraints of the current research design include: the size of the data-pool; the
length of the study; types of documents excluded, such as instructor syllabi or assignment
prompts; and the absence of stimulated recall interviews to later confirm, extend, or redirect
college-writers impressions of their own metaphoric development. Most importantly, the
research represents certain types of writers, whereas both of my participants identify as avid
readers and writers outside of the classroom. The affordance, though, is the ability to focus more
on the analytic and narrative details of each case, no matter the type of student. If we are to learn
more about how college-writers’ conceptualizations remain consistent or evolve, future studies
will need to consider how time impacts metaphoric development. Researchers might also
consider partnering with students to develop the role of participant-researcher, making an effort
to involve students in the autoethnographic details of representing themselves and analyzing their
own metaphors.
Implications for Future Research
My data reinforces how metaphors create mythemes (i.e., metaphors construct
narratives); are substantiated by archetypal patterns (i.e., metaphors enact roles); and are the
essential components of theory-building (i.e., metaphors construct knowledge). I encourage the
field of Rhetoric and Composition to continue exploring how metaphorical formation,
173
construction, and representation impact how we conceptualize what literacy is and does. To me,
this inquiry is at the very crux of defining the intersection between Rhetoric and Composition.
Directions for future research might involve investigating researchers in the field as well
as other professional writers from various discourses, to uncover other ways to research the
metaphors we read and write by. While researching college-writers’ and instructors’ metaphors
inspires ways to integrate metaphor analysis into the classroom, the variability and replicability
of case-study research requires additional data to aggregate and corroborate findings across
multiple studies. I have synthesized previous studies on compositional metaphor, setting the
stage for future investigations. As Tomlinson remarked, “I cannot hope to prove that writers’
representations of their composing—or their conceptions—influence their actual composing
processes until we have gained considerably more knowledge of what goes on during writing
activities” (59). I believe we are much closer to saying that we can prove that writers’
compositional metaphors influence their composing.
Reflecting on My Experience
Overall, how I utilize MIEs and give instruction on metaphor analysis or encourage
college-writers’ to reflect on their identities as readers and writers was the impetus for why I
began this research. Before I found the data-collection methods useful as research tools, I first
found them useful as pedagogical tools, as my research is directly influenced by classroom
praxis. Over the course of the study, I focused on the college-writer’s potential to educate us, that
is, if we allow ourselves to experience reading and writing through their metaphors, because their
“metaphors can help us learn what we need to teach” (Tobin 456). The findings reflect the value
of teaching to our students’ experiences, such as encouraging and reusing Sara’s metaphors of
imagination and discovery or David’s metaphors of healing and reflection. One way I have come
174
to utilize my findings is through increased cognizance of how my students talk about writing and
how I respond to the language they use, especially in conferencing. But, in general, I do not
advocate that there is one specific way to teach to our students’ experiences. My research
admonishes us to shift our perspectives as instructors. To that end, a good starting point is,
simply, opening up a conversation about reading and writing metaphors with our students.
Assigning different writers on writing engages this conversation too. The goal, however, no
matter the approach, is to motivate college-writers not only to imagine what writing is but also to
imagine the potential of what it could be.
The pedagogical challenge associated with teaching to our students’ experiences is first
determining what those experiences are, which involves getting to know our students and their
writing practices. While this study achieved that level of knowledge with Sara and David, it was
only after the fact that the information was available to consider how metaphor impacted their
writing development. By its very nature, it is difficult to simultaneously analyze student practices
and integrate them into one’s pedagogy. Conducting invention exercises and class discussions
are a starting point for integrating metaphor analysis into college-writers’ writing development.
But we may need to think more innovatively about how to integrate immediate feedback and
instruction, so that they too can do something with the rich conceptual information.
One way the research has had a residual effect is by increasing my awareness for how
composing felt for the participants, especially in the memos, letters, and conferences. This
insight made me reflect on, what I have called the psychology of composing, that is, what goes on
emotionally inside writers as they compose. As an instructor, I realized that I rarely hold enough
in-depth discussions about writers’ experiences navigating the mental and emotional landscape
of the composing process—what it feels like to be a writer. Metaphor invention and analysis
175
encourages conversation around more personal issues related to the composing process. If
anything, my experience with metaphor within the classroom has resulted in more honest and
creative conversation about composing.
176
APPENDICES
APPENDIX A – Sara’s Writing Quote Analysis Results
Implicit Metaphors:52
Fiction Writing
WRITING IS A TRANSFER OF IMAGES
“the writer should work on transferring what he sees, in his mind,
to paper”
WRITING IS SPEAKING
“I should not say”
Message
A MESSAGE IS A VALUABLE ITEM/(MEANING IS AN ECONOMY)
“a valuable message”
Quoting
A QUOTE IS A DEMONSTRATION
“not only does [the quote] show you how to write”
A QUOTE IS A MAGNIFICATION
“this quote has magnified to me”
A QUOTE IS AN INSTRUCTION
“quote is able to provide, both, what to do and what not to do”
Reading
READING IS SEEING/(THOUGHTS ARE VISIONS)
52 Refer back to notes 15 and 16 for examples of implicit and explicit metaphoric usage.
177
“for the reader must also be able to see what the writer had
envisioned”
Rhetorical Devices
METAPHORS, IMAGES AND WORDS ARE TOOLS
“using metaphors, images and accurately chosen words”
Writing (in general)
WRITING IS A CONTAINER (FOR BEAUTY)
“the beauty in writing”
WRITING IS A VEHICLE
“to drive across”
WRITING IS IMAGINATION
“bringing [an] image to mind”
“to write means being able to show the reader a vivid image”
WRITING IS SHOWING
“to write means being able to show the reader a vivid image”
APPENDIX B – Sara’s Literacy Narrative Results
Explicit Metaphors:
Literacy
Literacy is Tradework
“I’m a mixture of things; a jack of all trades.”
Meaning
Meaning-making is Inkless Writing
“anything that makes us think, can and should (emphasis in
original) be considered . . . a form of impromptu inkless writing”
178
Reading
READING IS FOOD
“Food for thought”
Implicit Metaphors:
Literacy
LITERACY IS A CONTAINER (FOR PERSONAL MEANING)
“holding additional meaning”
LITERACY IS A LENS
“looking at life in a novel manner”
LITERACY IS ARCHITECTURE (EXPERIENCE/VALUE—UP IS COMPLEX;
DOWN IS SIMPLE)
“there’s the higher level reading, like reading novels and
textbooks, and then there’s lower level reading”
LITERACY IS ORALITY/THOUGHT
“speak our minds”
LITERACY IS TRANSFORMATION
“the world around us changes”
Meaning
MEANING-MAKING IS MOLDING
“a form of reading”
“a form of impromptu inkless writing”
“The act of forming words”
Reading
(FICTION) READING IS IMAGINATION AND RELEASE
179
“in novels it was imagination and release”
READING IS MUSIC
“strikes a chord”
Research
RESEARCH IS ILLUMINATION
“Shedding Light on Reading and Writing”
Self-Reflection
SELF-REFLECTION IS TRAVELING/MOVING
“going back and forth”
“I’ve settled.”
Solitude
SOLITUDE IS PURIFICATION
“clear my mind”
“the key to get rid of ”
Style
STYLE IS DELIVERY
“their way of crafting the image and delivering it.”
STYLE IS IMAGING
“their way of crafting the image and delivering it.”
STYLE IS NAVIGATION/A PATH
“their way of crafting the image and delivering it.”
Writing
(ARGUMENTATIVE) WRITING IS DELIVERING
“delivering a message”
180
(FICTION) WRITING IS COLLAGING
“snippets”
(FICTION) WRITING IS PAINTING
“in writing short stories it was a template – an empty canvas rather,
to paint on.”
(FICTION) WRITING IS (RE)CONSTRUCTION/GROWTH
“expand . . . into a novel.”
“[The snippets] continue to grow”
(RESEARCH) WRITING IS SELF-DISCOVERY
“discovering myself”
WRITING IS A PSYCHOLOGICAL STATE
“get ‘in the mood’ for writing”
APPENDIX C – Sara’s Peer-to-Peer Marginalia Results
Implicit Metaphors:
Editing
EDITING/REVISION IS EXPANSION
“Expand more.”
Paragraph
PARAGRAPHS ARE SHIPPING CONTAINERS
“carries that theme.”
Placement
MOVEMENT IS ADDITION
“to add this to the paragraph”
Quote
181
QUOTES ARE CONTAINERS (FOR MEANING)
“since [the quote] carries a lot of meaning.”
Theme
THEMES ARE SHIPPING CONTENT
“carries that theme.”
APPENDIX D – Instructor Feedback for Sara Results
Implicit Metaphors:
Idea/Thought
CONNECTING IDEAS IS INTERTWINING
“Is there a way to tie them together???”
INSIGHTS ARE ARCHITECTURE
“your overarching insight”
THOUGHT IS MOVEMENT/NAVIGATION/A JOURNEY
“thinking things through your own way.”
Introduction
AN INTRODUCTION IS A DISPLAY
“setting up the memoir.”
Meaning
(DEGREE OF) MEANING IS PHYSICAL STRENGTH
“the memoir starts things off real strong”
Memoir
MEMOIRS ARE PORTRAITS
“Nice portrait”
Organization
182
ORGANIZATION IS CLEANING (SEPERATING/COMBINING)
“what goes with what”
ORGANIZATION IS DIRECTION/PLACEMENT
“filler paragraphs”
“a discovery draft”
“often isolated--insights”
“a navigation paragraph”
“a hard time locating a thesis”
Revision
RETHINKING/REWRITING IS A (ANOTHER) WAY
“a way that you could be more precise”
Theme
THEMES/MOTIFS ARE FOCAL POINTS
“what you want to focus your attention on”
THEMES/MOTIFS ARE STRANDS/THREADS
“Is there a way to tie them together???”
Transition
TRANSITIONS ARE (CLEAR OR UNCLEAR) SUBSTANCES
“Provide a clearer transition”
Writing
WRITING IS A MIRROR (FOR THE WRITER)
“how these reflections transition or fit with the rest of the paper”
WRITING IS JOURNEYING/CONSTRUCTION
183
“how these reflections transition or fit with the rest of the paper”
WRITING IS PUZZLING
“how these reflections transition or fit with the rest of the paper”
WRITING IS (RE)CONSTRUCTION
“extending the definition”
WRITING IS SPEAKING
“this says something”
APPENDIX E – Sara’s Reflection Memo and Revision Letter Results
Implicit Metaphors:
Assignment Criteria
(WRITING) ASSIGNMENT CRITERIA IS A PROBLEM/MATCHING PUZZLE
“The only problem I faced was trying to match up the proportions”
Commentary
COMMENTARY IS GUIDANCE/REVELATION
“comments were made that showed me”
Editing
EDITING IS CHOPPING
“I had to chop out a lot”
Filler
FILLERS ARE (MEANINGLESS) CONTENT
“refrain from writing any fillers”
Genre
GENRE IS (A WAY OF) DELIVERY
“a new way to deliver information”
184
GENRE IS COLOR
“this paper isn’t the color that I usually write”
Insecurity
INSECURITIES ARE VOICES
“that tiny voice that tells me that I still need to work on it”
Style
STYLE IS COLOR
“start to take that color.”
Wording
WORDING IS ETHICS
“the right words”
Writing
(FICTION) WRITING IS CINEMATOGRAPHY/MODELING
“scenes that cross my mind”
WRITING IS EXPLORATION
“about finding the right words”
WRITING IS EXPRESSION
“to express meanings.”
WRITING IS FLOW
“the paper’s flow”
WRITING IS NAVIGATION
“it’s not at the point”
“how to transition to it and from it.”
WRITING IS ORGANIZATION
185
“the paper’s flow was neat”
WRITING IS PLACEMENT
“placed properly”
“it seems so out-of-place”
“does not seem to fit”
APPENDIX F – Sara’s Open-Ended Survey Results
Implicit Metaphors:
Editing
EDITING/REVISION IS FIXING
“to fix things”
“rather than fixing everything at the end”
Emotion
EMOTIONS ARE LIQUID SUBSTANCES/CHEMICALS
“The ability to stir deep emotion”
Writing
WRITING IS AN ABILITY
“Writing is the ability”
WRITING IS A SIMULATION OF LIFE
“I can live through my characters what I can’t live.”
WRITING IS EXPRESSION
“to express a meaning”
“a way to express”
“to express”
WRITING IS FORMING
186
“forming words”
“the formation of sentences”
WRITING IS SPONTANEOUS
“Writing for me is usually impromptu”
APPENDIX G – Sara’s Conference Results
Conference 1
A THESIS IS AN ANSWER
Jason [3:12]: Cause I said a thesis statement is answering the research question.
DRAFTING IS A STORM
Sara [20:17]: She’s going to talk about this, this, and this.
Jason [20:18]: Yeah. Exactly. Now I know how to navigate it. And I know what you’re
struggling with is like you’re kind of in the center of this vortex and you have all of these
different yous swirling around you and you’re like, ‘How do I talk about who I am?’ So there’s
that problem.
EDITING IS CUTTING
Sara [26:06]: That’s why I was saying I had a problem with the proportions because I had to cut
down some of the memoir.
Jason [26:12]: That’s interesting, so you cut it down.
Jason [27:25]: And obviously you’re thinking about how you need to edit and cut stuff. But at
the same time I would sometime take risks. I mean, if you’re like, ‘I’m losing something if I take
this out, that I feel is really important,’ you want to make sure that, that stays.
INTRODUCTIONS ARE EXPECTATIONS
Jason [4:59]: Cause I said introductions set expectations.
READING IS COLLECTING
187
Jason [8:35]: Reading isn’t just reading something on paper. There’s a process of, like you pull
out things that affect you.
READING IS IMPACT
Jason [10:19]: You do say beautifully written. There was something that hit you, where you were
like I just have to stop and I have to think about what just happened.
READING IS MOVEMENT
Jason [31:42]: So that when I reread it, I can jump to wherever you added something.
REVISION IS RESHAPING (NOT FIXING)
Jason [00:20]: For conferences what I like to do, instead of focusing on revision as, like a lot of
students look at it as what do I need to fix in my paper, right? Revision is all about ‘seeing again’
your writing. So what can you shape in it, you know to form something new, or reshape to form
something new?
Sara [5:41]: I tend to read about all kinds of things. I mean, I don’t do one specific thing.
Jason [5:47]: Okay. So then you want to talk about how can you break that up enough to where
you get a good view or that your reader gets a good view of what are you reading that help you
form this identity or that have encouraged you to be this type of person.
Jason [19:27]: And you might want to split up reading and writing.
Jason [32:17]: Really, writing is all about the revision process. This is all about getting your
ideas out but then it takes a while to really shape your ideas.
THEMES ARE BURIED/HIDDEN (MEANING)
Jason [21:28]: What do you think is the theme? Did you feel like there was a theme emerging out
of this?
Sara [21:33]: Not really, no.
188
Jason [21:35]: Do you think that there’s a place maybe that you see a theme now that you didn’t
or that, is that still a struggle?
Jason [25:20]: I’m just giving you an example of how I would go back and find a theme.
THEMES ARE THREADS
Jason [4:04]: And so for you this, is this [i.e., activist theme] tying in with the memoir? Do you
see that coming out of it? Then this is a reflection that you want to take back and put in the
thesis, right?
Jason [24:00]: I would say that there is some theme with imagination. I don’t know. What, what
do you think you could say about imagination in the introduction and conclusion that would like
. . .
Sara [24:05]: . . . tie everything together?
Jason [24:07]: Yeah. Or is there a link between imagination and enlightenment?
WRITING EXPERIENCE IS ARCHITECTURE
Jason [25:41]: The next level that I’m trying to get you at is that you can show me you know how
to write a thesis, you know how to tie it all together.
Jason [43:03]: But it makes you more aware of the different levels of what’s going on, so.
WRITING IS A CHALLENGE/QUEST
Jason [00:50]: What were the initial problems that you had with the paper that you feel were kind
of struggles that you met along the way?
Jason [1:46]: My challenge really for you would be how can you develop the literacy journal
more, was really what I saw.
Jason [32:27]: That’s why I choose this type of research because it gets at understanding
yourself. And that’s a challenge. Most of us don’t take time to really get to know ourselves,
which is funny.
189
WRITING IS A PUZZLE
Sara [44:06]: I realized that some sentences don’t fit, so I don’t know why I had them there.
WRITING IS BOUNDED SPACE/NAVIGATION/MOVEMENT
Sara [1:16]: I personally prefer to have the memoir being longer than the research, so it was kind
of a struggle to keep the proportions right.
Jason [2:25]: So you had a hard time locating it [i.e., the thesis] yourself?
Jason [6:38]: Are there any other specific areas that you want to focus on?
Jason [6:51]: This is where I think real writing instruction takes place. Because it’s me as the
instructor walking through your writing.
Jason [11:19]: I would say go back to this and I mean as we’re going through this it’d be good to
make notes for revision.
Jason [25:32]: Or you could start with imagination and then end with enlightenment. And then
draw the connections. Okay, why did I make this move?
Jason [28:20]: Whether it’s general or specific there always needs to be that one step of
reflection.
Jason [28:40]: I think really, if you could somehow expand your discussion of the literacy
journal a little bit more. But I mean you do give two really clear examples.
WRITING IS COLLAGING
Sara [11:06]: I do stop and sometimes just pull up the word documents and start writing ideas
and snippets.
WRITING IS COMPOSITION
Sara [12:37]: Now I have activism and I have the descriptive type of reader and writer, so I don’t
know how to combine them at the end.
WRITING IS DELIVERY
190
Jason [10:38]: Unpack that term.
WRITING IS DESIGN
Jason [1:28]: That’s kind of what was intended in my design of the assignment, was that you
would have to, as a writer, balance, learn balance, like how do I equally talk about these two
different things.
Sara [33:05]: Should I start by order of paragraphs in the article and analyzing each one or
starting by let’s say rhetorical questions—logos, pathos, and just elaborating on each one?
Jason [33:23]: Yeah, so you bring up two really interesting dilemmas. And this gets at when I
talk about writing as design, this is what I mean. You’re getting at, well, I realize I can design it
two different ways, so what’s the best way.
WRITING IS DISCOVERY
Jason [5:24] And that’s typical as we draft, right, we talk about writing as an act of discovery,
and when you wrote this, this was probably more an act of discovery, your like, ‘Oh, this is
something that I want to talk about.’
WRITING IS FRAMING
Jason [4:44]: But that can be a helpful way of framing the type of reading you do.
Jason [22:36]: Could you frame this paper as a discussion on enlightenment?
WRITING IS MUSIC
Sara [10:04]: I was trying to analyze how the writers were choosing there words and they kind of
sounded, it was like a rhythm or like music.
Jason [23:40]: You yourself admire the musicality in other language and you’re doing that here.
WRITING IS PHYSICAL STRENGTH
Jason [25:59]: It’s a really strong piece of writing.
191
Jason [2621]: Did you feel like editing this made this stronger or do you kind of regret, that
there’s something missing?
Jason [30:48]: What I want you to show me in revision is that you are still kind of wrestling with
these ideas. If you can show me that you can construct a thesis and kind of expand on some of
the, reflect a little bit more.
Jason [45:19]: You have a really good handle on your writing.
Conference 2
EDITING IS CUTTING
Jason [24:49]: This is great. But can you try to cut it down too?
WRITING IS A CHALLENGE/QUEST
Jason [1:23]: You’re seeing your own views and opinions on the issue changing. That’s really
what research or an argument paper is supposed to do. It’s really all about, kind of, testing who
you are and what you believe.
WRITING IS AN ECONOMY
Jason [25:39]: This shows what kind of researcher you are. That you’re really invested in the
topic.
WRITING IS BOUNDED SPACE/NAVIGATION/MOVEMENT/POSITION
Sara [00:38]: When I started, when I initially started the paper I had a very clear idea and a very
clear opinion about the topic. And after reading and researching more my views are kind of
shifting, just going back and forth, back and forth.
Sara [20:33]: This paper has been difficult because of the shifting views. That’s mostly what’s
been going on.
Jason [20:41]: So what do you mean by shifting views? Are you talking about yourself? Are you
talking about just . . .
192
Sara [20:47]: It’s both. It’s actually both. There are so many views about this topic that are so
different. So I just chose the popular narratives.
Jason [21:04]: And I mean I think based on the space we have all of these constraints when we
write. And so you do as a writer have to decide, well this is just too big of an issue to cover in a
small paper, so what can I cover in a smaller paper. So I think that’s probably the most popular
route to take.
Jason [24:46]: But just the way you’ve organized it, it’s already easy to understand the
progression of the paper.
Jason [27:38]: These are the main sources, and these are the stances and positions they represent.
WRITING IS CAPTURING
Jason [26:29]: It’s really about credibility. Why are these credible sources? And then also
making sure that you are getting the big picture. Cause most of the problem that we see in media
is the bias is always too much. Bias isn’t a bad thing, it’s just that when you get so much of one
viewpoint you don’t get the whole story. So that’s really what a literature review is about. You’re
trying to capture the story so far. And I think that would fit in really nicely because of the
historical outline that you’ve created.
WRITING IS COMPOSITION
Jason [00:19]: I’m more interested in the specific pieces that you want to look at, and then we’ll
just take our time looking at each of those pieces.
Jason [16:55]: The main part is that you’re trying to educate but at the same time you want to
think about, ‘Well how can you get people involved?’
WRITING IS FOCUS
Jason [9:43]: And then I like this too because then you’re kind of zooming out and saying . . . .
Jason [11:06]: You have to narrow your topic sometimes.
193
WRITING IS PHYSICAL STRENGTH
Jason [17:41]: But realistically you don’t have the opportunity to talk to the politicians or talk to
these different leaders. But how do you still have a voice? And I think that that’s an important
thing to wrestle with.
WRITING IS SHARING
Jason [37:55 ]: To me, that’s what writing is all about—is just talking about specific pieces of
writing, sharing your viewpoint with someone else.
WRITING IS TRANSFORMATION
Jason [23:06]: Sure. So I mean that’s exciting to see how it’s expanding what you believe about
the subject. And for me, when I am interested in any argument, usually it’s something where its
changing me in some way; that’s why I’m interested in it. You know what I mean? The more
you can start to empathize too, with the other sides of the argument, that’s gonna make you
better at arguing about the topic.
WRITING IS VOICE
Jason [23:55]: To be honest, the greatest thing you can achieve in writing is that this becomes
your own thing. Because I would rather have my students write stuff they’re interested about and
excited about because then this becomes your own. This is not just an assignment for my class;
this isn’t about impressing me. Some students that’s, kinda, they don’t get pass that. It’s just an
assignment, it’s just trying to appease the teacher. But what I’m seeing here is you’re really
developing your voice on the issue.
Jason [37:16]: To me it’s [i.e., publishing] important because it’s where you get your voice out
there. And as humans we have that desire to connect, to have our voices heard. And for us to be
remembered for something, adding your voice to an issue like that, that’s something worth being
remembered for.
194
APPENDIX H – David’s Writing Quote Analysis Results
Explicit Metaphors:
Bias
A Bias/Lens Is A Blessing/Curse
“a natural bias and lens . . .; it is a blessing and a curse”
Writing (in general)
Writing is a Mirror of the Self/(WRITING IS REFLECTION)
“a mirror of the self”
Implicit Metaphors:
Bias
A BIAS IS A LENS
“a natural bias and lens that they cannot escape from”
Lens
LENSES ARE INESCAPABLE CONTAINERS
“a natural bias and lens that they cannot escape from”
Writing (in general)
WRITING IS A CONTAINER (FOR HEART AND SOUL)
“to put their heart and soul into writing”
WRITING IS A CONTAINER (FOR THE SELF)
“to put myself [emphasis in original] into writing”
WRITING IS A FORCE (THAT CATCHES)
“caught up within [the writing]”
WRITING IS MORPHING (OUR LIFE EXPERIENCES INTO ART)
“morph whatever topic or situation”
195
WRITING IS PERSONAL BRANDING
“a new piece of art that has their signature branded within it”
WRITING IS RECONSTRUCTION
“morph whatever topic or situation they are expanding on”
APPENDIX I – David’s Literacy Narrative Results
Explicit Metaphors:
Literacy
LITERACY IS A CONVERSATION
“To me reading and writing can be as social as talking to another
person”
The English Classroom
THE CLASSROOM IS A SANCTUARY
“a sanctuary of thought and joy”
Implicit Metaphors:
Literacy
LITERACY IS A JOY AND LOVE
“reading and writing can be joyful”
“a love for composing essays and devouring literature.”
LITERACY IS PERSONAL IMPROVEMENT/SELF-HELP
“improving myself”
“reflective towards myself.”
Psychology
EMOTIONS/THOUGHTS/FEELINGS/QUESTIONS ARE TORMENTS OR
EXCITES
196
“emotions, thoughts, feelings, and questions that will either
torment or really excite us”
Reading
READING COMPREHENSION IS A STRUGGLE/CHALLENGE
“struggling to comprehend”
“consciousness altering challenge”
READING IS EATING
“devouring literature.”
“books that I really spent time consuming and digesting.”
Texts
AUTHORS AND THEIR WORKS ARE DOORS (TO NEW KNOWLEDGE)
“opening new doors for me”
Thought
THOUGHTS ARE PHYSICAL OBJECTS/BODIES
“to put your thoughts down on paper; into form and solidity where
they are naked”
Writing
WRITING IS STRESS
“writing can be equally stressful as well as therapeutic.”
WRITING IS THERAPY
“writing can be equally stressful as well as therapeutic.”
“the act itself [medicates] our brains.”
APPENDIX J – Instructor Feedback for David Results
Implicit Metaphors:
197
Affect
AFFECT IS PHYSICAL STRENGTH
“in a strong narrative sense.”
Balance
CONTENT WEIGHT IS PHYSICAL BALANCE
“The balance between memoir, research, and reflection”
Content
CONTENT IS PROPORTION
“overshadowed by the philosopher identity”
Development
RESEARCHING/DEVELOPING IS DIGGING
“worth digging up”
DEVELOPMENT IS ATTENTION
“the literacy journal could use more attention”
DEVELOPMENT IS REFLECTION
“Reflect more on the importance”
Exemplification
EXAMPLES ARE OBJECTS
“Could you give an example???”
“giving a few more examples”
Identity
IDENTITY IS EMERGENT
“What other identities did you see emerge???”
IDENTITY IS SITUATED
198
“identity as a philosopher is situated”
Knowledge
UNDERSTANDING IS SEEING
“Good insight.”
“this perspective”
“the reflections here”
Memoir
MEMOIRS ARE REPLICATIONS
“[The memoir] really replicates the memory”
MEMOIRS ARE TOOLS
“Great use of memoir”
Success
SUCCESS IS MORALITY
“Good insight.”
Themes
THEMES ARE BURIED TREASURE
“a buried theme”
THEMES ARE LENSES
“through this lens”
Quotes
QUOTES ARE TOOLS
“Good use of the quote”
APPENDIX K – David’s Reflection Memo and Revision Letter Results
Implicit Metaphors:
199
Author
AUTHORS ARE FRIENDS
“my voice emerges . . . friendlier in a sense”
AUTHORS ARE GUIDES
“I guide the reader”
Conclusion
CONCLUDING IS PIECING TOGETHER
“it all comes together”
Grammar
GRAMMARS ARE RULES
“because of the grammar rules”
GRAMMAR IS A STRUGGLE
“the grammar rules I struggle with, in turn my sentence structure
falls short as well.”
Information
INFORMATION IS PRESENTATION
“information is presented”
Literacy
LITERACY IS JOY
“the joy of getting into reading, writing, and thinking”
Messages
MESSAGES ARE DISPLAYS
“displays my message”
Points
200
POINTS ARE (MATTERS OF) MATERIAL STRENGTH
“this was a weak point.”
Response
RESPONSE WRITING IS A SPONTANEOUS JOURNEY
“I made up the structure as I went along”
Style
STYLE IS TEXTURE
“I smoothly guide the reader”
Theme
THEMES ARE EXPRESSIONS
“The theme that I tried to express”
THEMES/TOPICS ARE FOCAL POINTS
“my two main focuses”
Thesis
THESES ARE PLACES/CONTAINERS
“into my thesis”
Writing
WRITING IS A BODY
“a basic skeleton for it.”
WRITING IS CONSTRUCTION
“structure can really help”
“transitioning in between topics”
“how I transitioned the paragraphs”
WRITING IS PLACEMENT
201
“placing my narrative”
Writing Conferencing
WRITING CONFERENCING IS SELF-IMPROVEMENT
“better myself”
APPENDIX L – David’s Open-Ended Survey Results
Implicit Metaphors:
Assignment
ASSIGNMENTS ARE SPACES
“the boundaries of the assignment”
Goal
GOALS ARE MEASURES (FOR ASSESSMENT)
“measure up to their goal”
Literacy
LITERACY IS A PERSONAL CHALLENGE
“Reading challenges me to reassess my values”
LITERACY IS A REASSESSMENT (OF VALUES)
“Reading challenges me to reassess my values”
LITERACY IS CONVERSATION
“the author is trying to tell me”
LITERACY IS (A WAY OF) RELFECTION
“Reading and writing can be a great way to reflect on yourself”
LITERACY IS SELF-IMPROVEMENT
“to learn and better myself.”
Note-taking
202
NOTE-TAKING AS LABELING
“I wrote down a short label”
“the labeled task”
Text
TEXTS ARE COMMUNICATIVE DEVICES
“through the text.”
Thought
THOUGHTS ARE WEIGHTED OBJECTS
“dense thoughts”
THOUGHTS ARE WINGED CREATURES
“before they fly away from you.”
Writing
WRITING IS A CONTAINER (FOR BEING)
“put their being into it”
WRITING IS CONSTRUCTION
“to construct my paper.”
WRITING IS PUZZLING
“to puzzle it together”
WRITING IS TRAPPING/CAPTURING
“Writing is a medium to trap your thoughts in”
“an attempt to capture”
APPENDIX M – David’s Conference Results
(DRAFT) WRITING IS UNCLEAR AUDIO
David [17:58]: It’s kind of. I don’t know if you can understand what I’m trying to say?
203
READING IS EXPLORATION
Jason [7:20]: And we have an interesting, kind of, three-level model for the way this is being,
you know, composed. And then we also, for the audience, kind of want to explore that same
thing.
WRITING/ARGUMENT IS ADHESIVE
Jason [28:58]: Or maybe that mythic appeal, that idea of this freedom-fighter story; that’s gonna
really stick with an audience.
WRITING/ARGUMENT IS AN ECONOMY
Jason [1:58]: You haven’t actually wrote a paragraph worth of information yet on anything.
Jason [5:09]: Because, even in conversation, we might think we are owning what we’re saying
but we’re usually responding to what somebody else is saying, so in a way they kinda have
control or power over what we’re going to say because they’re expecting a certain type of
response or trying to get a response.
WRITING/ARGUMENT IS ARCHITECTURE
Jason [3:29]: So I think the fact that you’re looking at argument on those two levels, right—
that’s really interesting about the type of text you’re looking at. And so, . . .
David: And I’m not sure how to say that, kind of?
Jason: Let’s see. So what’s interesting is you wanna talk about who the speaker is and who the
audience is.
WRITING/ARGUMENT IS BOUNDED SPACE
Jason [7:45]: So there might be, too, some type of middle ground.
WRITING/ARGUMENT IS DELIVERY
Jason [25:15]: Cause the audience is the people who, in a way, matter the most because they’re
either going to take up that message or just leave it.
204
WRITING/ARGUMENT IS DRAWING
Jason [9:57]: Logos is all about tracing the argument, as far as, what is the main argument would
you say, in the, how would you summarize that or where do we get a specific example of what
her main argument is?
WRITING/ARGUMENT IS PHYSICAL STRENGTH
Jason [7:56]: So I think maybe in a way that’s really where the persuasion is gonna be the most
impactful.
David [9:25]: But I just thought that was kind of a weak spot in their logical argument.
WRITING IS A PUZZLE
David [2:56]: I guess for another part of the logos I was putting how they used the audioclips
within the NPR interview.
David [18:59]: So do you think that, that kind of fits better in the pathos then? Do you think I
should move what I’m putting here into the pathos.
WRITING IS AN INTERNAL STRUGGLE
David [36:51]: I feel like I’m battling against myself to be like what do I need to do here?
David [42:26]: Yesterday when I was trying to write it I felt like my body just didn’t want me to
write. I was just uncomfortable and sitting there staring at the page and it was just really
annoying. And I’m just like. I don’t know. I just feel like there’s something, just like, in the way
of me writing it and I think that’s just me. Like a weird writer’s block. But a lot of people say
writer’s block is you just need to start writing it and that’s how you get past writer’s block.
Jason: Yeah, I mean there’s this belief that writer’s block is actually an illusion. Like it, there’s
nothing really in the way except for us believing that there’s something there when there’s not.
WRITING IS COMPOSITION/CRAFTING
205
Jason [17:25]: And music, we have the lyrical content, which is primarily the logical argument,
and then we have the music itself being another layer.
David: Yeah, and I kind of put here . . . .
Jason [39:00]: You might want to try different things, right? Just split it up, and just talk
chronologically.
Jason [40:23]: And then later then you want to reread it and think, ‘Okay, is there a way I can
break this up.’
Jason [41:18]: And that can be kind of a danger too in using procrastination is that there’s this
sense of when it stays so abstract you have nothing to look at and reshape and cut apart.
WRITING IS DESIGN
Jason [39:16]: And that’s why I say writing is also a matter of design. You, as the writer, are
gonna have to design how you think it’s best to discuss it, right. Realistically I can tell you what
to focus on but I can’t tell you how need to actually shape the text. . . . . There are various ways
that you can envision how this paper gets written.
WRITING IS EXPERIMENTATION
Jason [44:00]: Yeah sometimes it’s good to just be experimental too.
WRITING IS FORCE(D)
David [31:52]: And then yesterday I tried working on it and I sat down and tried to force myself
to do it . . . .
Jason [32:27]: A lot of writing is always, not necessarily forcing yourself, but you have to just be
like, ‘I’m going to sit down and do this.’
David [46:41]: I just felt no inspiration and drive to write it.
WRITING IS FRAMING
206
Jason [10:40]: Sure, so I think that’s kind of what you want to frame to when you talk about
logos. Right, this whole idea of, well, what is the big issue at hand.
WRITING IS NAVIGATION
David [44:37]: And I don’t know too it’s just, I’m kind of like, ‘Oh, why is this paper acting as
such a roadblock to me?’
WRITING IS PRACTICE
Jason [41:03]: I mean that’s why drafting can be so important too, is that, writing is practice.
You know what I mean? It’s just a matter of practicing and repracticing until you actually fine
tune.
WRITING IS SHAPING
Jason [27:40]: You might want to shape your definitions in relation to how the article, how the
people talk about . . .
Jason [37:11]: When you’re researching or making an argument you do have to define your
terms because we realize that language is moldable; there’s this idea that words mean different
things in different contexts.
APPENDIX O – David’s Argumentative Research Results
Explicit Metaphors:
Poem
Poems are Fluid-Puzzles
“constructing a sort of fluid-puzzle”
Poetry
Poetry is a Catalyst
“poetry can be a catalyst”
Poetry is Painting
207
“blend together the way a painter’s colors on the canvas do”
Poetry is Spirituality
“words and music together creating an almost spiritual
experience.”
Implicit Metaphors:
Education
(RHETORICAL) EDUCATION IS BREAKING (ILLUSORY LENSES)
“teachers break the negative expectations and misconceptions”
EDUCATION IS INTERVENTION
“an opportunity for a writing teacher to intervene and help her
student”
Emotion
EMOTIONS ARE PRESSURES
“poetry is a way for me to vent”
FEELINGS ARE FRAGILE OBJECTS
“feel damaged, broken”
FEELINGS ARE GAMES
“feel . . . cheated.”
Ideas
IDEAS ARE CONSTRUCTIONS
“constructing a sort of fluid-puzzle”
“constructed like a complex puzzle”
IDEAS ARE EVOLVING ORGANISMS/FLUID SUBSTANCES
“spread into”
208
Music
SONGS ARE SPIRITUALITY
“words and music together creating an almost spiritual
experience.”
Poetry
POETRY IS A CLEAR SUBSTANCE/MATERIAL
“the transparency . . . of poetry”
POETRY IS AN ESCAPE
“Poetry opens doors”
POETRY IS BALANCE (BETWEEN WORDS AND IMAGES)
“balance between words and the images”
POETRY IS CAPTURING (THOUGHTS AND EMOTIONS)
“a way for me to capture thoughts and intense emotions”
POETRY IS CONNECTION
“connecting people to each other’s minds”
POETRY IS CREATING IMAGES
“words can create images”
POETRY IS DEVELOPMENT (OF CRITICAL THINKING/CLOSE-READING)
“develops critical thinking and close-reading skills.”
POETRY IS EMPATHY
“language to experience one another’s thoughts and feelings
firsthand.”
POETRY IS FINDING
“finding my own balance”
209
“to discover poetry”
POETRY IS IDENTIFICATION/EMOTIONAL EXPRESSION
“it is a mode of identification and emotional expression”
“poetry that attunes with their identities and sense of self.”
POETRY IS MUSIC
“poetry that attunes”
POETRY IS PAINTING
“the images they paint.”
POETRY IS TRANSLATION (OF THOUGHT AND EMOTION)
“the way to express intense thoughts and emotions which cannot
be translated simply”
Reading
READING IS CONSUMPTION/DIGESTION
“poetry . . . to consume and digest”
READING IS A CONTAINER (FOR RECEIVING MEANING)
“to ultimately get something [emphasis in original] out of the
reading.”
APPENDIX P – Sara’s MIE Results
MIE 1
Explicit Metaphors:
Writing (in general)
Writing is Painting
“Writing is like painting”
Implicit Metaphors:
210
Composition
COMPOSITION IS SPATIAL MOVEMENT
“work towards”
Emotion
EMOTION IS A LIQUID SUBSTANCE
“stirring emotions”
Reading
READING IS RECEIVING
“to the receiver”
READING IS VISUAL ADMIRATION/APPRECIATION
“creating a picture for the admirer”
Thought
THOUGHTS ARE LIQUID SUBSTANCES
“the flow of ideas”
“experiencing an overflow of creativity”
THOUGHTS ARE PRODUCTS/OBJECTS
“producing thoughts”
“to carry their thoughts out”
Writer’s Block
WRITER’S BLOCK IS A DISABILITY
“stages of inability”
WRITER’S BLOCK IS FEAR
“the one thing every writer dreads”
Writing (in general)
211
WRITING IS BUILDING
“You start off with a blank space and you build on it”
WRITING IS PICTURING
“creating a picture for the admirer”
MIE 2
Explicit Metaphors:
Argumentative Writing
Argumentative Writing is Discovery
“Writing is discovery.”
Argumentative Writing is (not) Painting
“when it comes to debate and argument, I think that writing as
painting isn’t the ideal metaphor”
Implicit Metaphors:
Argumentative Writing
ARGUMENTATIVE WRITING IS A WAY
“a way to express a person’s opinion”
ARGUMENTATIVE WRITING IS BUILDING (IDENTITY)
“the foundations for our cores”
ARGUMENTATIVE WRITING IS CONCRETE EXPRESSION
“makes an opinion more concrete”
ARGUMENTATIVE WRITING IS EXPOSURE (EXPOSURE AS FINDING)
“exposed to multiple points of views”
“Through this exposure we find”
ARGUMENTATIVE WRITING IS IDENTITY DEVELOPMENT/GROWTH
212
“our opinions . . . help us develop our identity as an individual”
ARGUMENTATIVE WRITING (EXPRESSING OUR OPINIONS) IS RELIEF
“helps to put our mind at ease”
ARGUMENTATIVE WRITING IS SELF-DISCOVERY
“discovering oneself”
Beliefs
BELIEFS ARE POVs
“exposed to multiple points of views”
“we find our own beliefs and points of views questioned”
Identity
OUR IDENTITY IS OUR CENTER
“the foundations for our cores”
Opinions
OPINIONS ARE ANNOUNCEMENTS
“I officially announced”
OPINIONS ARE CONFIRMATIONS
“I’ve also confirmed it to myself”
OPINIONS ARE STANCES
“I hold a specific stance”
Reading and Research
READING AND RESEARCH ARE PURIFICATION/CL(E)ARIFICATION
“develop a clear view . . . through reading and research”
APPENDIX Q – David’s MIE Results
MIE 1
213
Explicit Metaphors:
Writing (in general)
Writing is Surgery
“Writing is a Surgical Operation”
Writing is a Scalpel
“the tool of writing can become a scalpel”
Writing is a Suture
“like stiches writing can close up the wound”
Implicit Metaphors:
Criticism
CRITICISM IS INFECTION/CRITICS ARE GERMS
“infected by the germs of the world”
Emotion
WORRIES AND CONCERNS ARE (A WRITER’S) ILLUMINATIONS
“worries and concerns . . . bring . . . to light”
Prewriting
PREWRITING IS ENVISIONING (EXPECTATIONS)
“We envision a sole idea of what our end result ‘should’ look like
in our own mind’s eye”
Writer
WRITERS ARE ENTRANCES/EXITS
“open and vulnerable”
Writing (in general)
214
WRITING IS (A CONSTANT STATE OF) CHANGE
“never set in stone”
WRITING IS A CONTAINER (FOR THE EGO)
“When one puts their ego into writing”
WRITING IS AN INNER STRUGGLE (WITH FEAR)
“inner struggles and fears”
WRITING IS A REFINING FIRE
“arise from the ashes of our writing”
WRITING IS BLEEDING
“breaks the skin and lets us bleed”
WRITING IS HEALING
“like stiches writing can close up the wound”
WRITING IS PAIN
“Writing . . . can be a painstaking process”
WRITING IS TRANSFORMATION
“arise from the ashes of our writing”
MIE 2
Explicit Metaphors:
Writing
Writing is Self-Expression
“Writing is an expression of the self.”
Implicit Metaphors:
Reading
READING IS CONSUMPTION
215
“The audience consuming writing”
Writing (in general)
WRITING IS A CONTAINER (FOR THE SELF)
“When one writes they are putting a bit of themselves into their
writing”
WRITING IS ART
“Every writer has a style”
“like any form of art”
“the development of that skill”
WRITING IS REFLECTION
“their individual reflection”
WRITING/READING ARE PERCEPTION
“the way your reading of your writing is seen differently”
“seen your face in a mirror”
“observed your own writing”
“perception of you”
APPENDIX R – Jason’s MIE Results
MIE 1
Explicit Metaphors:
Writing
Writing is a New Start/Journey
“WRITING is A NEW START.”
Writing is Identity
“writing is the writing of an identity”
216
Writing is Resurrection
“Writing is a way to come back to life.”
Implicit Metaphors:
Reading
READING IS A NEW START
“I’ve found a new start in a quote, in a song, in a fantasy narrative,
or religious text”
Revision
REVISION IS PERSONAL REVISION
“revising the person”
Writing (in general)
WRITING IS CONNECTION/EMPATHY
“truly connect with another human being through writing”
WRITING IS HOPE
“hope that we can be [emphasis in original] our better selves”
WRITING IS REDEMPTION/RESURRECTION
“to feel the power of redemption and resurrection”
“restart”
“respawn”
“I will die and be reborn a million times . . . because of reading
and writing”
WRITING IS REINVENTION
“we can reinvent ourselves”
WRITING IS RENEWAL
217
“we can be renewed”
WRITING IS SELF-DISCOVERY
“I’m looking for the me I truly am in my writing”
MIE 2
Explicit Metaphors:
Voice
Voice is Becoming Yourself
“to have voice—to become yourself”
Writing (in general)
Writing is Becoming a Superhero
“WRITING is BECOMING A SUPERHERO”
“My writing is often the superhero that I want to be.”
Writing is Power
“writing is power”
Writing is the Discovery of an Inner Life
“the discovery of an inner life”
Implicit Metaphors:
Imagination
IMAGINATION IS DISCOVERY
“an imagination that will drive us to discover the superhero within”
IMAGINATION IS DRIVE
“an imagination that will drive us to discover the superhero within”
Power
POWER IS HIDDEN/DORMANT/ENCAPSULATED
218
“emergent power”
“awaken”
“a sense of internal power”
Voice
VOICE IS CONTROL
“To have control in writing is to have voice”
Writing (in general)
WRITING IS A CONTAINER (FOR CONTROL)
“To have control in writing is to have voice”
WRITING IS A GIFT
“a hidden gift or misunderstood gift”
WRITING IS A KEY (TO THE IMAGINATION)
“Writing unlocks the power of the imagination”
WRITING IS CHANGE (FOR THE GREATER GOOD)
“writers can change the world through their own personal
transformation, to preserve and honor life, to fight against
injustice, to be the voice of the voiceless”
WRITING IS POWER
“emergent power”
“power inside”
“a sense of internal power”
WRITING IS SALVATION
“to save lives”
“there is salvation in writing”
219
REFERENCES
Works Cited
“About CCCC.” NCTE Comprehensive News. Conference on College Composition and
Communication, 29 Mar. 2018, cccc.ncte.org/cccc/about. Accessed 12 Aug. 2018.
“Archetypes: Discovering Unconscious Patterns.” CAPT Center for Applications of
Psychological Type. CAPT, Inc., n.d., https://www.capt.org/discover-your-
archetypes/about-archetypes.htm?bhcp=1. Accessed 14 Mar. 2018.
Aristotle. On Rhetoric: A Theory of Civic Discourse, 2nd ed. Trans. George A. Kennedy. Oxford
UP, 2007.
Arrington, Philip K. “Tropes of the Composing Process.” College English, vol. 48, no. 4, 1986,
pp. 325-338.
Bain, Alexander. English Composition and Rhetoric. Longmans, Green & Co., 1867.
Baxter, Pamela and Susan Jack. “Qualitative Case Study Methodology: Study Design and
Implementation for Novice Researchers.” The Qualitative Report, vol. 13, no. 4, 2008,
pp. 544-559.
Bazerman, Charles. “The Case for Writing Studies as a Major Discipline.” Rhetoric and
Composition as Intellectual Work. Ed. Gary A. Olson. Southern Illinois UP, 2002, pp. 32-
40.
Beach, Richard. “Self-Evaluation Strategies of Extensive Revisers and Nonrevisers.” CCC, vol.
27, no. 2, 1976, pp. 160-164.
Becker, Anne. “A Review of Writing Model Research Based on Cognitive Processes.” Revision:
History, Theory, and Practice. Eds. Alice Horning and Anne Becker. Parlor Press, 2006,
pp. 25-49.
220
Berlin, James. “Rhetoric and Ideology in the Writing Class.” College English, vol. 50, no. 5,
1988, pp. 477-494.
Bissex, Glenda L. The Writing Teacher Researcher: Essays in the Theory and Practice of Class
-Based Research. Eds. Donald A. Daiker and Max Morenberg. Boynton/Cook, 1990.
Bitzer, Lloyd F. “The Rhetorical Situation.” Philosophy and Rhetoric, vol. 1, 1968, pp. 1-14.
Blair, Hugh. (1783). Lectures on Rhetoric and Belles Lettres. Eds. Linda Ferreira-Buckley and S.
Michael Halloran. Southern Illinois UP, 2005. Landmarks in Rhetoric and Public
Address.
Booth, Sherry and Susan Frisbie. “(Re)Turning to Aristotle: Metaphor and the Rhetorical
Education of Students.” Rhetorical Education in America. Eds. Cheryl Glenn, Margaret
M. Lyday, and Wendy B. Sharer. Alabama UP, 2004, pp. 164-178.
Boroditsky, Lera. “How Does Our Language Shape the Way We Think.” edge.org. Edge
Foundation. 11 June 2009. Accessed 7 Nov. 2017.
Burke, Kenneth. “Four Master Tropes.” A Grammar of Motives. U of California, 1969, pp. 503
-517.
Cameron, Lynne and Robert Maslen, Eds. Metaphor Analysis: Research Practice in Applied
Linguistics, Social Sciences and the Humanities. Equinox, 2010. Studies in Applied
Linguistics.
Campbell, Joseph. “Understanding Mythology with Joseph Campbell.” Thinking Allowed:
Conversations on the Leading Edge of Knowledge and Discovery with Dr. Jeffrey
Mishlove. Ed. Jeffrey Mishlove. Council Oak Books, 1998, pp. 84-91.
Canagarajah, A. Suresh. “Autoethnography in the Study of Multilingual Writers.” Writing
221
Studies Research in Practice: Methods and Methodologies. Eds. Lee Nickoson and Mary
P. Sheridan. Southern Illinois UP, 2012, locs. 1485-1636. AZW File.
———. “Teacher Development in a Global Profession: An Autoethnography.” TESOL Q, vol.
46, 2012, pp. 258–279.
Cazden, Courtney; Cope, Bill; Fairclough, Norman; Gee, Jim; et al. “A Pedagogy of
Multiliteracies: Designing Social Futures.” Harvard Educational Review, vol. 66, no. 1,
1996, pp. 60-92.
Charteris-Black, Jonathan. Corpus Approaches to Critical Metaphor Analysis. 4th ed., Palgrave
Macmillan, 2004.
Chong, Dennis and James N. Druckman. “Framing Theory.” Annual Review of Political Science,
vol. 10, 2007, pp. 103-126.
Cohen, Dale J., Sheida White, and Steffaney B. Cohen. “A Time Use Diary Study of Adult
Everyday Writing Behavior.” Written Communication, vol. 28, no. 1, 2011, pp. 3-33.
Corbett, Edward P.J. “The Theory and Practice of Imitation in Classical Rhetoric.” CCC, vol. 22,
no. 3, 1971, pp. 243-250.
Dadurka, David T. Metaphoric Competence As A Means To Meta-cognitive Awareness In First
-Year Composition. MS Thesis. University of Central Florida, 2012.
Daley, Elizabeth. “Expanding the Concept of Literacy.” EDUCAUSE Review, March/April 2003,
pp. 32-40.
Derrida, Jacques and F.C.T. Moore. “White Mythology: Metaphor in the Text of Philosophy.”
New Literary History, vol. 6, no. 1, 1974, pp. 5-74.
Elbow, Peter. “Teaching Thinking by Teaching Writing.” Change, vol. 15, no. 6, 1983, pp. 37
-40.
222
Ellis, Carolyn and Arthur P. Bochner. “Autoethnography, personal narrative, reflexivity:
Researcher as subject.” Handbook of qualitative research. Sage Publications, 2000, pp.
733-768.
Eubanks, Philip (2011). Metaphor and Writing: Figurative Thought in the Discourse of Written
Communication. Cambridge UP, 2014.
Fairclough, Norman. “Discourses.” Analysing Discourse: Text Analysis for Social Research.
Routledge, 2003, pp. 123-133.
Fairclough, Norman and Ruth Wodak. “Critical discourse analysis.” Discourse as social
interaction. Ed. Teun A. van Dijk. Sage Publications, 1997, pp. 258-284.
Flower, Linda and John R. Hayes. “A Cognitive Process Theory of Writing.” CCC, vol. 32, no.
4, 1981, pp. 365-387.
Foss, Sonja K. and Karen A. Foss. Inviting Transformation: Presentational Speaking for a
Changing World, 3rd ed. Waveland Press, Inc., 2012.
Freire, Paulo. “Reading the World and Reading the Word: An Interview with Paulo Freire.”
Language Arts, vol. 62, no. 1, 1985, pp. 15-21.
Geary, James (2011). I Is an Other: The Secret Life of Metaphor and How It Shapes the Way We
See the World. Harper Perennial, 2012.
Gee, James Paul. “Discourse, small-d, Big D.” 2015,
http://jamespaulgee.com/geeimg/pdfs/Big%20D,%20Small%20d.pdf. pp. 1-5.
———. Social Linguistics and Literacies: Ideology in Discourses. 4th ed., Routledge, 2012.
Haas, Christina, Pamela Takayoshi, and Brandon Carr. “Analytic Strategies, Competent
223
Inquiries, and Methodological Tensions in the Study of Writing.” Writing Studies
Research in Practice: Methods and Methodologies. Eds. Lee Nickoson and Mary P.
Sheridan. Southern Illinois UP, 2012, locs. 724-877. AZW File.
Hart, Christopher. “Critical Discourse Analysis and Metaphor: Toward a Theoretical
Framework.” Critical Discourse Studies, vol. 5, no. 2, 2008, pp. 91-106.
Hart, Gwendolyn A. “Composing Metaphors: Metaphors for Writing in the Composition
Classroom.” Diss. University of Ohio, 2009.
Hillman, James. (1989). The Essential James Hillman: A Blue Fire. Ed. Thomas Moore.
Routledge, 2008.
Hofstadter, Douglas and Emmanuel Sander. “Analogy as the Core of Cognition.” Surfaces and
Essences: Analogy as the Fuel and Fire of Thinking. Basic Books, 2013, locs. 247-1012.
AZW File.
Inglis-Arkell, Esther. “This study shows how a good metaphor can change the world.” io9: We
Come From the Future. 13 Dec. 2013, https://io9.gizmodo.com/this-study-shows-how-a-
good-metaphor-can-change-the-wor-1482482320. Accessed 27 Apr. 2018.
Jensen, J. Vernon. “Metaphor in Argumentation.” RSQ, vol. 13.3/4, 1983, pp. 201-207.
Job, V. “Implicit Theories About Willpower.” Self-Regulation and Ego Control. Eds. Edward R.
Hirt, Joshua J. Clarkson, and Lile Jia. Elsevier, 2016, pp. 204-228.
Johnson, Mark. “Introduction: Metaphor in the Philosophical Tradition.” Philosophical
Perspectives on Metaphor. Minnesota UP, 1981, pp. 3-47.
Johnson, Mark and George Lakoff. “Why cognitive linguistics requires embodied realism.”
Cognitive Linguistics, vol. 13, no. 3, 2002, pp. 245-263.
Jung, C.G. and Meredith Sabini, Ed. (2002). The Earth Has a Soul: The Nature Writings of C.G.
224
Jung. North Atlantic Books, 2016.
———. (1959). The Collected Works of C.G. Jung, Part I: Archetypes and the Collective
Unconscious, Vol. 9, 2nd ed. Ed. and Trans. Gerhard Adler and R.F.C. Hull. Princeton
UP, 1980.
Keefe, Elizabeth B. and Susan R. Copeland. “What is Literacy? The Power of a Definition.”
Research and Practice for Persons with Severe Disabilities, vol. 31, no. 3-4, 2011, pp. 92
-99.
Kennedy, George A. Comparative Rhetoric: An Historical and Cross-Cultural Introduction.
Oxford UP, 1998.
Kolko, Jon. “Sensemaking Frames, Models, and Patterns.” Exposing the Magic of Design: A
Practitioner’s Guide to Methods and Theory of Synthesis. Oxford UP, 2011, pp. 11-20.
Human Technology Interaction Series.
Kövecses, Zoltán. Metaphor: A Practical Introduction, 2nd ed. Oxford UP, 2010.
Kramer, Michael W. “Sensemaking.” The International Encyclopedia of Organizational
Communication. Eds. Craig R. Scott and Laurie K. Lewis. John Wiley and Sons, 2017,
pp. 1-10.
Lakoff, George and Mark Johnson (1980). Metaphors We Live By. Chicago UP, 2003.
———. “Metaphors We Live By.” The Production of Reality: Essays and Readings on Social
Interaction, 3rd ed. Eds. Jodi O’Brien and Peter Kollock. Pine Forge Press, 2001, pp. 124-
134.
Lewis, C.S. “Sometimes Fairy Stories May Say Best What’s to be Said.” New York Times, 18
Nov. 1956, p. 310.
Lewis, Cynthia and Antillana del Valle. “Literacy and Identity: Implications for Research and
225
Practice.” Handbook of Adolescent Literacy Research. Eds. Leila Christenbury, Randy
Bomer, and Peter Smagorinsky. Guilford Press, 2009, pp. 307-322.
Lunsford, Andrea A. The St. Martin’s Handbook. 7th ed., Bedford St. Martin’s, 2011.
———. “Writing, Technologies, and the Fifth Canon.” Computers and Composition, vol. 23,
2006, pp. 169-177.
Lytle, Susan L. and Marilyn Cochran-Smith. “Teacher Research as a Way of Knowing.”
Harvard Educational Review, vol. 62, no. 4, 1992, pp. 447-474.
Maalej, Zouhair. “Doing Critical Discourse Analysis with the Contemporary Theory of
Metaphor: Towards a Discourse Model of Metaphor.” Cognitive Linguistics in Critical
Discourse Analysis. Eds. Christopher Hart and Dominik Lukeš. Cambridge Scholars
Publishing, 2007.
Martens, Prisca and Susan Adamson. “Inventing Literate Identities: The Influence of Texts and
Contexts.” Literacy Teaching and Learning, vol. 5, no. 2, 2001, pp. 27-51.
Martin, J.R. and David Rose, Eds. Working with Discourse: Meaning Beyond the Clause.
Continuum, 2003.
Mckay, Brett, host. “The Art of Manliness #493: 1,000 Books to Read Before You Die.” The Art
of Manliness, iTunes, 25 March 2019. >> https://www.artofmanliness.com/articles/1000-
books-to-read-before-you-die/<<
McQuade, Donald. “Metaphor, Thinking, and the Composing Process.” The Writer’s Mind:
Writing as a Mode of Thinking. Ed. Janice N. Hays et al. NCTE, 1983, pp. 221-230.
Miller, Hildy. “Metaphoric Components of Composing Processes.” Metaphor and Symbolic
Activity, vol. 8, no. 2, 1993, pp. 79-95.
Moje, Elizabeth et al. “Literacy and Identity: Examining the Metaphors in History and
226
Contemporary Research.” Reading Research Quarterly, vol. 44, no. 4, 2009, pp. 415-437.
Moyers, Bill and Joseph Campbell. The Power of Myth. Ed. Betty Sue Flowers. Doubleday,
1988.
Neaderhiser, Stephen Edwin. “Conceiving of a Teacherly Identity: Metaphors of Composition in
Teaching Statements.” Pedagogy: Critical Approaches to Teaching Literature,
Language, Composition, and Culture, vol. 16, no. 3, 2016, pp. 413-443.
———. “‘Metaphors we teach by’: representations of disciplinary and teacherly identity.” Diss.
University of Louisville, 2009.
Nussbaum, Bruce. “Framing.” Creative Intelligence: Harnessing the Power to Create, Connect,
and Inspire. HarperCollins, 2013, pp. 85-116.
Ortony, Andrew. “Why Metaphors Are Necessary and Not Just Nice.” Educational Theory, vol.
25, no. 1, 1975, pp. 45-53.
Osborn, Michael. “Archetypal metaphor in rhetoric: The light-dark family.” Quarterly Journal of
Speech, vol. 53, no. 2, 1967, pp. 115-126.
Paulson, Eric J. and Sonya L. Armstrong. “Mountains and Pit Bulls: Students’ Metaphors for
College Transitional Reading and Writing.” Journal of Adolescent & Adult Literacy, vol.
54, no. 7, 2011, pp. 494-503.
Pearson, Carol S. (1986). The Hero Within: Six Archetypes We Live By. HarperSanFrancisco,
1998.
Perelman, Chaïm and Lucie Olbrechts-Tyteca. The New Rhetoric: A Treatise on Argumentation.
U of Notre Dame, 1969.
Pragglejaz Group. “MIP: A Method for Identifying Metaphorically Used Words in Discourse.”
Metaphor and Symbol, vol. 22, no. 1, 2007, pp. 1-39.
227
Richards, Daniel P. “Dwelling in the Ruins: Recovering Student use of Metaphor in the
Posthistorical University.” Composition Forum, vol. 37, 2017, n.p., 29 Nov. 2017,
http://compositionforum.com/issue/37/dwelling.php. Accessed 14 May 2019.
Rubano, Gregory L. and Philip M. Anderson. “Reasoning and Writing with Metaphors.” The
English Journal, vol. 77, no. 8, 1988, pp. 34-37.
Sapolsky, Robert. “This Is Your Brain on Metaphors.” The New York Times. 14 Nov. 2010,
https://opinionator.blogs.nytimes.com/2010/11/14/this-is-your-brain-on-metaphors/.
Accessed 27 Apr. 2018.
Schiappa, Edward. Defining Reality: Definitions and the Politics of Meaning. Southern Illinois
UP, 2003.
Schön, Donald A. “Generative metaphor: A perspective on problem-setting in social policy.”
Metaphor and thought. 2nd ed., Ed. Andrew Ortony. Cambridge UP, 1979, pp. 254-283.
Schwarz, Gretchen. “Metaphor and Cognition: Beneath the ‘Basics’.” The English Journal, vol.
77, no. 8, 1988, pp. 32-33.
Scribner, Sylvia. “Literacy in three metaphors.” American Journal of Education, vol. 93, no. 1,
1984, pp. 6-21.
Seitz, James E. Motives for Metaphor: Literacy, Curriculum Reform, and the Teaching of
English. Pittsburgh UP, 1999.
———. “Composition’s Misunderstanding of Metaphor.” CCC, vol. 42, no. 3, 1991, pp. 288
-298.
Shaw, Donita and Mark Mahlios. “Adult literacy students’ metaphors of reading and writing.”
International Journal of Research Studies in Education, vol. 3, no. 1, 2014, pp. 21-34.
Sheridan, Mary P. “Making Ethnography Our Own: Why and How Writing Studies Must
228
Redefine Core Research Practices.” Writing Studies Research in Practice: Methods and
Methodologies. Eds. Lee Nickoson and Mary P. Sheridan. Southern Illinois UP, 2012,
locs. 1007-1163. AZW File.
Shor, Ira. Empowering Education: Critical Teaching for Social Change. Chicago UP, 1992.
Shpancer, Noam. “Framing: Your Most Important and Least Recognized Daily Ment.”
psychologytoday.com. Psychology Today. 22 Dec. 2010. Accessed 04 Sept. 2019.
Smith, Leonora H. “Revising the Real Way: Metaphors for Selecting Detail.” The English
Journal, vol. 77, no. 8, 1988, pp. 38-41.
Strong, Patty. “How Do I Write a Text for College? Making the Transition from High School
Writing.” The World is a Text: Writing About Visual and Popular Culture, Updated. Eds.
Jonathan Silverman and Dean Rader. Broadview Press, 2018, pp. 33-34.
Taylor, Stephanie. “Locating and conducting discourse analytic research.” Discourse as Data: A
Guide for Analysis. Eds. M. Wetherell, S. Taylor, and S. Yates. The Open University,
2001, pp. 5-48.
Thompson, April. “Ellen Langer - How Changing Your Thinking Changes Everything.”
naturalawakeningsmag.com. Natural Awakenings. Aug. 2017. Accessed 7 Nov. 2017.
Tobin, Lad. “Bridging Gaps: Analyzing Our Students’ Metaphors for Composing.” CCC, vol.
40, no. 4, 1989, pp. 444-458.
Tomlinson, Barbara. “Cooking, Mining, Gardening, and Hunting: Metaphorical Stories Writers
Tell About Their Composing Processes.” Metaphor and Symbolic Activity, vol. 1, no. 1,
1986, pp. 57-79.
Yancey, Kathleen Blake. Reflection in the Writing Classroom. Utah State UP, 1998.
Zebroski, James. Thinking Through Theory: Vygotskian Perspectives on the Teaching of
229
Writing. Boynton/Cook, 1994.
Works Consulted
Berlin, James. “The Teacher as Researcher: Democracy, Dialogue, and Power.” The Writing
Teacher Researcher: Essays in the Theory and Practice of Class-Based Research. Eds.
Donald A. Daiker and Max Morenberg. Boynton/Cook, 1990.
Berthoff, Ann E. “The Teacher as REsearcher.” The Making of Meaning: Metaphors, Models,
and Maxims for Writing Teachers. Boynton/Cook, Heineman, 1981, pp. 30-40.
Charmaz, Kathy. Grounded Theory: A Practical Guide through Qualitative Analysis. Sage
Publications, 2006.
Cohen, Daniel. Arguments and Metaphors in Philosophy. America UP, 2004.
Crotty, Michael. “Introduction: The Research Process.” The foundations of social research:
Meaning and perspective in the research process. Sage Publications, 1998, pp. 1-17.
Dancygier, Barbara and Eve Sweetster. Figurative Language. Cambridge UP, 2014.
Dabrowska, Ewa and Dagmar Divjak, Eds. Handbook of Cognitive Linguistics. De Gruyter
Mouton, 2015.
Denzin, Norman and Yvonna Lincoln, Eds. Handbook of Qualitative Research, 2nd ed. Sage
Publications, 2000.
Eubanks, Philip. “Understanding Metaphors for Writing: In Defense of the Conduit Metaphor.”
CCC, vol. 53, no. 1, 2001, pp. 92-118.
Fahnestock, Jeanne. “Tropes.” Rhetorical Style: The Uses of Language in Persuasion. Oxford
UP, 2011, pp. 100-126.
Fairclough, Norman. “Discourses” and “Modality and evaluation.” Analysing discourse: text
analysis for social research. Routledge, 2003, pp. 123-133, 164-190.
230
Foss, Sonja K. “Metaphor Criticism.” Rhetorical Criticism: Exploration and Practice, 4th ed.
Waveland Press, Inc., 2009, pp. 267-306.
Gibbs Jr., Raymond W. and Herbert L. Colston. Interpreting Figurative Meaning. Cambridge
UP, 2012.
Hermann, Andrea W. “The Participant Observer as ‘Insider’: Researching Your Own
Classroom.” Annual Meeting of the Conference on College Composition and
Communication, March 16-18, Seattle, WA. 1989, pp. 1-16.
Lankshear, Colin and Michele Knobel. Handbook for Teacher Research: From Design to
Implementation. Open University, 2004.
Li, Wei. “Rethinking Critical Metaphor Analysis.” International Journal of English Linguistics,
vol. 6, no. 2, 2016, pp. 92-98.
Marshall, Catherine and Gretchen B. Rossman. “Managing, Analyzing, and Interpreting Data.”
Designing Qualitative Research. 5th ed., Sage Publications, 2011, pp. 205-227.
Mazeland, H. “Conversation Analysis.” Encyclopedia of Language and Linguistics. 2nd ed. Ed.
Keith Brown. Elsevier Science, Vol. 3, 2006, pp. 153-162.
Moe, Peter Wayne. “Rethinking Metaphor: Figurative Language and First-Year Composition.”
TETYC, vol. 38, no. 3, 2011.
Mohr, Marian M. “The Teacher as Researcher.” The Quarterly, vol. 3, no. 1, 1980, pp. 4-6.
Munby, Hugh. “Metaphor and Teachers’ Knowledge.” Research in the Teaching of English, vol.
21, no. 4, 1987, pp. 377-397.
Murray, Donald (1972). “Teach Writing as a Process Not Product.” Cross-Talk in Comp Theory.
2nd ed., NCTE, 2003, pp. 3-6. Reprint.
Nickoson, Lee. “Revisiting Teacher Research.” Writing Studies Research in Practice: Methods
231
and Methodologies. Eds. Lee Nickoson and Mary P. Sheridan. Southern Illinois UP,
2012, locs. 1329-1483. AZW File.
Peterson, Linda. “Repetition and Metaphor in the Early Stages of Composing.” CCC, vol. 36, no.
4, 1985, pp. 429-443.
Pollack, John. Shortcut: How Analogies Reveal Connections, Spark Innovation, and Sell Our
Greatest Ideas. Gotham Books, 2014.
Powell, Katrina M. and Pamela Takayoshi, Eds. “Revealing Methodology.” Practicing Research
in Writing Studies: Reflexive and Ethically Responsible Research. Hampton Press, Inc.,
2012.
Ray, Ruth E. “Composition from the Teacher Researcher Point of View.” Methods and
Methodology in Composition Research. Eds. Gesa E. Kirsch and Patricia A. Sullivan.
Southern Illinois UP, 1992, pp. 172-189.
Ritchie, L. David. Metaphor: Key Topics in Semantics and Pragmatics. Cambridge UP, 2013.
Sidnell, Jack. “Basic Conversation Analytic Methods.” The Handbook of Conversation Analysis.
Eds. Jack Sidnell and Tanya Stivers. Blackwell Publishing Ltd., 2013, pp. 77-99.
———. “Talk” and “Methods.” Conversational Analysis: An Introduction. Wiley-Blackwell,
2010, pp. 1-35.
Smith, Claude Clayton. “Fact, Feeling, and Metaphor: Towards a Quantitative Analysis of
Style.” Rhetoric Review, vol. 1, no. 2, 1983, pp. 158-161.
Spinnuzi, Clay. “Coding.” Topsight: A Guide to Studying, Diagnosing, and Fixing Information
Flow in Organizations. CreateSpace Independent Publishing Platform, 2013, pp. 137-
149.
Sullivan, Wendy and Judy Rees (2008). Clean Language: Revealing Metaphors and Opening