Un modelo pluridisciplinar para el estudio de metáfora e imagen a través de la iconicidad intermodal
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2021-07
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La mente humana es capaz de percibir similitudes no solo dentro de la misma área sensorial sino también entre áreas sensoriales y dominios cognitivos distintos. La iconicidad es una representación basada en la similitud, y la iconicidad intermodal, que es un fenómeno extremadamente extendido, debe entenderse como la iconicidad que traspasa las fronteras de diferentes tipos de modos materiales, espaciotemporales y sensoriales, además de la frontera entre estructuras sensoriales y configuraciones cognitivas. Por ejemplo, una entidad visual puede parecerse y, por lo tanto, representar icónicamente algo que es auditivo. El objetivo de este estudio semiótico, basado sustancialmente en hallazgos empíricos en la investigación psicológica, cognitiva y neurológica, es sugerir un marco teórico general para conceptualizar la iconicidad intermodal y relacionar los diferentes tipos de iconicidad monomodal e intermodal entre sí. El argumento principal es que la percepción y la concepción de imágenes y metáforas deben entenderse como extremos en un continuo de representación icónica donde la iconicidad intermodal cierra la aparente brecha entre la iconicidad monomodal, basada en los sentidos, y la iconicidad cognitiva. El artículo ofrece un esquema de los modos materiales, espaciotemporales y sensoriales y de sus interrelaciones, junto a una descripción detallada de la iconicidad intermodal y una estructura conceptual, para trazar grados de similitud e iconicidad con la ayuda de modalidades cruzadas. Se añaden también una serie de ejemplos que ilustran la continuidad de la iconicidad desde la imagen hasta la metáfora y una breve discusión sobre la noción de los esquemas-imagen como factor explicativo de la iconicidad intermodal.
Our minds are capable of perceiving similarities not only within the same but also across different sensory areas and different cognitive domains. Iconicity is representation based on similarity, and cross-modal iconicity, which is an extremely widespread phenomenon, should be understood as iconicity that crosses the borders of different kinds of material, spatiotemporal, and sensorial modes, and, furthermore, the border between sensory structures and cognitive configurations. For instance, a visual entity may resemble and thus iconically represent something that is auditory or abstractly cognitive. The aim of this semiotic study, substantially based on empirical findings in psychological, cognitive, and neurological research, is to suggest a general theoretical framework for conceptualizing cross-modal iconicity and relating different kinds of mono-modal and cross-modal iconicity to each other. Its chief argument is that perception and conception of images and metaphors should be understood as the two extremes in a continuum of iconic representation where cross-modal iconicity bridges the apparent gap between mono-modal, sensory-based iconicity and cognitive iconicity. It offers an outline of material, spatiotemporal, and sensorial modes and their interrelations; a thorough account of cross-modal iconicity; a conceptual structure for charting degrees of similarity and iconicity with the aid of cross-modality; an array of examples illustrating the continuum of iconicity from image to metaphor; and a brief discussion of the notion of image schema as an explanatory factor for cross-modal iconicity.
Our minds are capable of perceiving similarities not only within the same but also across different sensory areas and different cognitive domains. Iconicity is representation based on similarity, and cross-modal iconicity, which is an extremely widespread phenomenon, should be understood as iconicity that crosses the borders of different kinds of material, spatiotemporal, and sensorial modes, and, furthermore, the border between sensory structures and cognitive configurations. For instance, a visual entity may resemble and thus iconically represent something that is auditory or abstractly cognitive. The aim of this semiotic study, substantially based on empirical findings in psychological, cognitive, and neurological research, is to suggest a general theoretical framework for conceptualizing cross-modal iconicity and relating different kinds of mono-modal and cross-modal iconicity to each other. Its chief argument is that perception and conception of images and metaphors should be understood as the two extremes in a continuum of iconic representation where cross-modal iconicity bridges the apparent gap between mono-modal, sensory-based iconicity and cognitive iconicity. It offers an outline of material, spatiotemporal, and sensorial modes and their interrelations; a thorough account of cross-modal iconicity; a conceptual structure for charting degrees of similarity and iconicity with the aid of cross-modality; an array of examples illustrating the continuum of iconicity from image to metaphor; and a brief discussion of the notion of image schema as an explanatory factor for cross-modal iconicity.
Palabras clave
Intermodalidad, Iconicidad, Esquemas imagen, Iconicity, Intermodality, Image schemas