Includes bibliographical references (p. 383-394) and index.

Preliminary Material -- A Book Of Mosaic -- Introducing metaphors (and masks) -- The magic of metaphoric masques: Ricæur on Metaphors -- Understanding Metaphors: The Alethetic Theory -- Metaphorism, Iconodulism, and Ana-logic: Transcendental Metaphors and Analogical Reasoning -- Generative Metaphorics: The Cognitive Semantics of the Lakoff School -- The Heresy of Paraphrase Revisited: Can Poems be Paraphrased? -- Notes on Ana-logic and Summary of Section I -- The Story and The Narrative: Introducing Some Notions of Narratology -- Historical Narratives: Their Nature and the Nature of Narrative Explanations -- Fictional and Non-Fictional Narratives: On White’s Tropology, the Concept of Literature and Related Issues -- Narratives as ‘Factions’: Ricæur on Facts, Fictions and Stories -- The Story and The Metaphor: The N-M: On the Relationship between Narratives and Metaphors -- Don Quixote and Narrativism: The Scope of Stories and Narratives in Human Existence -- Notes on Narra-Logic and Summary Of Section II -- Cognitivism, Naturalism, Subjectivism: Theories about Emotions -- Towards Hermeneutic Construalism: Roberts, Taylor, Construalism, Hermeneutics and Emotions -- Emotions and Narrations -- Emotions and Meaning -- The Maieutics of Ana-Logic: On poetic metaphors, similes, emotions, and tacit knowledge -- Notes on Enal and Emo-Logic and Summary of Section III -- Conclusion of The Book, Or the (Un) Holy Trinity -- Bibliography -- Index of names.

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This book argues that there is a complex logical and epistemological interplay between the concepts of metaphor, narrative, and emotions. They share a number of important similarities and connections. In the first place, all three are constituted by aspect-seeing, the seeing-as or perception of Gestalts. Secondly, all three are meaning-endowing devices, helping us to furnish our world with meaning. Thirdly, the threesome constitutes a trinity. Emotions have both a narrative and metaphoric structure, and we can analyse the concepts of metaphors and narratives partly in each other’s terms. Further, the concept of narratives can partly be analysed in the terms of emotions. And if emotions have both a narrative structure and a metaphoric one, then the concept of emotions must to some extent be analysable through the concepts of narratives and metaphors. But there is more. Metaphors (especially poetic ones) are important tools for the understanding of the tacit sides of emotions, perhaps because of the metaphoric structure of emotions. The notion that narrations can be tools for understanding emotions follows from two facts: narrations are devices for explanation and emotions have a narrative structure. Fourthly, the threesome has an impact on our rationality. It has become commonplace to say that emotions have a cognitive content, that narratives have an explanatory function, and that metaphors can perform cognitive functions. This book is the first attempt to articulate the implications that these new ways of seeing the three concepts entail for our concept of reason. The cognitive roles of the threesome suggest a richer notion of rationality than has traditionally been held, a rationality enlivened with metaphoric, narrative, and emotive qualities.