1. Unparalleled Creativity in Metaphor (and Analogy) Take-Home Message re Handling Creativity within Metaphorical Expression  Creative metaphorical wording, going beyond existing mappings, can often be processed  without creating new source/target mappings to handle the unmapped elements,  even when it is crucial for the meaning of the utterance.  This is a liberating point, easing the task of accounting for creativity within metaphorical wording. Similarly: Take-Home Message re Analogy  Some creative parts of analogical sources do not have creative parallels in the target,  but instead serve to (creatively) control how other parts of the analogy fit with the target. Take-Home Message re Non-(Grand-)Creativity in the View of the Target  So, the creativity in the wording is often not paralelled in the target and  creative metaphorical wording often DOESN’T give grandly creative new view of the target.  Instead, it can exert fine and subtle control over what is transferred by already-known mappings  and can express unusual (rather than “creative”) situations in the target domain.  (The resulting message may be much more difficult to express without the metaphor.) … including the case of non- verbal, e.g. pictorial, metaphor  Eases the task of accounting for, e.g.,  creative pictorial metaphor. John Barnden, School of Computer Science, University of Birmingham, UK

2. NON-PARALLELED but CRUCIAL CREATIVITY in wording: example 1 “I don’t think strings are attached. If there are any they’re made of nylon—I can’t see them.” source elements PARALLELED: The strings Their attachment Physical seeing DIFFICULTY (of seeing) THEIR PARALLELS IN TARGET: Behaviour-affecting constraints The application of those constraints Abstract noticing DIFFICULTY (of abstract noticing) source elements NOT PARALLELED: The nylon. Being made of. Translucency. But the non-paralleled nylon and translucency derived from it are still CRUCIAL through implying the DIFFICULTY. NON-PARALLELED but CRUCIAL CREATIVITY: example 2 “[w]hen Jackie expressed doubts about [Phil], I had to nurture those doubts as if they were tiny, sickly kittens, until eventually they became sturdy, healthy grievances, with their own cat-flaps which allowed them to wander in and out of our conversation at will.” source elements NOT PARALLELED: The cat-ness of the doubts and grievances. Their tininess, sickliness, sturdiness, healthiness [ask me: complex point] The cat-flaps. The deliberateness of the cats’ wandering. One DERIVED source element that IS paralleled: The NON-deliberateness of the wandering on the speaker’s part. This non-deliberateness is a rich inference from the nature of cats and cat-flaps, and ALTGHOUGH NOT PARALLELED still has a CRUCIAL EFFECT on the meaning.

3. ATT-Meta Approach to Metaphor Understanding Direct Meaning of Utterance (lexico-compositional) Something Inferred using (largely) source-domain knowledge Something about the target scenario Something Inferred using (largely) source-domain knowledge Something about the target scenario rich inference Transfer actions rich inference Other creativity-supporting aspects of ATT-Meta:  Transfer steps as just one type of reasoning step:  arbitrary intertwining  View-Neutral Mapping Adjuncts [see paper]  Metaphor Compounding  No actual reliance on “domains”  Reverse Transfer (target-to-source):  Escapes from assuming per-sentence understanding