Includes bibliographical references.

Cover -- Title page -- Copyright page -- The Many Faces of Creativity: Exploring Synaesthesia through a Metaphorical Lens -- Contents -- 1 'Tiny Balloons Filled with Mashed Potatoes': What Is Synaesthesia, and What Has It Got to Do with Creativity and Metaphor? -- 1.1 What Is Synaesthesia and How Does It Relate to Creativity and Metaphor? -- 1.2 Metaphor and Its Relationship to Synaesthesia -- 1.3 Synaesthesia and Creative Metaphor -- 1.4 Synaesthesia, Creative Metaphor and Emotion -- 1.4.1 Positive and Negative Evaluation -- 1.5 Synaesthesia, Personification and Empathy -- 1.6 Bringing It All Together: Our Study -- 2 'Those Cookies Tasted of Regret ... ': How We Investigated Evaluative Descriptions of Sensory Experiences -- 2.1 Introduction -- 2.2 Participants -- 2.3 Procedure -- 2.4 Characteristics of the Corpus -- 2.5 Coding Procedure and Scheme -- 2.5.1 Coding for Response Senses -- 2.5.2 Coding for Response Types -- 1. Emotional effects -- 2. Cognitive effects -- 3. Physical effects -- 4. Personification -- 5. Empathy -- 6. Value judgements -- 7. 'Hyperbole' -- 8. Literal Explanations and Associations -- 2.5.3 Coding for Metaphor -- 3 ... and Rotting Flesh: How Do Synaesthetes and Non-synaesthetes Evaluate Sensory Experiences? What We Found ... -- 3.1 Introduction -- 3.2 How Do the Synaesthetes and the Non-synaesthetes Compare with One Another in Terms of the Senses That They Employ in Their Responses? -- 3.3 How Do the Synaesthetes and the Non-synaesthetes Compare with One Another in Terms of Their Response Types? -- 3.3.1 Response Types That Were Significantly More Likely to Be Favoured by Synaesthetes -- Metaphor -- Cognitive Effects -- Emotional Effects -- Physical Effects -- Personification -- 'Hyperbole' -- 3.3.2 Response Types That Were More Frequent in the Synaesthetes' Responses but Where the Difference Was Not Statistically Significant.

Empathy -- Value Judgements -- 3.3.3 Response Types That Were Significantly More Likely to Be Favoured by Non-synaesthetes -- Literal Responses -- 3.4 Conclusion -- 4 'Yeurgh ... ': How We Investigated Synaesthetes' and Non-synaesthetes' Responses to Emotion Words and Emotive Expressions, and What We Found -- 4.1 Introduction -- 4.2 Investigating Responses to Emotion Words and Emotive Expressions -- 4.2.1 Emotion Words: Word Association Task -- 4.3 How Do Synaesthetes and Non-synaesthetes Differ in Their Responses to the Emotion Words WAT? -- 4.3.1 WAT Responses Significantly More Likely to Be Provided by Synaesthetes, or Only Produced by Synaesthetes -- Colour -- Scenarios -- Synaesthetic Associations -- 4.3.2 WAT Response Types That Were More Frequent in the Synaesthetes' Data but Where the Difference Was Not Statistically Significant -- Nature and Natural Phenomena -- People, Body Parts and Facial Expressions -- Actions -- Physical Objects -- 4.3.3 WAT Response Types That Were More Frequent in the Non-synaesthetes' Data but Where the Difference Was Not Statistically Significant -- Qualities -- Physical Sensations -- Exclamations and Onomatopoeia -- 4.3.4 Response Types That Were Significantly More Likely to Be Provided by Non-synaesthetes -- Synonyms and Related Emotions -- Abstract Concepts -- 4.4 Conclusion -- 5 'I Don't Like Looking at Numbers with No Discernible Pattern': Conclusion -- References -- Acknowledgements.

Creative metaphor has been of central interest to the cognitive linguistic research community in recent years. However, little is known about what propels people to use metaphor in a creative way. In this Element, the authors identify and explore some of the clues that synaesthesia may provide to help us better understand the factors that drive creativity, with a particular focus on creative metaphor. They identify the factors that seem to trigger the production of creative metaphor in synaesthetes, and explore what this can tell us about creativity in the population more generally. Their findings provide insights into the nature of creativity as it relates to metaphor, emotion and embodied experience. This title is also available as Open Access on Cambridge Core.