rather, as an idiosyncratic pastime, not part of the science of linguistics nor of much use. And others further, such as Deleuze and Guattari, Michel Foucault and, more recently, Manuel de Landa would criticize both of these two positions for mutually constituting the same old ontological ideology that would try to separate two parts of a whole that is greater than the sum of its parts. Lakoff's 1987 work, Women, Fire, and Dangerous Things, answered some of these criticisms before they were even made: he explores the effects of cognitive metaphors (both culturally specific and human-universal) on the grammar per se of several languages, and the evidence of the limitations of the classical logical-positivist or Anglo-American School philosophical concept of the category usually used to explain or describe the scientific method. Lakoff's reliance on empirical scientific evidence, i.e. specifically falsifiable predictions, in the 1987 work and in Philosophy in the Flesh (1999) suggests that the cognitive-metaphor position has no objections to the scientific method, but instead considers the scientific method a finely developed reasoning system used to discover phenomena which are subsequently understood in terms of new conceptual metaphors (such as the metaphor of fluid motion for conducted electricity, which is described in terms of "current" "flowing" against "impedance," or the gravitational metaphor for static-electric phenomena, or the "planetary orbit" model of the atomic nucleus and electrons, as used by Niels Bohr). Further, partly in response to such criticisms, Lakoff and Rafael E. Núñez, in 2000, proposed a cognitive science of mathematics that would explain mathematics as a consequence of, not an alternative to, the human reliance on conceptual metaphor to understand abstraction in terms of basic experiential concretes. Literature The Linguistic Society of America has argued that "the most recent linguistic approach to literature is that of cognitive metaphor, which claims that metaphor is not a mode of language, but a mode of thought. Metaphors project structures from source domains of schematized bodily or enculturated experience into abstract target domains. We conceive the abstract idea of life in terms of our experiences of a journey, a year, or a day. We do not understand Robert Frost's 'Stopping by Woods on a Snowy Evening' to be about a horse-and-wagon journey but about life. We understand Emily Dickinson's 'Because I could not stop for Death' as a poem about the end of the human life span, not a trip in a