Metaphors Of Love Research Articles

No Wellness Feels Better than This Sickness: Love Metaphors from a Cross-Cultural Perspective

This paper investigates love metaphors from the cross-cultural perspective of two typologically unrelated languages—English and Turkish. It categorizes Turkish love metaphors following the conceptual models proposed by Lakoff and Johnson (1980, 1999) and Kövecses (1988, 2000). Turkish data provide added support to the claims of conceptual metaphor theory that force and path image schemas are universal, but not always uniform as observed specifically in culturally different realizations of LOVE IS A JOURNEY metaphor in English and Turkish. This study also identifies specific level abstract source domains in Turkish, which do not appear in the English data: “PAIN/SUFFERING,” “INEFFABILITY,” and “DEADLY FORCE.” The sociocultural motivation for these domains is illustrated with reference to medieval Anatolian Sufi philosophy and traditions.

Conceptual Metaphors and Cultural Contexts with Special Reference to the Conceptual Love Metaphors between English and Korean

Conceptual Metaphors and Cultural Contexts with Special Reference to the Conceptual Love Metaphors between English and Korean

A MOTHER'S LOVE: GENDER, ALTRUISM, AND SPIRITUAL TRANSFORMATION

This article explores the concepts of altruism, spiritual connection, and shamanic healing as practiced by female curanderas in northern Peru. It suggests how coessence rather than transcendence is at the heart of the shamanic journey that both healers and patients embark upon in order to transform suffering. Using ethnographic and case-study research, it describes how the metaphors of maternal care, shared suffering, and compassionate love are used by female healers in this region to shape their patients' understandings of illness and health as well as to construct their own understandings of the shaman's role in their healing process. The healers studied adopt attitudes of acceptance, empathy, spiritual connection, and altruism as integral to their work and encourage their patients to do the same in order to regain a sense of mastery over their own suffering. Parallels are presented between the model of spiritual connection and healing described here and that described by both scholars of feminist theology and feminist spirituality such as Rosemary Radford Ruether and popular lecturers/authors such as Marianne Williamson.

Beasts of Love: Richard de Fournival's Bestiaire d'amour and a Woman's Response by Jeanette Beer (review)

Reviews Jeanette beer, Beasts ofLove: Richardde Fournival's Bestiaire d'amouranda Woman's Response. Toronto: University of Toronto Press, 2003. Pp x, 214. isbn: 0—80203612 —0. $50. Characteristic ofthe courtly culture ofthe thirteenth and fourteenth century was a love of complexity, of multiple allusions, of games, and of wordplay. Richard de Fournival's Bestiare d'amour typifies this passion for ambiguity and complexity. The Bestiaire is an elaborately self referential and rich work that provides a view of love as the ovetthrow ofreason by passion; a tale told through 'parole et painture.' Each 'beast' presents a different aspect oflove or passion, and is illustrated by illuminations of the wide variety of animals referenced. In recent yeats, much has been written about the uses of animals to represent the passions, vices, or other human characteristics, and theit role in revealing to us something about the medieval understanding of human psychology as well as the sexual mores of the era. The lavishly illuminated Bestiaire lends itself to this kind ofstudy. An evaluation ofthe work's reception by its audience is aided by the Response, a challenge presented to its misogynistic views from the pen ofa late thirteenth-century woman. Jeanette Beer, currently Professor of French at Purdue University, has written extensively on this ttadition, and has prepared translations ofboth the Bestiaire and The Response (1986; West Lafayette; 2000). The present work is a slim but densely argued explication ofthe Bestiary's position and ofthe critique found in the Response. The work is richly illustrated with fine teptoductions from the fourteenth-century manuscript, MS Douce 308. Beer's work is divided into six chapters, ofwhich the first four arc on the text of the Bestiaire. Chapter One, 'Love and Reason,' essentially discusses the well-worn theme ofthe sabotage ofreason by love. ChapterTwo, 'Love and the Senses,' evaluates Richard's lament on his role as victim, and Chapter Three discusses the presentation of possible remedies for Richard's plight. The most important remedy available to him is, very predictably, foresight, or prudence. Chapter Four, 'Love for Women,' stresses the metaphor of love as war, complete with pleas for mercy. The love of women, like warfare, cannot bring satisfaction to Richard. By Chapter Five, Beer has turned to an assessment of the Response. This short work is enigmatic, since neither the name of the author, nor even the date of the work are known. Beer speculates about these issues, describes the extant manuscripts, and finally summarizes its themes. In Chaptet Six, she discusses the legacy ofRichard's work in latet litetaty developments. While the scholarship is excellent within the very narrow scope the author has defined for herself, this work has several significant flaws. First, the genre of the ARTHURIANA 15.2(2005) 64 REVIEWS65 work, the bestiary itself, is a fascinating one, and Beer's expertise could have allowed much more discussion and evaluation of the gente as a whole. Where does the Bestiaire fit in to its tradition? Its rather shop worn views had an audience: who was it and why? What were its authot's sources? More development ofthe context ofthe work and discussion of its antecedents would have been useful and welcome. While these aspects may have been addressed in Beer's other wotks (she refers to them in notes), they are essential to her explication here, and their absence is notable and weakens both the utility and the interest of the work as a whole. Secondly, while 'parole et painture' is an important concept and the reproductions are very nicely handled by the publisher, rhere is no real explanation of analysis of the images. What is their context vis-à-vis the written text? Are all the 'beasts' illusttated? Are thete anomalies, exclusions, novel iconographies? A work so lavishly illuminated deserves to have its 'painture' taken as seriously as its 'parole,' in part, as art historian Robert Calkins has often pointed out, because the manuscript was intended to be experienced as a whole, senatum. The manuscript authot had it illuminated and went to considerable expense to do so. Why? What is the role of the images? What was the social and cultural role of the recipient? How and in what...

Love Metaphors in Modern Thai Songs

This paper examines the love metaphors used by contemporary Thai songwriters in their modern Thai songs. The theoretical framework for the study is the theory of conceptual metaphor (Lakoff, 1987, 1993; Lakoff and Johnson, 1980; Lakoff and Turner, 1989). The data, approximately 3,615 songs from Grammy Entertainment Company, were collected from books, tapes, and the internet and were compiled from 1983 to 2000. Only 502 metaphorical expressions describing love were found.

Visual representations of the idealized cognitive model of anger in the Asterix album La Zizanie

The conceptual metaphor program launched by Lakoff and Johnson [Metaphors We Live By, Chicago, University of Chicago Press, 1980] attempts to chart and describe the Idealized Cognitive Models (ICMs) that govern human thinking. The manifestations of these models studied hitherto, however, are almost exclusively verbal ones. In the interest of enriching insights into ICMs, non-verbal and multimedial representations need be investigated as well. In turn, picture theory can benefit from instruments developed in the cognitive linguistics paradigm. Kövecses [Metaphors of Anger, Pride and Love, Benjamins, Amsterdam/Philadelphia, 1986; Metaphor and Emotion: Language, Culture, and Body in Human Feeling, Cambridge University Press, Cambridge, and Editions de la Maison des Sciences de l’Homme, Paris, 2000] has demonstrated that verbal expressions and idioms used to describe emotions can be traced back to a limited number of conceptual metaphors. This paper investigates non-verbal manifestations of anger in the Asterix comics album La Zizanie in the light of Kövecses’ findings. It is argued that (i) the representations of anger found here are, at the least, compatible with the most dominant anger metaphor found by Kövecses, ANGER IS THE HEAT OF A FLUID IN A CONTAINER, and are probably motivated by it; and (ii) the medium of comics may privilege aspects of ICMs that are less dominant, or even absent, in its linguistic manifestations. Furthermore, the method of analysis employed is reflected on, since it is intended to be applicable beyond the questions addressed here.

Trinitarian Love Mysticism: Ruusbroec, Hadewijch, and the Gendered Experience of the Divine

In the early part of the fourteenth century, a parish priest in Brussels came into the possession of a manuscript containing the vernacular letters, visions, and poetry of a woman known only as “beata Hadewijch.” The priest prized the manuscript, even recommending it to his fellow conventuals decades later, and included its primary tropes of courtly love mysticism (Minnemystik) as an essential part of many of his writings on the active, interior, and contemplative ways to mystical union. This local priest turned canon regular, Jan van Ruusbroec (1292–1381), has been celebrated for centuries for his Trinitarian theology, for his speculative or essence mysticism, and for his negative theology—but Ruusbroec's reliance on Hadewijch's metaphor of courtly love has only recently become a subject of scholarly study. An examination of the parallels between Hadewijch and Ruusbroec's theology, a heavily Trinitarian theology conveyed by means of the metaphor ofMinne, not only serves to expand our comprehension of their theologies, but also provides a unique perspective on the religious experience of medieval men and women.

"Make It Uglier. Make It Hurt. Make It Real": Narrative Construction of the Creative Writer's Identity

What makes a creative writer choose-and cling to-a vocation that is psychologically demanding, physically isolating, fraught with rejection and disappointment, and rarely rewarded with money or fame? An investigation into the experience of writer's block and flow in creative writers led to several insights on such matters. Four creative writers, aged 19 through 48 and representing all genres and varied levels of renown, were individually interviewed in 4 taped sessions of 60 to 90 min each. Transcripts of the 16 interviews were analyzed for common themes and topics. An interpretation of the writers' life stories as constructive narratives of identity emerged: Each experienced social isolation from peers during childhood and adolescence and had a sense of being odd. As outsiders, they developed an observer's eye, which became part of their personality. They all managed to elevate oddity to a virtue by their middle school years. Being odd themselves, they also became fascinated with oddity in the outside world, creating a libido for the bizarre that was integrated into their identities and their writing. For these writers, their vocation is an enactment of their self-constructed identity, and they speak of it in metaphors of religion, love, addiction, and ego idealism.

Metaphors of Love, Love as Metaphor: Language, Ritual and Moral Agency in the Theological Politics of Identity

Metaphors of Love, Love as Metaphor: Language, Ritual and Moral Agency in the Theological Politics of Identity

Tenderness: A Mediator of Identity and Gender Construction in Politics

Tenderness: A Mediator of Identity and Gender Construction in Politics Ileana Rodríguez (bio) The main purpose of my paper is to explain how romantic love between men and women is used to signal tensions and negotiation between heterosexual couples. Performance theories refer to compulsive heterosexuality encoded in nineteenth-century bourgeois epistemologies of man as tenderness. I intend to use the concepts of love and tenderness to show how and why radical guerrilla discourses of the twentieth century have defined love for the fatherland as a homosocial relationship among guerrilla men. 1 Considering how this is related to performance will bring us back to the identity construction of gender in politics; at the moment, identities are defined as multipositional in order to destabilize categories and to dissolve the metaphysics of substance. In this, I will also discuss tenderness as travesty. Any discussion about tenderness could begin with an analysis of the conditions of discourse production, introducing notions of context and contextuality within the productive activities of what Gayatri Spivak calls “worldlings” (262) and Sylvia Wynter, “languaging” (“1942” 7). We all know, after Foucault, that discursive production has been transferred from the warehouse of epistemology to that of politics, and that discourses are not solely linguistic practices—they exist in the world [End Page 240] as one of the many pragmatics of the polis, in the form of policies, politics, and power. Discussions about nineteenth-century bourgeois romantic love and tenderness as culture are very different from more contemporary discussions about love as politics, revolution, and misogyny. Writing about love and tenderness during revolutionary periods and inside the perimeters of the revolutionary states is a state matter; and gender troubles. Although women’s rights have always been constituted as nation’s rights and feminism has always been a double jeopardy—hermeneutically and politically, a theoretical condition at the service of the state (or proscribed)—in revolutionary states maleness itself, the eponymous figure of male leadership, is made to preside over the fullness of the space. Pictures of leaders hang on the walls of homes and sometimes at the centers of living rooms. Their images are constituted as authorities ruling over public and private as lovers, fathers, leaders, and even movie stars. The figure of Che Guevara, for instance, has occupied that place; he has become a lay saint, an auratic man presiding over private and public spheres, in homes, buses, and buildings. 2 In Women, Guerrillas, and Love, I disengage spheres and collapse categories to show how heterosexual love is used as a pretext or metaphor for homosocial love. By making a distinction between the erotic and the patriotic, the heterosexual from homosexual affect, and by merging borders and margins such as ethnicities, gender, and sexualities with symbols that represent the collectivity, I will show how socialism united homosocial affect and political narratives of representation with bureaucracies. It is within this working hypothesis that I read the testimonials of guerrilla fighters, such as Omar Cabezas and Che Guevara, and compare them to women’s narratives, where women did not represent loved ones but dead ones—women as corpses. I argue that the rigidity of the body that might constitute the tumescence of the sexual organs during the kind of compulsory heterosexual intercourse, which symbolizes the masculine act of creating the radical nation-state, in women just represents the death and stiffness of that project. To collapse the representations of women with those of the collectivity—which is often referred to as “the people,” “the masses,” “the social classes,” “the political base,” or “the troops”—is to speak about the small voices of history, about the non-, about the counter-(practices), [End Page 241] and about the hetero-(geneous). My aim is to demonstrate that a position against women is antidemocratic. How can a political party promise to create an egalitarian society when its social policies are exclusionary? These are very simple questions, yet they remain unresolved. Tenderness as Travesty In her studies of Caribbean culture, more specifically, in her work on C. L. R. James and the events of 1492 as a discovery, Sylvia Wynter works with two epistemological spheres. One is an open, multiconceptual, nondogmatic cultural framework, where subjects are...

An Affair of the Heart

A title like that tells where you are going — a relationship as old as Adam and Eve. What gives away the meaning? It's the word heart, that all-purpose metaphor for love and emotion. Hearts have astonishing lives of their own. Hearts are faint and hearts are stout; hearts are open, hearts are closed; hearts are clean and hearts are mean; warm and cold, and faint and bold; hearts are light and hearts are heavy, some as heavy as a stone. They beat as one — two hearts in waltz time. Other hearts are lonely hunters. Hearts are whole . . .

A Linguist's Quest for Love

So far, love has not been studied from an explicitly linguistic point of view. The paper attempts to provide a systematic linguistic examination of romantic love. The approach is based on Kövecses's (1986, 1990) view of emotion concepts, which maintains that emotion concepts in general, and the concept of love in particular, can be seen as comprising four parts: a system of metaphors, a system of metonymies, a set of related concepts and a set of cognitive models (with one or more prototypical models in the centre). First the love metaphors, then the love metonymies and concepts related to love are identified, followed by a description of the ideal model of romantic love, as it emerges from these linguistic expressions. Finally, five major issues in the study of love are addressed in the light of the analysis: (1) the definition of love, (2) the nature of love, (3) the issue of how many different types of love there are and what these are, (4) the role of language in the study of love, and (5) the relationships between `folk' and scientific theories of love.

Metaphors of Anger, Pride and Love: A Lexical Approach to the Structure of Concepts

Metaphors of Anger, Pride and Love: A Lexical Approach to the Structure of Concepts

Review of Metaphors of Anger, Pride, and Love.

Review of Metaphors of Anger, Pride, and Love.

: Metaphors of Anger, Pride, and Love: A Lexical Approach to the Structure of Concepts . Zoltan Kovecses.

: Metaphors of Anger, Pride, and Love: A Lexical Approach to the Structure of Concepts . Zoltan Kovecses.

Titian: metaphors of love and renewal

Abstract Michael Jaffě's publication in 19711 of a recently discovered double portrait of two boys (figure I) — Gerolamo Melchiorre and Francesco Santo da Pesaro — as a family portrait by Titian suggests a reappraisal of a group of paintings by, or supposedly by, him in which use is made of a particular language of musical imagery: the Titian/Giorgone Concert chompêtre in the Louvre (1510-11 [figure 5]), the Bridgewater Collection Three Ages of Man (1512-1515 [figure 2]) in the National Gallery of Scotland, the Prado Bacchanal of the Andrians (1519 [figure 6]), the Pesaro Double Portrait itself (1544), and the long series of Venus with a musician, which Erwin Panofsky divides into Group A (c. 1550), comprising three paintings of Venus with an Organ-Player (one in Berlin and two in Madrid), and Group B, consisting of the Fitzwilliam Museum's Venus with a Lute-Player (c. 1565 [figure 9]) and the similar but more generalized Holkham Hall Venus with a Lute-Player, now in New York, which is later and quite possibly not by Titian.2

In Quest of the King: Image, Narrative, and Unitive Spirituality in a Twelfth-Century Sufi Classic

AbstractThe marriage of storytelling and spiritual formation is as old as the religious spirit of humankind. Farid Ud-Din Attar, a twelfth-century Persian poet and mystic, offers an imaginative example of this union in his Conference of the Birds, a tale describing the pilgrimage of all feathered creatures to their king. It is a spiritual journey that moves in five stages from a sense of longing for the inaccessible splendor of the royal court, through hope, boldness, and despair, to a final, shocking encounter with a majesty elusive as it is grand. The use of metaphor in describing passages of the spiritual life is demonstrated here at its best, as Attar explores the metaphors of impassioned love, the mirrored majesty of the king, and God as a treasure hidden in the world. His work suggests many parallels to the language of Christian and Jewish spirituality and his stories richly deserve retelling.

Theatrical Fiction and the Reality of Love in As You Like It

AbstractThe relationship between the two worlds of As You Like It becomes a metaphor of love, defined by conspicuous narrative and theatrical artifice. The expository opening scenes have a storybook flatness which becomes a metaphor of a world that limits self-realization while the liberating sojourn in the forest, a festive world of disguise and imagination, parallels the spectators’ experience in the playhouse as a withdrawal from everyday life. The pattern of withdrawal and return also objectifies the psychological development of love: the courtship of Rosalind and Orlando progresses from impulsive love at first sight at court, through subjective and imaginative responses to desire in the forest, to fulfillment in marriage. The play concludes by placing subjective freedom, expressed metaphorically through theatrical artifice, in the larger setting of forces beyond the self, established metaphorically in narrative artifice.