1 Term Paper Plyushcheva 402

8/13/2019 1 Term Paper Plyushcheva 402

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INTRODUCTION

This paper focuses on one of the greatest subtle and exquisite literary devices

metaphor. It is one of the most frequently employed and the most recognizable

stylistic tools, basic poetic figure.

There exist two main approaches to the subect of metaphor! regarding the

metaphor as a rhetorical device "#ristotle, $ohnson%, and considering it as a cognitive

tool "&lac', (a'off%. )eedless to say, there exist both the proponents of the first

approach and the supporters of the second.

&ut the fundamental and underlying theory was originally represented by an

ancient *ree' philosopher #ristotle. +or the first time in the history of linguistics,

his wor's, -oetics and /hetoric, shed the light upon the subect of metaphor, that

before was regarded only as a poetic imagination.

0is wor' was the dominating one for years. It was utilized by many other

scientists, linguists, later it was also rewor'ed, improved and broadened, and only in

the last century it dramatically changed to the approach that is adopted today.

)owadays, a cognitive approach, thoroughly elaborated by two #merican linguists

and scientists, . (. $ohnson and *. -. (a'off, is the most commonly widespread

and theoretically well2grounded one.

It should also be pointed out, that the usage of metaphors in most cases is

contingent on different aspects such as the audience, the relevance and the soundness,

the context, that is the discourse in which the metaphor should fit, etc.

The main idea of this research paper is that, consequently, we can differentiate

metaphors also by types of discourses, since in some discourses it is widely used, e.g.

in the belles2lettres or publicistic discourse, while in other discourses, for instance in

the discourse of scientific prose or discourse of official documents, it is not generally

employed.

The rationale of this paper is preconditioned by the fact that metaphors3 usage is

an inexhaustible topic that needs thorough study and analysis, for those who want to

use it as a powerful tool of persuasion and stylistic nuancing. Thus, this subect is a

perfect field for further analysis, amendments and refinements.


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The research aim of this paper is an analysis of metaphor3s nature and its usage

within the scope of a legal discourse.

The obectives are as follows!

To comprehend the most universal definition of the notion of metaphor.

To specify the main functions of this stylistic device.

To scrutinize main types of metaphors.

To study the peculiarities of metaphors in the legal discourse.

To analyze its usage practically on the basis of $. *risham3s novel.

The subect of the investigation is metaphor itself and its correlation to a legal

discourse.

The obect of the research is the place and role of metaphor in a legal discourse.

The material of the investigation is 5The Street Lawyer, a legal thriller novel

written by an #merican writer $ohn *risham. #pproximately 466 metaphors have

been pic'ed up, described and analyzed.

The methods of investigation research strategy are predominantly descriptive

and comparative.

The organization of the research paper. The paper is composed of contents, an

introduction, two chapters, conclusions, bibliography, list of reference sources, list of

data sources and resume.

The theoretical value. The research provides analysis of the notion of metaphor

and its development throughout the history of the 7nglish language, ta'ing into

consideration the peculiarities of its usage in a legal discourse.The practical value. The results and data sources of the investigation can be used

for further investigation of the topic of metaphors and their usage in a legal discourse

and for familiarization and better comprehension of this topic.


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CHAPTER 1

PHILOSOPHY OF METAPHOR AND ITS NATURE

9etaphor is a device for seeing something in terms of something else. It brings

out the thisness of a that, or the thatness of a this.9

":enneth &ur'e,A Grammar of Motives, 1;


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also be viewed as a stylistic device, that enriches our language and ma'es it more

flowering. &ut, anyway, we should use metaphors properly, in order to avoid misuse,

and bear in mind the idea once expressed by #ristotle! # too apparent use of these

licences has certainly a ludicrous effect, but they are not alone in that? the rule of

moderation applies to all the constituents of the poetic vocabulary? even with

metaphors, strange words, and the rest, the effect will be the same, if one uses them

improperly and with a view to provo'ing laughter @BA.

1.). T%pe$ of metapho$

Mhen turning to the topic of metaphor3s typologization, the metaphor3s structure

should be pointed out. Thus, according to some linguists, for instance, to I. /ichards,

metaphor is described as having two parts! the tenorand the vehicle. The tenor is the

subect to which attributes are ascribed. The vehicle is the subect from which the

attributes are borrowed @41A.

>ther linguists employ the general terms ground and figure to denote what

/ichards identifies as the tenor and the vehicle. The corresponding terms to tenor and


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vehicle in alternative viewpoint terminology, that is in cognitive linguistics, the terms

targetandsourceare used respectively.

#ccording, to its structure and purpose, we can distinguish between!

#n absolute metaphor that is in which one of the terms "the tenor% canXt be

readily distinguished from the other "the vehicle% and there is no discernible point of

resemblance between the idea and the image. "also 'nown as! paralogical metaphor

andantimetaphor% 7xample! 9We are the eyelids of defeated caves9 "#llen Tate%.

#n active metaphor is one which is relatively new and has not become part of

everyday linguistic usage. "also 'nown as! live metaphor% 7xample! 9You are my

sun9

# complex metaphor is one in which the literal meaning is expressed through

more than one figurative term "a combination of primary metaphors% and which

mounts one identification on another. 7xample! 9That throws some light on the

!uestion9 @4=, p. 4BLA.

# compound metaphor is one that catches the mind with several points of

similarity. "also 'nown as! loose metaphor% 7xample! 9"e has the wild stag#s foot.9

This phrase suggests grace and speed as well as daring @4=, p.4BLA.

# conceptual metaphor is one in which one idea "or conceptual domain% is

understood in terms of another. In etaphors Me (ive &y, (a'off and $ohnson

mentioned these variations on the conceptual metaphor, as for example, 5time is

money3! You#re wasting my time $ % don#t have the time togive you $ or%#ve invested a

lot of time in her@1R, p.LA.

# conventional metaphor that is a familiar comparison that doesnXt call attention

to itself as a figure of speech. 7xample! 9%f all the world#s a stage& where is the

audience sitting'9 "*eorge Karlin%.

# creative metaphor is an original comparison that does call attention to itself as

a figure of speech. "also 'nown as! poetic or unconventional metaphor% 7xample!

9"er tall (lac)*suited (ody seemed to carve its way through the crowded room9 "$.

0art, Oamage%? or 9+ear is a slin)ing cat % find ,eneath the lilacs of my mind9 "Q.

Tunnell, +ear%.


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# dead metaphor is a figure of speech that has lost its force and imaginative

effectiveness through frequent use, that is one in which the sense of a transferred

image is not present. 7xample! the (ody of an essay$ time is running out$ he is a

sna)e$ money& so called (ecause it was first minted at the temple of -uno Moneta @4=,

p.4BLA.

# dormant metaphor is one in which its contact with the initial idea it denoted

has been lost. 7xample! "e was carried away (y his passions., .% was lost in

thought/ @4=A.

#n extended metaphor is one that sets up a principal subect with several

subsidiary subects or comparisons? a comparison between two unli'e things that

continues throughout a series of sentences in a paragraph or lines in a poem.

7xample! -resident (yndon &. $ohnsonXs inaugural address picturedAmerica as9the

uncrossed desert and the unclim(ed ridgethe star that is not reached and the

harvest that#s sleeping in the unplowed ground9 @48, p.;A.

#n implicit metaphor is one in which the tenor is not specified but implied.

7xample!%#m (urning. Shut your trap0@4=A.

# mixed metaphor is a succession of incongruous or ludicrous comparisons, that

one that leaps, in the course of a figure, to a second identification inconsistent with

the first one. ixed metaphors often, but not always, result in a conflict of concepts.

7xample! 9% )new enough to reali1e that the alligators were in the swamp and that it

was time to circle the wagons.9 "attributed to /ush (imbaugh%? or 9There is no man

so low that he has in him no spar) of manhood& which& if watered (y the mil) of

human )indness& will not (urst into flames9 "quoted by M. /. 7spy in The *ame of

Mords%

# primary metaphor is a basic, intuitively understood metaphor such as

5'nowing is seeing3 or 5time is motion3 that may be combined with other primary

metaphors to produce complex metaphors. #n example of a primary metaphor could

be that of Qha'espeareXs X#s You li'e itX, where life is depicted as being similar to a

theater. Therefore, 5life3 relates to a conceptual experience, and 5theatre3 represents a

concrete experience. Thus forming the primary metaphor! life is theatre.


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# root metaphor is one which is basic or pervasive in human thought? an image,

narrative, or fact that shapes an individualXs perception of the world and interpretation

of reality. 7xample! the thread or cord"spun and cut by the *ree' +ates, worn by

-arsi and 0ebrew% 0ere, oneXs cultural bac'ground determines metaphorical

understanding @48, p.4B;A.

# simple metaphor is one in which there is only one point of resemblance

between the tenor and the vehicle, i.e. it has a single lin' between the subect and the

metaphoric vehicle. The vehicle thus has a single meaning which is transferred

directly to the subect. "also 'nown as! tight metaphor% 7xample! 2ool down0"cool

temperature%?"e was mad. "mad anger% @4=A.

# submerged metaphor is one in which the vehicle or tenor is implied, or

indicated by one aspect rather than stated explicitly? and the one in which the

metaphoric vehicle is indicated by one part of it.. 7xample! my winged thought. 0ere,

the audience must supply the image of the bird. "er thoughts were on the wing My

thought are winged with hopes5wing Z bird Z flight3 "from $ohn Oowland lyrics%.

# visual metaphor is the representation of a person, place, thing, or idea by way

of a visual image that suggests a particular association or point of similarity.

7xample! 9%n an ad for 2anadian +urs& a female model wearing a fur coat is posed

and made up in a way that is slightly suggestive of a wild animal To leave little

dou(t as to the intended meaning of the visual metaphor 3or simply to reinforce the

message4& the advertiser has superimposed the phrase #get wild# over her image9 @1BA.

>ne more interesting approach to the classification of metaphors was proposed

by #. -. Khudinov, /ussian scientist, Ooctor of -hilology. Thereby, he mar'ed out

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1 Term Paper Plyushcheva 402