“The role of non-verbal sound and music in multimodal metaphor.” In: Charles Forceville and Eduardo Urios-Aparisi (eds), Multimodal Metaphor, 383-400. Berlin/New York: Mouton de Gruyter. [Revised version of Forceville 2004.]
Abstract: Lakoff and Johnson 1999, 2003, Kövecses 2000, 2002, Gibbs 1994; Gibbs & Steen 1999) focuses only on verbal manifestations of metaphor. The crucial claim that metaphor is “not a figure of speech, but a mode of thought” (Lakoff 1993: 210) oddly did not preclude theorists from almost exclusively discussing verbal manifestations of conceptual metaphor. This biased view is now gradually being corrected. Research into pictorial (or: visual) metaphor is by now well under way (for references see Forceville, in press, forthcoming). By contrast, investigations into the role of sound in multimodal metaphor are hitherto rare (exceptions are Cook 1998: chapter 2; Thorau, in press, both examining metaphor in music). The present article is an exploration of how sound and music can contribute to metaphor by discussing ten cases of such metaphors. Five originate in advertising, with its clearly identifiable and specifiable genre-convention of attempting to persuade an audience of positive qualities adhering to a specific product; and five are fragments from art film, a genre which is supposed – let us say with Horace – to delight, instruct, and move.
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