Investigating Conceptual Metaphorical Expression in English Suicide Notes: A Cognitive Linguistic Study

The human experience is mysterious, so, metaphor is commonly used to portray life experiences. The significance of metaphor for expressing and developing selfhood. The function of metaphor in determining the conceptual meanings in suicide letters. Language reflects our worldviews. Language is a component of the body. The technique is used to illuminate crucial issues in cognitive semantics that is linked between experience, the conceptual system, and the semantic structures encoded by language is studied in cognitive semantics. These include conceptual metaphor and embodied cognition. The study's flaw is that body metaphors and embodiment may be linked. A suicide note's cultural domain aspect and the importance of interpreting conceptual metaphoric notions cannot be overstated. The study claims that body metaphors utilized in suicide can be systematized utilizing sensoryperceptual information of the outside environment. Either way, the body or actual components as domains are clearly connected. Art is considered to require embodiment.

A cultural linguistic analysis of Swahili body metaphors

This study describes the relationship between language, culture and conceptualization, considering in particular the embodied cultural metaphors of ‘heart’ and ‘liver’. The recent study by Kraska-Szlenk (2014) on the semantic analysis of Swahili body terminology has demonstrated that moyo (heart) has a prominent role in the conceptualization of numerous emotional states, with several different metaphorical meanings (e.g., love, generosity, will). However, from a diachronic perspective, ini (liver) is equally important for the metaphorical expression of emotions or character traits in Swahili. Considering in addition the practice of Swahili traditional medicine (uganga), this study highlights Swahili bodily conceptualizations involved in the expression of emotions and personal traits. The data were collected mostly through interviews with Swahili speakers during fieldwork conducted in Tanzania.

When Pots Had Legs: Body Metaphors on Maya Vessels

A body is a vessel. A vessel is a body. This metaphor frequently proved irresistible to ancient artisans, yet the conceptual work that it did varied greatly across time and space. A Moche stirrup-spouted vessel in the shape of a human head, perhaps a portrait of a specific individual, is by no means the same as a Protocorinthian aryballos where an elaborately coiffed female head tops the swelling curves of the oil flask beneath (for more on body metaphors in Greek ceramics, see Richard Neer’s essay in this volume). Neither is like a ritual wine beaker in the shape of a fantastical bird, every inch of its cast bronze surface patterned with symmetrical masks.3 But morphology is not meaning. Saying that a vessel is shaped like a body is where the inquiry must begin, not where it ends. In this chapter, I trace the shifting meanings associated with the body metaphor in Maya pottery from the city of Tikal, located in modern Guatemala. Between 300 and 800 CE, there were at least three moments when lids adorned with human heads caused vessels to be read as bodies. Vessels became a medium of fruitful dialogue with the past, as each iteration of the theme clearly drew on previous precedent, but used it to radically different ends. What began as a relatively unpopular adjunct to a predominant world of animal body metaphors on clay serving dishes before 400 CE became a satisfying way to integrate foreign forms in succeeding decades and the key touchstone in a pair of archaizing vessels made out of precious jade centuries later. Within this chain of associations, the bodies invoked became increasingly specific, their meanings more and more politically charged. It is surprisingly difficult to write about an individual vessel in isolation. Bound by the constraints of function and tradition, each vessel is an entry into a series of similar objects. Much of the interest—and what makes the examples here so distinctive—is in the way that they play on the existing constraints and conventions of their genre, eking new meaning out of small but conceptually significant changes in decorative program. Getting at how this is accomplished means paying close attention to each individual vessel, while also thinking about series, context, assemblage, interaction, and intended contents.