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“I Would Do Anything for Love, but I Won't Do That”: Conceptual

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“I Would Do Anything for Love, but I Won't Do That”: Conceptual View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Trepo - Institutional Repository of Tampere University “I Would Do Anything for Love, but I Won’t Do That”: Conceptual Metaphors of Love in Popular Music Matias Leskelä University of Tampere Faculty of Communication Sciences English Language and Literature Pro Gradu Thesis March 2018 Tampereen Yliopisto Viestintätieteiden tiedekunta Englannin kieli ja kirjallisuus LESKELÄ, MATIAS:”I Would Do Anything for Love, but I Won‟t Do That”: Conceptual Metaphors of Love in Popular Music Pro Gradu-tutkielma, 77 sivua Maaliskuu 2018 ___________________________________________________________________________ Tämän Pro Gradu – tutkielman tarkoitus on selvittää, miten rakkaus käsitteellistetään ja millaisena se esitetään populaarimusiikissa. Aihetta lähestytään tutkimalla sanoituksissa esiintyviä käsitteellisiä metaforia, niiden yleisyyttä eri vuosikymmeninä sekä esittävän artistin sukupuolen vaikutusta käsitteellisten metaforien käyttöön. Tutkielma perustuu aineistoon, joka koostuu kaikkien amerikkalaisen Billboard Hot 100 – listan kärkisijalle 1960-luvun alusta lähtien nousseiden kappaleiden sanoituksista. Tutkielman teoreettisena pohjana toimii käsitteellisen metaforan teoria sekä kriittinen metafora- analyysi. Käsitteellisen metaforan teorian mukaan kielikuvalla on merkittävä rooli ihmisten ajattelussa, sillä sen avulla tehdään abstraktista käsitteestä helpommin ymmärrettävä rinnastamalla se johonkin konkreettisempaan käsitteeseen. Tietynlaisen kielikuvan käyttö siis ilmentää tietynlaista tapaa hahmottaa jokin käsite. Kriittinen metafora-analyysi puolestaan pohjautuu ajatukseen siitä, että kielikuvaa voidaan käyttää myös tehokkaana vaikutuskeinona, johon on vaikeaa kohdistaa rationaalista kritiikkiä. Tästä näkökulmasta tarkasteltuna myös populaarimusiikin sanoituksissa johdonmukaisesti esiintyvien kielikuvien nostaminen tarkastelun kohteeksi on tärkeää, sillä populaarimusiikki on läsnä miljoonien ihmisten jokapäiväisessä elämässä. Tutkielmaa varten koottuun aineistoon kohdistetussa metafora-analyysissä nousi esiin kahdeksan vakiintunutta käsitteellistä metaforaa, joiden kautta rakkaus esitetään kappaleiden sanoituksissa hyödykkeenä, säiliönä, eläimenä, huumausaineena, liekkinä, fysikaalisena voimana, pelinä tai hulluutena. Näiden kahdeksan metaforan yleisyydessä suhteessa toisiinsa havaittiin merkittäviä eroja koko aineiston tasolla, hyödykemetaforan ollessa yleisin. Analyysissä havaittiin myös, että tietyt käsitteelliset metaforat, kuten säiliömetafora, ovat yleistyneet suhteessa toisiin viime vuosikymmeninä. Tämä viittaa rakkauden käsitteen asteittaiseen muutokseen populaarimusiikissa. Aikaan liittyvien trendien lisäksi tutkimus osoitti, että esittävän artistin sukupuolella on yhteys tiettyjen käsitteellisten metaforien, erityisesti pelimetaforan, yleisyyteen kappaleiden sanoituksissa. Asiasanat: käsitteellinen metafora, metafora, kognitiivinen lingvistiikka, musiikki, lyriikka Table of Contents 1. Introduction ............................................................................................................................... 1 2. Background ............................................................................................................................... 3 2.1. Defining Popular Music ....................................................................................................... 3 2.2.Billboard Hot 100 .................................................................................................................. 4 2.3. The Effects of Mass Media on Its Consumers ..................................................................... 4 2.4. The Effects of the Lyrical Content of Music on Its Listeners .............................................. 6 3. Metaphor ................................................................................................................................... 6 3.1. Defining Metaphor ............................................................................................................... 6 3.1.1. A General Introduction .................................................................................................. 6 3.1.2. Metaphor vs. Metonymy................................................................................................ 8 3.1.3. Conventional vs. Original Metaphor ............................................................................. 9 3.2. Conceptual Metaphor ......................................................................................................... 10 3.2.1 Conceptual Metaphor Theory ....................................................................................... 10 3.2.2. Critical Metaphor Analysis .......................................................................................... 15 4. Previous Studies ...................................................................................................................... 17 5. Material and Methods ............................................................................................................ 19 5.1. Material Studied ................................................................................................................. 19 5.2. Methods Employed ............................................................................................................ 19 6. Results and Analysis ............................................................................................................... 22 6.1. General frequencies of the conceptual metaphors found ................................................... 23 6.2. General observations on the subcorpora arranged by time and gender.............................. 25 6.2.1 Differences in the frequency of the conceptual metaphors (gender) ............................ 30 6.2.2 Differences in the frequency of the conceptual metaphors (time) ................................ 31 6.3. LOVE IS A COMMODITY ............................................................................................... 34 6.4. LOVE IS A CONTAINER ................................................................................................. 38 6.5. LOVE IS AN ANIMAL ..................................................................................................... 42 6.6. LOVE IS A DRUG ............................................................................................................ 47 6.7. LOVE IS A FLAME .......................................................................................................... 52 6.8. LOVE IS A PHYSICAL FORCE ...................................................................................... 56 6.9. LOVE IS A GAME ............................................................................................................ 59 6.10. LOVE IS MADNESS....................................................................................................... 63 7. Discussion................................................................................................................................. 66 8. Conclusion ............................................................................................................................... 72 Bibliography ................................................................................................................................ 75 1 1. Introduction Consider the following excerpts of lyrics from two worldwide hit songs published nearly 50 years apart: “Yesterday Love was such an easy game to play Now I need a place to hide away Oh, I believe in yesterday” – The Beatles, “Yesterday”, 1965 “Never had much faith in love or miracles Never wanna put my heart on the line But swimming in your world is something spiritual I'm born again every time you spend the night” –Bruno Mars, “Locked Out of Heaven”, 2012 Though neither of these excerpts will seem particularly strange to anyone familiar with 20th or 21st century popular music, they nevertheless exemplify two very different ways of understanding what love is. The Beatles conceptualize it as a game in which it is possible to succeed or fail, while Bruno Mars paints a picture of something much more abstract, magical, even spiritual. It seems clear, then, that the popular music most of us are (willingly or unwillingly) subjected to on a daily basis can offer strikingly different views on love, a phenomenon that is undoubtedly one of the most prominent and inescapable features of the human condition. In this thesis I will adopt the stance first introduced by Lakoff and Johnson in their 1980 classic The Metaphors We Live By in proposing that a major way by which we understand and give meaning to complicated, abstract concepts such as love is through metaphor. In other words, in our inability to produce a comprehensive account of what exactly love is, we resort to 2 explaining it by comparison to things we find easier to define, such as games (Lakoff 1980, 59- 60). Adopting such a view entails understanding metaphors as much more than simply playful uses of language. Rather, metaphors reflect and the way we think, more specifically the way we understand and conceptualize the world we live in (ibid., 3-6). Once a person accepts the idea that love is, for example, a game, he or she will be profoundly affected in terms of his or her attitudes towards the phenomenon (Goatly 2007, 27), perhaps even the behavior he or she deems appropriate and acceptable in a relationship. This is why, considering the prevalence
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