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Love, Kylie Or Metaphors of Love in the Lyrics of Kylie Minogue Janne

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Love, Kylie Or Metaphors of Love in the Lyrics of Kylie Minogue Janne Love, Kylie or Metaphors of Love in the Lyrics of Kylie Minogue Janne Harpela Master’s Thesis English Philology Faculty of Humanities University of Oulu Spring 2015 ACKNOWLEDGEMENTS First and foremost I offer my sincere gratitude to Prof. Elise Kärkkäinen and Dr. Eric Sandberg for their feedback and support. I would also like to thank my family for all the love, support and understanding they have given me through my entire life. In addition, I am grateful to my dear friends, my extended family, who have been there for me through thick and thin. And finally, I would like to express my sincere gratitude to Kylie Minogue for the inspiration she has given me through her work and without whom this thesis would not exist. Table of Contents 1 Introduction .................................................................................................................................................... 1 2 Data ................................................................................................................................................................ 4 2.1 Kylie Minogue as a singer ....................................................................................................................... 4 2.2 Kylie Minogue as a songwriter ................................................................................................................ 4 3 Theoretical background .................................................................................................................................. 8 3.1 Metaphor.................................................................................................................................................. 8 3.1.1 What is metaphor? .......................................................................................................................... 10 3.1.2 Cognitive metaphor theory and conceptual metaphors................................................................... 14 3.2 Study of pop music and lyrics ............................................................................................................... 22 3.2.1 On pop music .................................................................................................................................. 22 3.2.2 On lyrics and pop lyrics .................................................................................................................. 25 3.3 Love ....................................................................................................................................................... 28 3.3.1 What is love? .................................................................................................................................. 29 3.3.2 Metaphors of love ........................................................................................................................... 30 4 The analysis of the metaphors of love in the selected lyrics of Kylie Minogue ........................................... 34 4.1 Orientational metaphors ........................................................................................................................ 35 4.1.1 Up – down ...................................................................................................................................... 35 4.1.2 Here – there .................................................................................................................................... 39 4.2 Structural metaphors .............................................................................................................................. 41 4.2.1 LOVE IS A JOURNEY ..................................................................................................................... 41 4.2.2 LOVE IS MUSIC .............................................................................................................................. 59 4.2.3 LOVE IS A RAPTURE/HIGH ........................................................................................................... 63 4.2.4 LOVE IS MADNESS/INSANITY ...................................................................................................... 66 4.2.5 LOVE IS MAGIC ............................................................................................................................. 69 4.2.6 LOVE IS RELIGION ........................................................................................................................ 71 4.2.7 LOVE IS CLOSENESS ..................................................................................................................... 76 4.2.8 LOVE IS A UNITY OF (TWO COMPLEMENTARY) PARTS ............................................................ 80 4.2.9 LOVE IS (SUN)LIGHT ..................................................................................................................... 82 4.2.10 LOVE IS CHROMATICITY ............................................................................................................ 87 4.3 Ontological metaphors ........................................................................................................................... 91 4.3.1 LOVE IS A NUTRIENT .................................................................................................................... 91 4.3.2 LOVE IS A PLANT .......................................................................................................................... 93 4.3.3 LOVE IS A FLUID (IN A CONTAINER) ........................................................................................... 95 4.3.4 LOVE IS A BUILDING/CONSTRUCT ............................................................................................ 101 4.3.5 LOVE IS A GAME (TO PLAY) ....................................................................................................... 105 4.3.6 LOVE IS A SOURCE OF WARMTH ............................................................................................... 107 4.3.7 LOVE IS AN ASTRONOMICAL OBJECT/PHENOMENON ............................................................ 110 5 Conclusions ................................................................................................................................................ 113 References ..................................................................................................................................................... 116 Appendices .................................................................................................................................................... 120 1 Introduction Kylie Minogue as an artist has intrigued me for a long time. I remember well her smash hits from my youth, ‘Better the Devil You Know’ and ‘Confide in Me’ (released in 1990 and 1994) as some of my favourites. Still, it was not until her 2000 album Light Years and especially the album Fever the following year that I actually started paying more attention to the lyrics of the songs – until that I had just considered the songs as catchy pop tunes. Later, on a long road trip I made in New Zealand in 2004, I bought the 2002 re-issue of her 1997 album Impossible Princess with a bonus disc with songs and remixes I had never heard before. I was listening to the album while driving, concentrating on both the music and the lyrics, and was amazed by the content – in fact, the album has remained one of my favourite albums of all time. December 2004, in Sydney, I saw Minogue’s latest music video at the time, ‘I Believe in You’ and after that I just had to march in the closest branch of HMV to get the single and both the album and the DVD of her compilation album Ultimate Kylie. This was what cemented my interest in Minogue as one of my favourite artists and performers. In addition to my personal interest in the artist and her production – the simple fact that I like the music she makes – I believe she has offered, and still does, even more to music than her hit singles and best-selling albums. Minogue is a multifaceted individual; in addition to being an awarded singer and performer, she is also an actress, a producer, an entrepreneur and a humanitarian. The fact that many people fail to realise is that she has actually written or co-written the lyrics on a large number of her songs and also composed or co-composed quite a few of them as well. Although I have dabbled with the piano in my childhood and youth, I cannot call myself an expert of any degree in music (other than a consumer), which means my thesis will concentrate solely on Minogue as a lyricist. Figurative language use is often considered only a decorative tool mostly reserved for poetry or higher forms of literature. Still, as for example Lakoff and Johnson (1980/2003) write, the figures of speech we use can be seen as very concrete and tangible indeed, if examined carefully. They arise from the world surrounding us, our immediate physical surroundings, and are used to name and describe physical objects, emotions, feelings and phenomena, for instance, which we cannot grasp with literal language use. In this light, figurative 1 language use is far from being a separate entity which has to be confined to the highest forms of literature and poetry. Metaphors have been studied extensively and there are many different theories on them. Kövecses (2002/2010) writes that the conceptual metaphor theory has in the recent years become the prevalent and also most widely used theory of metaphor (p. vii). This fact affected my choice of theory through which
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