Abstract
In accordance with the proposal that the images of nature in folksongs unfold primarily in the dimension of space, this chapter sums up the principals of spatial representation that apply to the analysis of texts. The first part of the chapter discusses how perceptions regarding the environment affect spatial cognition and how it serves as a basis for cultural conceptualizations in terms of categorization and schematization. The issue of space and spatial cognition is approached from a linguistic perspective, based on the argument that while many concepts are widely recognized as pertaining to space (including location and placement, trajectory, landmark, direction, motion, etc.), other basic cognitive schemas should also be considered. A broader and more complex view is thus proposed, which includes, among others, construal operations such as perspectivisation, spatial grounding, reference point constructions, and subjective motion. Apart from acknowledging that spatial experience is per se universal, it is viewed as being grounded in culture partly due to language-specific features of spatial expressions, and due to the way in which metaphorical values are attached to spatial conditions, which are based on an agreement within a specific cultural group. It is argued that metaphorical meaning does not only emerge in the dimensional aspects of representation but also in the conceptualizer’s mental access to the referential scene.
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Notes
- 1.
To talk about space and spatial relations […] languages make use of a relatively small number of elements […] I will refer to all these grammatical forms of language which express primarily spatial relations as spatial grams” (Svorou 1994: 31).
- 2.
Cultural metaphors are also printed with small capitals, similarly to conceptual metaphors, however, the standard formulation is the use of as instead of is in metaphorical mappings (Sharifian 2017). This standard is consequently followed throughout the book in forming cultural metaphors.
- 3.
The explanation of why a forest is ‘round’ in many folksongs is rather interesting. The adjective kerek ‘round’ originally referred to a specific type of forest: ‘small round-shaped forest’ or ‘a forest that fills the horizon’ (Bárczi 1951: 29–30). After losing its specific meaning, it became a common word for ‘forest,’ which was gradually replaced by another word, erdő ‘forest.’ The conventional compound in folk poetry, kerek erdő ‘round forest,’ is hence a tautological compound. Later, however, it changed its meaning to a specific shape of forest, transporting the semantic property ‘round’ and ‘full’ to forests, which had not been conceptualized as ‘round’ before (Horváth 1997: 300, see also Chap. 4).
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Baranyiné Kóczy, J. (2018). Spatial Metaphors in Nature Imagery. In: Nature, Metaphor, Culture. Cultural Linguistics. Springer, Singapore. https://doi.org/10.1007/978-981-10-5753-3_3
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