According to Lakoff and Johnson (1980), metaphors involve a mapping of a tangible source domain on an intangible target domain and enable therefore the expression of concepts difficult to verbalise as such. ROMANTIC LOVE is one of these concepts. Indeed, “romantic love is commonly thought of as a mysterious emotion which it is notoriously difficult to pin down. […] Various authors in various disciplines have expressed the view that this is a concept that is difficult to grapple with and define“ (Kövecses, 1986). By analysing the conceptual metaphors used to describe ROMANTIC LOVE in conventionalised language, Kövesces succeeded to describe the constituents and structure of this concept.
Kövecses research on the concept of ROMANTIC LOVE and the cultural variation of metaphor is based exclusively on verbal evidence. As Charles Forceville (2005:69) acknowledged, “in the interest of enriching insights into ideological conceptual metaphors, non-verbal and multimedial representations need to be investigated as well”; mostly in order to break “the vicious cycle of saying that verbal metaphoric expressions are evidence of conceptual metaphors, and then saying that we know that because we see conceptual metaphors expressed in language” (Cienki, 1998). The present paper aims to extend Kövecses research by analysing the visual expression of ROMANTIC LOVE and its cross-cultural variation in comics. Indeed, as Forceville (2005:71) mentioned, “comics are a good source of pictorial data for such a project: unlike, for instance, realistic photographs and live-action films, which are more or less ‘naturally’ mirror real-life manifestations of emotions, comics and cartoons make use of stereotypical exaggerations and of a rudimentary ‘sign-system’ very much like a language”.
In a first part, our paper will show how Kövecses’ characterisation of the concept of ROMANTIC LOVE surfaces visually in the comic Asterix. The second part of this paper aims to explore this cross-cultural variation in the visual domain by comparing the results of the analysis of Asterix to Japanese Manga. Our research will be done on following data: three volumes of German translations of the French comic Asterix Asterix (Asterix als Legionär (Vol. 10), Asterix und Latraviata (Vol. 31), and Obelix auf Kreuzfahrt (Vol. 30)) and the Japanese manga I‘‘s (Vol. 7), Tsubasa (Vol. 13), Natsuki Takaya (Vol. 3). In all of these comics, romantic love plays an essential role.
Table of Contents
- 1. INTRODUCTION
- 2. KÖVECSES’ CONCEPT OF ROMANTIC LOVE
- 3. METAPHORS OF ROMANTIC LOVE IN ASTERIX
- 3.1 LOVE IS UNITY
- 3.2 THE BODY IS THE CONTAINER FOR EMOTIONS
- 3.3 LOVE IS A HOT FLUID IN A CONTAINER
- 3.4 THE PHYSIOLOGICAL EFFECTS OF LOVE IMPAIR NORMAL FUNCTIONING
- 3.4.1 LOVE IS UNCONTROLLED POWER
- 3.4.2 LOVE IS UNCONTROLLED BODY LANGUAGE
- 3.4.3 LOVE IS INABILITY TO FUNCTION NORMALLY
- 3.4.4 LOVE IS MAGIC
- 3.5 LOVE IS A COMPETITION
- 3.6 LOVE IS HAPPINESS
- 3.7 LOVE IS KINDNESS
- 4. PREVIOUS STUDIES JAPANESE MANGA
- 5. METAPHORS OF ROMANTIC LOVE IN JAPANESE MANGA
- 5.1 THE BODY IS A CONTAINER FOR THE EMOTION
- 5.2. THE PHYSIOLOGICAL EFFECTS OF LOVE IMPAIR NORMAL FUNCTIONING
- 5.3. LOVE IS HAPPINESS
- 5.4. LOVE IS DESIRE
- 5.5. LOVE IS FLOWERS
Objectives and Key Themes
This paper aims to expand upon Kövecses' research on the conceptual metaphors of romantic love by analyzing visual representations in Western comics (Asterix) and Japanese manga. It investigates the cross-cultural variations in how these metaphors are expressed visually, considering both indexical signs and pictorial runes. The study compares and contrasts the portrayal of romantic love in these two distinct visual media to understand cultural differences in the conceptualization of this complex emotion.
- Cross-cultural comparison of visual metaphors for romantic love.
- Analysis of indexical signs and pictorial runes in comics and manga.
- Examination of the universality and cultural specificity of romantic love metaphors.
- Investigation of the relationship between physiological effects and the conceptualization of love.
- Exploration of how cultural context shapes the visual representation of emotion.
Chapter Summaries
1. INTRODUCTION: This chapter introduces the concept of conceptual metaphors, particularly as they relate to the intangible concept of romantic love. It references Lakoff and Johnson's work on metaphor and Kövecses' research on the difficulty of defining romantic love. The chapter establishes the universality of certain generic-level metaphors while highlighting cross-linguistic variations at the specific level, citing Kövecses' examples and Aksan and Kantar's comparative study of English and Turkish love metaphors. It emphasizes the need to examine non-verbal representations of conceptual metaphors, particularly in comics, to move beyond solely linguistic evidence and highlights the unique qualities of comics as a medium for analyzing visual metaphors using indexical signs and pictorial runes.
2. KÖVECSES’ CONCEPT OF ROMANTIC LOVE: This chapter summarizes Kövecses' conceptualization of romantic love, identifying "LOVE IS A UNITY" as a central metaphor motivated by the perceived similarity between love experiences and the unity of complementary parts. It explores related concepts such as "LOVE IS A VALUABLE COMMODITY," highlighting the connection between love and need, liking, affection, enthusiasm, interest, and intimacy. It also discusses related but not inherent concepts like devotion, sacrifice, and friendship. The chapter further explores the "THE BODY IS A CONTAINER FOR EMOTIONS" metaphor, focusing on intensity as amount within a container, variations like "LOVE IS IN THE HEART," and the significance of "HEAT" in the "LOVE IS FIRE" metaphor. It details physiological effects assumed to accompany love, the lover's passivity, and contrasting concepts like "LOVE IS A HIDDEN OBJECT," "LOVE IS A GAME," and "LOVE IS WAR," emphasizing the lover's struggle for control over the emotion.
3. METAPHORS OF ROMANTIC LOVE IN ASTERIX: This chapter analyzes the visual metaphors of romantic love present in the Asterix comics, comparing them to Kövecses' framework. It examines the portrayal of "LOVE IS UNITY," illustrated by the reactions of Obelix and Falbala to separation and the pain of physical absence. The chapter also discusses "THE BODY IS A CONTAINER FOR EMOTIONS," "LOVE IS A HOT FLUID IN A CONTAINER," and the impairment of normal functioning due to intense love, using visual examples from the comics like blushing, sweating, and uncontrolled behavior. It further analyzes the visual depictions of "LOVE IS A COMPETITION," "LOVE IS HAPPINESS," and "LOVE IS KINDNESS," examining how these concepts are illustrated through character interactions and visual cues.
5. METAPHORS OF ROMANTIC LOVE IN JAPANESE MANGA: This chapter analyzes visual metaphors of romantic love in Japanese manga, focusing on the prevalence of "THE BODY IS A CONTAINER FOR EMOTIONS," similar to the findings in the Asterix analysis. The chapter highlights the physiological effects like blushing, sweating, and increased heart rate, suggesting that these may indirectly connect to romantic love through anxiety and stress, a concept absent in the Asterix portrayal. It discusses the unique visual representation of anxiety through dark cloudy skies and the potential cultural significance of the lover's avoidance of direct eye contact with their beloved as a form of emotional control. The chapter concludes by analyzing the manga's depiction of "LOVE IS HAPPINESS," "LOVE IS DESIRE," and the culture-specific metaphor "LOVE IS FLOWERS."
Keywords
Conceptual metaphors, romantic love, visual metaphors, cross-cultural analysis, comics, manga, Asterix, Japanese manga, indexical signs, pictorial runes, Kövecses, body as container, love as unity, love as fire, love as competition, happiness, anxiety, stress, cultural variation.
Frequently Asked Questions: A Cross-Cultural Analysis of Romantic Love Metaphors in Comics and Manga
What is the main topic of this research paper?
This paper explores the conceptual metaphors of romantic love as visually represented in Western comics (specifically, the Asterix series) and Japanese manga. It focuses on comparing and contrasting how these metaphors are expressed across different cultures, examining both indexical signs and pictorial runes.
What theoretical framework is used in this study?
The study draws heavily on Kövecses' research on conceptual metaphors of romantic love. It builds upon Lakoff and Johnson's work on metaphor and utilizes their theories to analyze visual representations of love in the chosen media.
What are the key metaphors analyzed in the paper?
Key metaphors examined include "LOVE IS UNITY," "THE BODY IS A CONTAINER FOR EMOTIONS," "LOVE IS A HOT FLUID IN A CONTAINER," "LOVE IS A COMPETITION," "LOVE IS HAPPINESS," "LOVE IS KINDNESS," and "LOVE IS DESIRE." The study also looks at culture-specific metaphors like "LOVE IS FLOWERS" in Japanese manga.
How are visual metaphors analyzed in the Asterix comics?
The analysis of the Asterix comics examines how visual elements, such as characters' reactions to separation, blushing, sweating, and uncontrolled behavior, represent metaphors of romantic love. It connects these visual cues to Kövecses' conceptual framework.
How are visual metaphors analyzed in Japanese manga?
The analysis of Japanese manga explores similar metaphors, such as "THE BODY IS A CONTAINER FOR EMOTIONS," but also highlights the role of visual cues like blushing, sweating, and avoidance of eye contact in conveying the experience of romantic love. It notes the presence of culture-specific metaphors and visual representations of anxiety.
What is the significance of comparing Asterix and Japanese Manga?
The cross-cultural comparison allows for an investigation into the universality and cultural specificity of romantic love metaphors. It highlights how cultural context shapes the visual representation of emotion and reveals both commonalities and differences in how love is conceptualized and portrayed.
What are indexical signs and pictorial runes in this context?
Indexical signs are visual elements that directly point to a meaning (e.g., blushing indicating heightened emotion). Pictorial runes are more symbolic or conventional representations carrying cultural weight (e.g., flowers symbolizing love in a specific culture).
What are the key findings of this research?
The study identifies similarities and differences in the visual metaphors used in both Asterix and Japanese Manga to represent romantic love. It reveals how cultural factors influence the visual expression of this complex emotion, highlighting both universal and culture-specific metaphors and visual cues.
What are the implications of this research?
The research contributes to a deeper understanding of the cross-cultural variations in the conceptualization and visual representation of romantic love. It demonstrates the value of analyzing visual media, like comics and manga, for insights into the complexities of human emotion.
- Quote paper
- Ellen Thießen (Author), Maria Schnyder (Author), 2009, Conceptual Metaphors of Romantic Love in Western Comic and Japanese Manga, Munich, GRIN Verlag, https://www.grin.com/document/181717
