INTRODUCTION
Rationale
Figurative language, as noted by Glucksberg (2001), is a captivating and complex aspect of language and literature, manifesting in various forms across literature, science, advertising, and everyday communication (Dancygier and Sweetser, 2014) Its effectiveness in enhancing creativity has led to its popularity in literary contexts Among the various forms of figurative language, metaphors stand out as a unique phenomenon rooted in thought rather than mere linguistic expression, influencing all facets of life (Kovecses, 2010a) However, understanding metaphors can be challenging, as they represent a form of risk-taking that enriches interpersonal communication, making them a subject of ongoing interest for linguists and literary scholars (Carter and McCarthy, 1997).
This study has three primary objectives: first, to explore the role of emotional conceptual metaphors and fairy tales in addressing key questions; second, to analyze the evolution of meaning over centuries; and third, to examine the cultural impact of these elements in bilingual narratives As noted by Franz (1996), understanding these dynamics is essential for grasping the complexities of storytelling across different cultures.
Fairy tales represent the simplest and most direct form of mythological literature, reflecting the collective unconscious They provide profound insights into the human psyche, making them a valuable resource for understanding our shared experiences and emotions.
Fairy tales have been analyzed through various theoretical lenses, including symbolism, feminism, and structuralism However, the exploration of conceptual metaphors within these tales and their impact on language and culture remains a captivating area for researchers These metaphors are recognized for their significant semiotic power and their dynamic, multi-layered meanings.
Metaphors play a crucial role in defining the characteristics of fairy tales, and this is evident in their structured narratives While the motifs of fairy tales contribute to the overarching plot outlines, individual versions may differ significantly.
Fairy tales share amazingly similar plot outlines and motifs even across distant cultures On the one hand, this may be accounted for by their characterization as
According to Jung's theory, fairy tales represent "the purest expression of the collective unconscious," exhibiting significantly less cultural influence compared to myths and legends From a linguistic perspective, the abundance of symbols and conceptual metaphors in fairy tales suggests that these narratives may share a specific type of metaphor rooted in universal primary experiences Analyzing primary conceptual metaphors in fairy tales can uncover commonalities across cultures, thereby enhancing intercultural competence.
Aims and objectives of the study
This study investigates the roles of emotional conceptual metaphors in English-Vietnamese bilingual versions of "Grimm's Fairy Tales." The objectives include classifying metaphorical conceptual metaphors through the lens of cognitive semantics, exploring the mechanisms of human emotion expression in both Vietnamese and English tales, and identifying common linguistic and cultural features that convey emotions in these bilingual narratives.
Research questions
Based on the aims and objectives, the research question is as following:
How are the emotional conceptual metaphors expressed in the Grimm’s tales in both Vietnamese and English versions ?
Research hypothesis
To achieve the aims and objectives, the study evaluates emotional conceptual
Metaphors play a significant role in shaping both language and culture, serving as a powerful means of conveying knowledge across generations They are not only prevalent in local fairy tales but also form the foundational structure of the narratives, enriching the reader's comprehension of the stories Through metaphors, readers gain insights into themes such as morality, love, humanity, and cultural values, as well as the magical elements present in these tales As noted by Lakoff (1999, p 194), the impact of metaphors extends far beyond mere storytelling, influencing the way we understand and interpret the world around us.
Conceptual metaphors are deeply embedded in our thoughts and language, influencing how we understand various subjective experiences They are constructed from primary metaphors combined with widely accepted cultural knowledge, folk theories, and shared beliefs.
Scope of the study
This study focuses on the emotions conveyed in the Grimm Brothers' fairy tales from 1857 and the Vietnamese translation by renowned translator Hữu Ngọc The original collection, Kinder- und Hausmärchen, compiled by Jacob and Wilhelm Grimm, was first published in 1812, with a second volume released in 1814 and a revised edition in 1819 The final German edition published during the Grimm brothers' lifetime was the seventh.
The Grimms' title is most accurately translated as "Children's and Household Tales," but they are commonly known in English as Grimms' Fairy Tales However, many people mistakenly refer to them as "Grimm's Fairy Tales."
Kinder- und Hausmọrchen (Children and Household Tales) is listed by UNESCO in its Memory of the World Registry.
Structure of the thesis
In addition to Abstract, Table of Content, Bibliography and Appendix, the thesis are including five chapters as following:
Chapter 1: Introduction: This chapter provides an overview of the study including the reason for choosing the topic, scope, aims, and structure of the research
Chapter 2: Literature Review: This chapter provides an overview of literature theories, related to the research topic
Chapter 3: Methodology: This chapter presents analyses and discusses the essential methodology in this research
Chapter 4: Analysis and Finding: This chapter shows analysis of collected data and the finding of the research
Chapter 5: Conclusion and Recommendation: The chapter make a summary of research result and suggestion for future research
LITERATURE REVIEW
Framework of cognitive semantics
Cognitive linguistics offers four key models for inclusive word research: the typical model of classification structure, the theory of conceptual metaphor and metonymy, the idealized cognitive model, and frame theory (Kristiansen et al., 2008, pp 21–30) This study focuses solely on the theory of conceptual metaphor and metonymy as its research subject.
Cognitive semantics, closely related to cognitive linguistics, is not a singular theoretical framework According to Evans and Green (2018), it is grounded in four key principles: the embodied cognition thesis, the equivalence of semantic and conceptual structures, the encyclopedic nature of meaning representation, and the conceptualization of meaning construction The theory of metaphors within cognitive semantics is intricate, comprising various interacting components (Kửvecses, 2003) These components include experiential basis, source domain, target domain, the relationship between these domains, metaphorical linguistic expressions, mapping, entailment, blend, non-linguistic realization, and cultural models Conceptual metaphors consist of two spaces: the more specific source domain and the more abstract target domain, where the source domain offers insights to comprehend the target domain The selection of source domains is influenced by experiential foundations, allowing for flexible relationships between target and source domains.
Metaphorical linguistic expressions convey specific pairs of target and source domains through a process known as mapping This mapping involves assigning imagery from the source domain to the target domain, where the source domain typically aligns data with the target domain based on fundamental correspondences.
Entailment, also known as deduction, involves acquiring new knowledge through established understanding The interplay between source and target domains results in the creation of novel conceptual materials that are unique to both domains Conceptual metaphors are often expressed nonverbally, influencing not just language and thought but also social reality These metaphors converge to form cultural models, which manifest in diverse ways shaped by the nuances of national languages and human experiences Thus, conceptual units are intricately structured as a cohesive whole.
Definition of metaphor
Culture is not defined universally, but researchers generally agree it is an organic system of human and material values developed through practical activities and interactions with the environment (Eliot, 2010, p 26) Language plays a crucial role in this cultural formation process, serving as a means of communication that reflects various aspects of a culture (Barnbrook, 2002, pp 1–10) The structure of language consists of two key factors: the inner factor, which encompasses the intellect of the individual speaker, and the external factor, which represents the shared culture among speakers of the same language.
Metaphors are a crucial and prevalent figure of speech, as highlighted by Kửvecses (2003, pp 40-50) Researchers have offered various interpretations of metaphors, reflecting their diverse perspectives The term "metaphor" itself is derived from the Greek word "metapherin," which signifies transformation or change.
Aristotle is recognized as the pioneer of metaphor theory, which involves "carrying something across" or "transferring" meaning (Gross and Walzer, 2008) Lucas (1968) describes metaphor as a "transfer of a name belonging elsewhere" (cited in Leezenberg, 2001) While Aristotle's definition focused primarily on words, subsequent authors expanded on this foundational concept.
7 studies about the nature of metaphor than he did Lakoff and Johnson (2008, pp 7–
24) defined metaphor as a process by which perceive as “one thing in terms of another, and its primary function understands” Metaphors has been considered as the interaction between two words only Kửvecses (2003) argued that “in cognitive linguistic view, metaphor is defined as understanding one conceptual domain in terms of another conceptual domain” Accordingly, in conceptual metaphor, Conceptual domain A is conceptual domain B The two conceptual domains have a unique name, including target domain (T.D) and the source domain (S.D) While the conceptual domain that we try to understand is T.D, the one that we use for this purpose is S.D For example, in the sentence “Love is a journey”, love is a T.D and journey is a S.D
The Metaphor Identification Procedure (MIP), developed by the Pragglejar Group, provides a systematic approach for identifying metaphorical language in discourse The process consists of four key steps: First, read the text to gain a general understanding Second, identify the lexical units within the text Third, analyze each lexical unit's meaning in context, considering its application to entities, relations, or attributes relevant to the situation Lastly, assess if the lexical unit has a more basic meaning in other contexts; if its contextual meaning contrasts with this basic meaning yet can be understood in relation to it, classify it as metaphorical.
Understanding one domain through another requires establishing fixed correspondences, known as mappings, between a source domain and a target domain These mappings connect the fundamental elements of the source domain with those of the target domain.
A conceptual metaphor involves understanding the mappings between a source and target concept, which convey the meaning of metaphorical expressions For instance, in the metaphor "Love is a journey," specific mappings illustrate how the characteristics of a journey enhance our understanding of love.
The lovers The love relationship itself Events in the relationship The progress made The difficulties experienced
For example: We have hit a dead end
Their marriage is on the rock
We cannot turn back now
Metaphor is defined as the description or conception of one object in terms of another based on shared qualities It serves as a vital linguistic device and plays a significant role in shaping human cognition and understanding of the world.
Background of conceptual metaphor
Kovecses (2010b) categorizes metaphors into three types: structural, orientational, and ontological A structural metaphor involves using the framework of one domain (source domain) to comprehend another (target domain), enabling speakers to gain insights by relating one concept to another.
For example, in the “Time is motion” conceptual metaphor, the mapping is as following: (i) Times are things; (ii) The passing of time is motion; (iii) Future times
In the realm of perception, the observer perceives nine elements in front, with past experiences positioned behind them, highlighting the dynamic of movement where one entity shifts while another remains stationary, establishing the stationary entity as the deictic center Ontological metaphors play a crucial role in enhancing our understanding of target concepts, as noted by Kovecses (2010b), by revealing structured meanings in seemingly abstract ideas A notable example of this is personification, a specific type of ontological metaphor, illustrated through phrases like "Life has cheated me" and "The company went dead on me," which imbue non-human entities with human-like qualities.
Orientational metaphors offer a less structured conceptual framework for target concepts compared to ontological metaphors (Kovecses, 2010b, pp 231–240) Their primary function is evaluative, allowing them to create coherence among large groups of metaphors For instance, they help unify various metaphoric expressions, enhancing their overall meaning and impact.
More is up, less is down: speak up, please! – Keep your voice down please
Geeraerts (2010, pp 182–213) outlines three fundamental propositions of conceptual metaphor theory: first, that metaphor functions as a cognitive phenomenon; second, that it should be analyzed as a mapping between two distinct domains; and third, that semantics is rooted in epistemological experience.
Conceptual metaphors are not merely lexical phenomena; they are deeply rooted in cognitive processes, making them significant constructs in understanding language Three key points emerge from this perspective Firstly, conceptual metaphors extend beyond individual vocabulary units, allowing for creative expressions For instance, the phrase “to walk on cloud nine” conveys a sense of extreme happiness through imaginative language.
While you might feel like you're on cloud nine, it's essential to remember that there are others around you The phrase "walking on cloud nine" reflects a joyful state, yet it serves as a reminder of the reality beyond our personal experiences This highlights the concept of metaphor, which extends beyond language and into our understanding of the world Analyzing these conceptual metaphors can deepen our insight into human experiences and relationships.
Metaphorical models involve ten inherent mappings that connect a target domain to a source domain, creating a conceptual link between their aspects According to the third clause of conceptual metaphor theory, these metaphors are grounded in epistemological experiences, indicating that language is shaped by human knowledge.
The evolution of the linguistic sector has drawn significant interest from researchers in the area of conceptualizing metaphor within cognitive linguistics, as highlighted by the works of Barcelona (2003), Carter and McCarthy (1997), and Dancygier and Sweetser.
Research by Evans and Green (2018), Kovecses (2010b), Kristiansen et al (2008), Lakoff (1999), and Maalej and Yu (2011) reveals a significant connection between emotional concepts and metaphors across various cultures Their findings indicate that emotional language is predominantly metaphorical, suggesting that people globally structure and comprehend their emotional experiences through metaphorical frameworks.
The relationship between source and target domains is essential for identifying various metaphorical models Lakoff and Johnson (2008) categorize emotional conceptual metaphors into three types based on cognitive function: directional, structural, and ontological metaphors Additionally, Barcelona (2003) identifies two types of emotional metaphors—perception and structure metaphors—originating from sensory experiences Kovecses (2010) further distinguishes three categories of emotional metaphors: physiological, cognitive, and cultural metaphors.
Emotional factors
Based on the research of Gross (2012, pp 220–235), understanding emotions plays an important role in life Thus, a life without emotions would become dull and
Emotions are often expressed through body language, such as glances, smiles, or frowns, to communicate feelings to others (Empath, 2019, p 48) While there is debate about the classification of emotions, cross-cultural researchers generally agree on four basic universal emotions: happiness, fear, anger, and sadness Linguists have also established criteria for categorizing emotions Kűvecses (2003) highlighted key emotional concepts, including anger, fear, joy, sadness, love, desire, pride, shame, and surprise Plutchik (1991) proposed a circular model of emotions, identifying eight basic emotions—happiness, fear, trust, surprise, anger, anticipation, sadness, and disgust—arranged in pairs of opposites, creating a symmetrical structure.
Figure 1 The circle of eight kind of basic emotion of Robert Plutchik
Vietnamese culture classifies emotions through two distinct terms: "niềm" for positive feelings and "nỗi" for negative ones, as noted by Co (2011) This unique linguistic approach highlights the emotional landscape of the Vietnamese people, with examples such as "nỗi ám ảnh" (obsession) and "nỗi buồn" (sadness) illustrating the depth of negative emotions in their language.
(sadness), nỗi sầu (sorrow), niềm vui (joy), niềm tự hào (pride) or niềm đam mê (passion)
2.4.2 Universal of emotions in cultures
Wierzbicka (1999) explored the emotional contexts within linguistics and ethnography across various languages and cultures, revealing that while some universals have foundational theories, much of the research remains hypothetical She identified several universals of emotions, highlighting their significance in understanding cross-cultural communication.
(1) Every language has the same words to express the conceptual of feeling (Vietnamese: cảm thấy)
(2) Some of emotions can be expressed as “good”, some are “bad” (while some are not considered as good or bad)
(3) There have the similar words, though they are not though not necessarily identical in meaning
(4) In every culture, people seem to relate some gestures on the face with the good or bad emotions
(5) In every language, there are interjectional emotions
(6) In every language, there are some emotional terms, words point out the emotions indeed
(7) An individual can describe emotions based on perception through the
"symptoms" of observing the body, that is, through a number of manifestations of the body that are considered characteristic of emotions
(8) Emotions can be described by the senses of body
(9) Emotions which are based on conceptual can be described through estimated images
Characteristics of metaphors in the Grimm’s tales
"The Brothers Grimm, Jacob and Wilhelm, published their renowned collection of fairy tales, titled 'Kinder- und Hausmärchen,' in 1812, with a second volume released in 1814 A revised edition was later introduced in 1819, solidifying the tales' enduring legacy in German literature."
The seventh edition of the Grimm brothers' tales was published in 1857, during their lifetime, marking their significant contribution as both writers and prominent German literary researchers of the 19th century While they were influenced by the Heidelberg romantic style, they sought to expand beyond its confines, drawing inspiration from its strengths Their dedication to collecting folk tales involved initially relying on their memories and engaging with elderly farmers and craftsmen who possessed extensive knowledge of these stories They meticulously explored various sources, facing the challenge of preserving the original language and essence of the tales The brothers aimed to maintain the soul of folklore in each story, believing that traditional literature held unique artistic beauty deserving of preservation.
The term "Kinder- und Hausmärchen," translating to "household and children's tales," signifies that these stories cater to both children and adults Originating from the dreams and aspirations of everyday individuals, these fairy tales often convey moral lessons and reflect social criticism through animal and symbolic narratives While many tales aim to educate, others simply serve to entertain with humor.
In Vietnam, renowned translator Huu Ngoc dedicated significant time to studying, collecting, translating, and publishing the exceptional tales of the Grimm Brothers, ensuring that the essence of the stories was preserved while drawing on his extensive knowledge of traditional culture He focused on using simple and accessible language, reflecting the spirit of the Grimm brothers in their compilation of folklore Huu Ngoc, born in 1918 in Hanoi, is a distinguished Vietnamese scholar with a prolific body of work on Vietnamese culture and its connections to global multiculturalism His intellectual pursuits extend beyond his own country's cultural identity, encompassing insights into French, American, Laotian, and Japanese cultures, among others Even at the age of 95, he remains passionately committed to his work.
Huu Ngoc, a distinguished 89-year-old cultural historian and expert on Vietnamese culture, continues to make significant contributions despite his age He has authored numerous books and articles in both English and Vietnamese, including a recent 1124-page publication titled "Wandering through Vietnamese Culture," which has been praised by American writer Lady Borton as a comprehensive resource on the subject As the first translator of Grimm's Fairy Tales into Vietnamese, Huu Ngoc has dedicated years to promoting cultural exchange, managing the Vietnam-Sweden Culture Fund for 16 years and the Norway Culture Fund for five His work emphasizes the importance of translating Vietnamese cultural expressions into English, showcasing the effectiveness of flexible translation techniques in overcoming cultural barriers.
Chapter summary
This chapter explores the four fundamental principles of cognitive semantics that underpin conceptual metaphor theory: (1) conceptual structure is embodied; (2) semantic structure is conceptual structure; (3) meaning representation is encyclopedic; and (4) meaning construction is a form of conceptualization Additionally, it evaluates the conceptual metaphor theory, which is one of the earliest frameworks in cognitive semantics aimed at examining the connections between language, thought, and embodied experience Furthermore, Chapter 2 provides an overview of the theory and its various types.
This article explores 15 conceptual metaphors, emphasizing their significance in idioms within fairy tales It examines the role of metaphors in conveying emotions, utilizing a cognitive linguistic approach to study these feelings The classification of these metaphors will be crucial for the subsequent chapter.
METHODOLOGY
Research methods
This research focuses on two key metaphors—sadness and happiness—analyzed through idioms found in fairy tales Both qualitative and quantitative methods are employed to explore how these emotions are represented in the narratives.
This research employs several methodologies, including descriptive, semantic analysis, quantitative, and comparative methods The descriptive method outlines the characteristics of linguistic phenomena at various developmental stages, specifically focusing on emotional idioms Semantic analysis is utilized to examine and generalize the meanings and cultural values associated with these idioms The quantitative method supports the descriptive and semantic analysis by providing clear results, although it may not address all issues, necessitating the incorporation of qualitative methods to fill any gaps The comparative method serves as the primary approach, aimed at identifying similarities and differences in the use of emotional conceptual metaphors between Vietnamese and English, thereby revealing both universal and culturally specific characteristics expressed through emotion-related idioms This method relies on a function-semantics approach to discern the universal conceptual semantics and their expressions in different languages.
Research process
The analysis of conceptual metaphors involved examining their forms and contexts to interpret their meanings effectively Each metaphor was explored to understand the interaction between its source and domain, as well as the intended message A comparative study of English and Vietnamese versions highlighted the similarities and differences in their structures and meanings Additionally, typical features and mappings were gathered from Grimm's Fairy Tales through critical analysis, drawing on Kovecses' (2010b) research, which emphasized the importance of linguistic, contextual, and cognitive aspects in metaphor analysis The findings aim to provide a comprehensive understanding of metaphors in various linguistic expressions.
This study aims to classify cultural features between English and Vietnamese versions, focusing on how conceptual metaphors influence both languages and cultures Essential research methods, including qualitative and quantitative approaches, will be employed to support the thesis Comparative analysis and descriptive research methods will further enhance the findings, while quantitative descriptions will assist in data counting Primary data will serve as the main source for this study, facilitating a comprehensive comparison and contrast of the tales.
This study's data collection process involves four key steps: First, gathering various metaphors from both English and Vietnamese sources Second, classifying these collected metaphors into distinct categories Third, selecting emotional conceptual metaphors related to happiness and sadness based on the term groups outlined in Chapter 2 Finally, identifying the common meanings shared among these metaphors.
This article examines 18 cultural metaphors in both English and Vietnamese, utilizing the framework outlined in chapter 2 It evaluates the values of these metaphors in each language, aiming to provide insights that address the research questions posed.
Procedure of data analysis
This study utilizes Kửvecses' (2003) conceptual metaphors theory to analyze English and Vietnamese terms, categorizing them into three groups: structural, ontological, and orientational metaphors The analysis phase involves examining the translation strategies employed for these terms, highlighting the importance of data processing in developing effective methods for translating English idioms into Vietnamese Finally, the study concludes with implications and recommendations for teaching metaphors, enhancing understanding and application in both languages.
Chapter summary
Chapter 3 outlines the process of implementing this research Besides, the research methods have been clarified Specifically, research will be conducted within the framework of the conceptual metaphors theory of Kửvecses (2003) Besides, the data used is mainly primary data, collected from Grimm‟s fairy tales (both English and Vietnamese versions) In addition, the analytical methods that will be applied include descriptive research method, comparative analysis method and quantitative method (mainly used to describe the collected data)
ANALYSIS AND FINDINGS 19 4.1 Conceptual metaphors of happy in Vietnamese and English tales 19
Conceptual metaphors of happy with the source domain CONTAINER
The S.D container has a great influence on creating the expression of happy expressions, which is the model of entity is container or the covered area
Container metaphors play a crucial role in understanding the internal reasoning behind the container image schema This concept was initially recognized by Lakoff in 1999 and further expanded by Ruiz de Mendoza in 1996, as cited in Cervel These developments highlight the importance of container imagery in shaping our cognitive processes and language.
By the model of conceptual metaphor Abstract entity or emotional status is container, the two sides (e) and (f) of theory container, proposed by Ruiz de
Mendoza (1996, as cited in Cervel and Ibỏủez, 2008) explores the relationship between classification and emotional states, suggesting that the internal environment of a "container"—represented by happy emotions—can shield its contents from external influences, whether positive or negative In this context, humans are the entities within the container, and the internal conditions can significantly impact our emotional well-being, leading to feelings of happiness or sadness Furthermore, the dynamic nature of these entities influences their interaction and control with the external world, highlighting the importance of the container metaphor model in understanding how these internal conditions shape our emotional experiences.
20 often interacts with other metaphor models such as the direction model, like happy is up
The S.D container model serves as a metaphor for humanity, highlighting the interplay between emotional experiences and positive characteristics within individuals In this framework, humans are viewed as a duality of being and subject, where "being" encompasses physiological functions and emotions, while the "subject" refers to consciousness and reasoning Emotions, likened to fluids within the being, are regulated by the subject, and any disruption in emotional balance can lead to physical effects For instance, the English metaphor "burst with joy" exemplifies a strong, uncontrolled emotional response, illustrating the connection between the container model and emotional expressions Common idioms such as "feel/be full of the joys of spring" and "burst with joy" further emphasize this relationship.
Through the lens of perspective, certain aspects of a container can be emphasized while others are downplayed (Lakoff and Johnson, 2008) For instance, if humans are viewed as containers, various body parts can also be seen as such, allowing focus on the head while neglecting other areas like the limbs This aligns with the conventional metaphorical concept identified by Lakoff and Johnson as used or unused parts of the metaphor (2008, p 53).
"the metaphorical structure of ideas is reflected through the lexicon of the language, including fixed expressions."
In Vietnamese language, happy emotion is compared as the real entity, can be affected in the real world Human subject is affected and controlled by the container
In Vietnamese culture, external body parts serve as metaphors for expressing happiness, particularly through idioms that emphasize the face, hands, and eyes The face, being the primary means of interacting with the world, plays a crucial role in conveying emotions Six idioms highlight this connection, such as "mát mày mát mặt" and "mặt tươi như hoa," illustrating how a joyful expression can reflect inner feelings When individuals experience happiness, their facial muscles relax, often resulting in smiles that metaphorically "bloom." This association likens a joyful face to vibrant flowers, suggesting that a lively demeanor signifies positive emotions Overall, these idioms encapsulate the profound relationship between facial expressions and the experience of happiness in Vietnamese culture.
The term "face" symbolizes the joy of openness and transparency, representing a happy expression that reveals one's true feelings It can also embody the concept of concealment, where the face serves as a container for emotions, illustrating the dual nature of revealing and hiding one's inner self.
In various idioms, human body parts such as the heart, stomach, abdomen, intestines, and liver serve as metaphors for containers, symbolizing emotions and internal states Although these organs are hidden from view, their significance in language reflects deeper meanings related to human experience.
Vietnamese people often use the metaphor of "22" to express happiness in their idioms, effectively conveying joy through a unique cultural lens This expression relies on the connection between abstract emotions and the physical aspects of the human body, allowing both speakers and listeners to understand the intended meaning clearly.
In term of English idioms, metaphor of happy emotions is also used with the model Abstract entity or emotional status is container, through the five idioms
Element, spirit, and rapture are abstract concepts that often appear as tangible entities in the real world They can be represented as existing within or entering spaces, as illustrated by the use of prepositions like "in" and "inside" (Lehman, 2013).
The father joyfully reunited with his beloved son, who expressed a desire to experience the fresh air of the world once more In his happiness, the father generously offered the fox all the hens he had.
In these examples, human emotions are influenced by the metaphorical container of happiness, as described by Lakoff and Ruiz de Mendoza This container represents a limited spirit world where individuals seek joy Within this confined space, they can experience various feelings, either immersing themselves in happiness or finding a way to escape it, much like stepping in and out of a physical container.
Conceptual metaphors of happy with the source domain DIRECTION
The upward visual schema symbolizes excitement and joy, as highlighted by Lakoff and Johnson (2008, p 243), who explored the experiential foundation that connects the metaphor of an "upright posture" with a positive emotional state.
Vietnamese idioms related to happiness often depict an elevated state of joy, exemplified by expressions such as "lên tận mây xanh" and its variations like "lên chín tầng mây" and "trên chín tầng mây." Research by Sửu (1998) suggests that this phenomenon of utilizing a source domain in Vietnamese idioms can be understood through the theory of "Five." These idiomatic expressions highlight a cognitive semantic model that associates happiness with an ascent to the clouds, illustrating a profound cultural perspective on joy.
The concept of Yin and Yang encompasses 23 elements that highlight the interconnectedness of targets, energy direction, head shapes, facial expressions, and emotions linked to the five elements Additionally, there are 17 English idioms that convey happiness, utilizing source domain metaphors in either a vertical or horizontal manner.
Vertical metaphors in English idioms convey joy through directional words like "up," "over," and "on," as well as adjectives such as "high" and "light," and verbs like "float," "jump," and "kick." These upward expressions often include air-related nouns or peaks, reinforcing the notion of elevation Empirical evidence suggests that people typically view the ground as a reference point, making upward orientations more significant An example of this can be found in the tale “The Tailor, the Ass, and the Stick” (The Edinburgh Review, 1868).
Around noon, he returned home, greeted warmly by his father His mother, filled with joy, felt comforted until the ninth month passed, when she gave birth to a child as white as snow and as red as blood Overwhelmed with happiness, she felt as if she could soar Marjory, feeling light-hearted and joyful as if her brother were still alive, leaped with joy back into the house to enjoy her dinner.
The idiom "kick up one's heels" reflects a sense of freedom and joy, akin to a horse released from a barn into an expansive steppe When freed, the horse gallops and kicks its heels in the air, symbolizing the exhilaration of liberation from confinement.
Conceptual metaphors of happy with the source domain FORCE
Humorous emotional responses are driven by external influences, where emotions act as a force and their expressions are the resulting effects Humans can be seen as containers for internal experiences, including thoughts, beliefs, and emotions.
The concept of internal force refers to the intrinsic motivation that influences a person from within, while external forces are the events and circumstances that impact individuals from the outside These external forces can be likened to moving objects that either propel us toward our goals or hinder our progress (Lakoff and Johnson, 2008) In Vietnamese idioms, many expressions draw on the metaphor of happy emotions, illustrating how external factors can motivate feelings of joy and movement For instance, the tale “Hai anh em” exemplifies this connection between external influences and emotional experiences.
Công chúa cảm thấy sợ hãi nhưng nhớ đến những sợi dây vàng đã dùng để buộc cổ các con vật Khi tìm thấy chiếc chìa khóa vàng ở cổ con sư tử, nàng vui mừng như trút được gánh nặng, nhận ra rằng người có con sư tử chính là chồng mình Da Gấu trở nên dũng cảm và đẹp trai hơn, cảm thấy nhẹ nhõm khi quỷ đã rời xa Hoàng tử ngạc nhiên trước vẻ đẹp và phúc hậu của cô, mừng như bắt được vàng Cô bé chăn ngỗng nhanh chóng may một chiếc thắt lưng với dòng chữ lớn “Một đòn chết bảy” và quyết định phải cho cả thiên hạ biết về sự kiện này, lòng đầy phấn khởi như mở cờ trong bụng, sẵn sàng chu du khắp nơi.
In the discussed idioms, human behavior is influenced by external factors, represented through various verb classes that convey actions driven by outside forces The metaphorical imagery in these Vietnamese idioms can be categorized into two groups: those with metaphors unrelated to humans and those that relate directly to human experiences These idioms not only express humorous emotions but also carry profound and symbolic meanings within their metaphysical framework Translator Huu Ngoc skillfully preserves the essence of the original idioms while making them more accessible to Vietnamese readers In contrast, English idioms present a different approach to metaphorical expression.
The model of happy emotional responses suggests that these feelings are influenced by external factors, as illustrated by various idioms These idioms utilize movement-related verbs such as "transport," "enter," "go," "walk," and "float," which signify that happiness is perceived as a movable object propelled by an external force This concept is exemplified in narratives that depict such joyful experiences.
With a compassionate heart, he dismounted from his horse and released the three fish back into the water, bringing them immense joy as they stretched their heads and called out to him.
Besides, the “smile” is the clearly expression of happy emotions The discovery in
Vietnamese and English idioms related to the expression of emotions through the act of smiling (cười) highlight the universal nature of emotions across both cultures As noted by Wierzbicka (1999), these idiomatic expressions reveal how different cultures interpret and convey similar feelings, emphasizing the shared human experience.
"…all languages have similar words, although not necessarily identical in meaning, such as laughter referring to the mechanical expression of positive emotions…"
Conceptual metaphors of sad in Vietnamese and English tales
Sadness is an emotional reaction to loss that can last from seconds to hours Cognitive semantics offers metaphorical frameworks to articulate feelings of sadness, as highlighted by Kửvecses.
2003) Besides some metaphorical source domains, more general source domains are also mentioned
4.2.1 Conceptual metaphor of sad with the source domain CONTAINER
The concept of metaphor plays a crucial role in expressing sad emotions, similar to its function in conveying happiness Two key models emerge in this context: the Abstract Entity as a Container and the Human as a Container These container metaphors significantly influence the formation and understanding of idioms that articulate sadness, highlighting the profound impact of metaphorical frameworks on emotional expression.
The container metaphor, as identified by Kővecses (2003), is a prevalent framework for expressing various emotions, particularly sadness Within this model, the concept of "Human as a container" is further divided into two sub-metaphorical models, highlighting the complexity of emotional experiences This metaphor serves as a common source for understanding and articulating different emotional states.
The outer body serves as a container for sadness, while the inner body also encapsulates this emotional experience In this metaphorical framework, both the outer and inner bodies represent the source of sadness, highlighting the profound connection between physical form and emotional state.
Vietnamese idioms often emphasize the significance of eyes as windows to emotions, particularly sadness Eyes serve as vital tools for interpreting the feelings of others, and when sadness is mentioned, tears are a common symbol that comes to mind Notably, there are nine Vietnamese idioms related to sadness that incorporate the imagery of tears An example of this is found in the idiom "One-Eye, Two-Eyes, and Three-Eyes," which poignantly captures the essence of sorrow.
Sau khi thuê một số chiếc xe, họ đã cho xe chạy qua giữa đám nồi đất, làm vỡ tan tành Khi công chúa vừa dọn hàng, đoàn xe bất ngờ kéo đến và cán nát tất cả đồ đạc Nàng khóc nức nở, nước mắt rơi lã chã: "Trời ơi, giờ biết lấy gì để đền bù cho người ta đây?"
Vua muốn dùng cách ấy để buộc nàng lấy tể tướng Người thợ săn tài giỏi
Người vợ liên tục đay nghiến khiến chồng phải làm theo ý mình, trong khi chồng vẫn thương xót hai đứa trẻ đói khát Hai đứa trẻ không ngủ được và đã nghe toàn bộ cuộc tranh cãi Grê-ten khóc lóc nói với anh rằng: "Anh em mình sắp chết đến nơi rồi "
The English language features various idioms that express sadness, primarily drawn from the metaphorical source domain of "face," as illustrated by five specific idioms Additionally, sadness is conveyed through four idioms that incorporate "cry" and "tear," including "cry one’s eyes out," "cry over spilled milk," "end in tears," and "vale of tears." Furthermore, there are eleven idioms utilizing the conceptual metaphor of "container," which involve prepositions of place such as "in," "out of," and "with," to articulate emotional states.
For example, in the tale “The Almond Tree”:
After her husband buried her beneath the almond tree, he was overwhelmed with grief As time went on, his sorrow began to fade, and he gradually lifted his spirits Eventually, he moved on from his mourning and took another wife.
The concept of model conceptual cognition highlights the heart as a container for emotions, particularly sadness This idea is illustrated through the metaphor of a "broken heart" or "bleeding heart," which serves as clear evidence of emotional pain This intriguing concept relies on metonymy, where the feelings of sadness represent the heart itself Additionally, it aligns with metaphorical mappings, as noted by Lakoff and Johnson (2008), who describe sadness as akin to a disease or death There are eleven English idioms that further explore this metaphorical relationship between the heart and emotions.
(Appendix H) Break one‟s heart (make somebody hurt)
For example, in the story of The Goose Girl:
The three drops of blood responded to Marjory, expressing concern that her mother would be heartbroken if she knew Marjory reflected on her feelings, admitting that she felt heavy-hearted before going outside, but now her heart felt light and uplifted.
The metaphor of sadness is vividly illustrated when the word "heart" is paired with negative actions such as "break," "die," "bleed," "sink," or descriptors like "broken," "heavy," and "sick," enhancing the emotional depth of these idioms.
4.2.2 Conceptual metaphors of sad with the source domain DIRECTION
The vertical metaphor, which stems from the direction metaphor, associates sadness with a downward feeling, indicating that sadness is often conceptualized as being low or down Barcelona (2003) explored sad metaphors and highlighted the prevalence of the metaphor "sadness is down" in the English language This metaphor closely relates to the physical sensations experienced during sadness Lakoff and Johnson (2008) provided a general understanding of how anatomical experiences contribute to the downward metaphors An example of this can be seen in "The Fisherman and His Wife."
“ The man felt down in the dumps, he said to himself, “it is not the right thing to do Nevertheless he went ”;
“ And when there was no one left in the house, Cinderella went to her mother’s grave, under the hazel bush with her heart sank ”
Examples illustrate how people express sadness through imagery, such as the concept of descending or the heaviness of objects sinking, often emphasized by the adverb "down." In Vietnamese tales, such as the story of "Hansel and Gretel," this emotional depth is conveyed through similar metaphors and expressions of sorrow.
Hai anh em trở về nhà sau khi nhận ra con đường mòn quen thuộc trong rừng Họ vui mừng ôm chầm lấy bố mẹ, những người đã ngày càng héo mòn vì nỗi buồn khi phải rời xa con Grê-ten lật ngược túi ra, và Hê-xen lấy từng nắm ngọc quý Từ đó, gia đình không còn lo lắng về miếng ăn hay cảnh nghèo khổ, mà sống hạnh phúc bên nhau.
Chapter summary
This chapter addresses the research questions regarding the significance of emotional conceptual metaphors found in idioms from both English and Vietnamese versions of Grimm's tales Additionally, the researcher highlights effective strategies for introducing and teaching conceptual metaphors in educational settings.
CONCLUSIONS AND RECOMMENDATIONS
Conclusions
This study explores the similarities between Kửvecses' research on English idioms and their Vietnamese counterparts, revealing that metaphorical concepts function similarly in both "The Grimm Brothers' Tales" and the English language However, some metaphorical concepts identified in the tales lack exact equivalents in the Lakoff-Johnson theory and Kửvecses' findings Despite this, there is a strong correlation in content and correspondence between target and source domains This reinforces the Lakoff-Johnson perspective that many metaphorical concepts arise from the way our bodies and minds are structured, highlighting the importance of human bodily experiences and spatial orientation.
At the core of the metaphorical system lies the human body, symbolizing the human mind This body traverses various paths, including the journey of life, the ethically 'right' road, and the passage of time, which may converge at times However, the metaphorical body can become encumbered by life's challenges and difficulties, while external influences or other metaphorical beings can direct it along different routes This concept is linked to the "States are locations" metaphor and its source domain.
The body experiences fluctuations in energy, influenced by worries and youthful vigor As time progresses, it gradually loses warmth, and a sense of contentment emerges as it feels lighter The eyes serve as a metaphor for understanding and knowledge, allowing us to envision the future and form opinions through various perspectives.
The perception of physical objects often parallels abstract concepts such as emotions and philosophical inquiries Metaphorical expressions, likening the mind to a body and life to a journey, help convey complex ideas by associating them with tangible experiences For instance, understanding is equated with seeing or grasping, while significant matters are described as large, and challenges are seen as burdens These metaphorical links offer a more intuitive grasp of abstract entities than literal interpretations However, it is essential to recognize that while the mind and body are metaphorically intertwined, they remain distinct entities, as their fundamental nature resists explicit comparisons.
Cognitive semantics, through its four dominant principles, has significantly contributed to the understanding of conceptual metaphor theory by emphasizing the need for analysis via mapping models and empirical experience Language and culture are interrelated, and an examination of the metaphorical expressions of five emotions in Vietnamese and English idioms reveals notable similarities despite geographical distances Both languages demonstrate universal tendencies in their conceptualization of the world, while also reflecting distinct cultural nuances The analysis indicates that while there are commonalities in emotional conceptual metaphors between Vietnamese and English, the linguistic data highlights differences in the portrayal of happiness and sadness, showcasing the unique cultural imagery and subtle symbolic meanings inherent in Vietnamese expressions.
The analysis of survey data reveals that the metaphorical use of language is increasingly prevalent, surpassing its literary application Therefore, it is essential for both literature and language students to understand conceptual metaphors Utilizing fairy tales is an effective method for teaching metaphors, as they are rich in metaphorical content and can engage students emotionally This thesis suggests various activities that employ fairy tales to teach metaphors, while also encouraging teachers in language and literature classes to create tailored exercises that cater to their students' specific needs and language proficiency levels.
Suggestions for further research
This thesis focuses on metaphor as a key figure of speech, while also acknowledging the significance of other figures such as metonymy, synecdoche, simile, and enallage It emphasizes the need for thorough exploration of these linguistic phenomena to uncover their cultural and linguistic value Due to time constraints, the paper will analyze selected tales to examine their roles in conveying meaning and educational value.
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Appendix A - the model Abstract entity or emotional status is container
1 be in one‟s element So excited
2 enter/get into the spirit of something Having good mood
3 in good spirits Happy mood
4 in high spirits Happy mood
Appendix B – idioms expressing the happiness that use the source domain metaphors vertically or vertically perceived
1 be as high as a kite 7 On the top of the world
2 be flying high 8 Over the moon
3 be on the tiles 9 Walk on air
4 float on air 10 Whoop it up
5 give sth the thumbs up 11 With a light heart
6 on cloud nine 12 With one‟s tail up
Appendix C – Vietnamese idioms that use the resource domain acting in mapping to the domain of happy emotions
4 Như trút được gánh nặng
5 Được lời như cởi tấm lòng
Appendix D – English idioms applied the model happy emotional responses
1 Be in a transport of delight/joy
2 Enter the spirit of sth
5 Give sth the thumbs up
6 Give st a new lease on life
Appendix E – 9 Vietnamese idioms of sad that use tears image
7 Nước mắt ngắn nước mắt dài
Appendix F - English idioms created by the metaphorical source domain face show sad emotions
1 A face as long as a wet week
5 Wipe the smile off one‟s face
Appendix G – 11 English idioms using the conceptual metaphor container with the prepositions of place like in, out of, with
1 Be in doldrums (feeling bored)
2 Be out of sorts (feeling angry)
3 Down in the mouth (in sad mood)
4 Down in the dumps (in sad mood)