Conceptual metaphors in lyrics, vocal realization and music – reinforcement or modification of emotional potential

The paper seeks to examine the ways in which the emotional potential (germ. Emotionspotential) rooted in the textual part of selected songs can potentially be reinforced or modified by the music and vocal realization. Music and intonation provide sonic counterparts of the emotional states expressed by language. I shall consider cases where the sonic counterpart is either an analog or stands in contrast to the textual component and the affective value commonly associated with the invoked conceptual metaphor/metonymy. The research material consists of three versions of the song Ride by 21 Pilots, the song Here Comes the Night Time by Arcade Fire and Die Flut [the flood] by Joachim Witt and Peter Heppner. The analysis results show that salient presence of up/down image schema in verbal and musical orientational metaphors is observable, albeit not always accompanied with the most typical valence [email protected] Zyga, PhD, is an adjunct professor at the University of Szczecin (Institute of Linguistics). Her research interests encompass translation studies, especially literary translation, cognitive linguistics and discourse analysis. In 2012, she obtained her doctorate on the basis of the dissertation Idiolekte in deutschsprachigen literarischen Texten [Idiolects in German-language literary texts], published in 2013.University of SzczecinArcade Fire. 2013. Here comes the night time. In: Arcade Fire, Reflektor. EMI Music Ltd.Arcade Fire. 2018, November 25. Here Comes the Night Time [Video]. YouTube. https://www.youtube.com/watch?v=FOTAu0Xq5X8 (1 January 2019).BBC Radio 1. 2018, November 1. Tyler from Twenty One Pilots – Ride in the Live Lounge [Video]. YouTube. https://www.youtube.com/watch?v=A7Cbd1wU8TA (1 January 2019)Górska, E. 2014. The up/down orientation in language and music. In: M. Brenzinger & I. Kraska-Szlenk (eds.), The Body in Language. Comparative Studies of Linguistic Embodiment, 177-195. Leiden: Brill (Brill’s Studies in Language, Cognition and Culture, 8).Hampe, B. 2005. When down is not bad, and up is not good enough: A usage-based assessment of the plus–minus parameter in image-schema theory. Cognitive Linguistics 16(1): 115-146.Heppner, P. [Peter Heppner]. 2018, April 16. Witt-Heppner – Die Flut [Video]. YouTube. https://www.youtube.com/watch?v=jVnmusVr_NI (1 January 2019).Juslin, P. N. & Sloboda, J. A. 2010. Handbook of Music and Emotion: Theory, Research, Applications. Oxford: Oxford University Press.Kim, J. & Andre, E. 2008. Emotion recognition based on physiological changes in music listening. IEEE Transactions on Pattern Analysis 30(12): 1-17.Kövecses, Z. 1990. Emotion Concepts. New York: Springer-Verlag.Krzeszowski, T. P. 1997. Angels and Devils in Hell: Elements of Axiology in Semantics. Warsaw: Wydawnictwo Energeia.Lewandowska-Tomaszczyk, B. & Hanks, P. 1996. Completive particles and verbs of closing in English. In: E. Weigand & F. Hundsnurscher (eds.), Lexical Structure and Language Use. Proceedings of the International Conference on Lexicology and Lexical Semantics, Münster, September 13–15, 1994, 89-103. Tübingen: Niemeyer.Morini, M. 2013. Towards a musical stylistics: Movement in Kate Bush’s ‘Running Up That Hill’. Language and Literature 22(4): 283-297.Neary, C. 2019. ‘Please could you stop the noise’: The grammar of multimodal meaning-making in Radiohead’s ‘Paranoid Android’. Language and Literature: International Journal of Stylistics 28(1): 41-60.NOVA FM. 2016, September 4. Pentatonix cover ‘Ride’ by Twenty One Pilots [Video]. YouTube. https://www.youtube.com/watch?v=fdqBqIpuJLs (1 January 2019).Schwarz-Friesel, M. 2007. Sprache und Emotion. Tübingen: Francke.Schwarz-Friesel, M. 2015. Giving horror a name: Verbal manifestations of despair, fear and anxiety in texts of Holocaust victims and survivors. In: U. M. Lüdtke (ed.), Emotion in Language. Theory – Research – Application, 289-304. Amsterdam/Philadelphia: John Benjamins.Schwarz-Friesel, M. 2015. Language and emotion: The cognitive linguistic perspective. In: U. M. Lüdtke (ed.) Emotion in Language. Theory – Research –Application, 157-174. Amsterdam/Philadelphia: John Benjamins.Shrivastav, R. & Wingate, J. (2008). Perceptual attributes and assessment of the singer’s voice. In: M. S. Benninger & T. Murry (eds.), The Singer’s Voice, 65-78. San Diego/Oxford/Brisbane: Plural Publishing.Sopory, P. 2005. Metaphor and affect. Poetics Today 26(3): 433-458.twenty one pilots 2015, May 13. twenty one pilots – Ride (Official Video) [Video]. YouTube. https://www.youtube.com/watch?v=Pw-0pbY9JeU (1 January 2019).Zbikowski, L. 2009. Music, language, and multimodal metaphor. In: Ch. J. Forceville & E. Urios-Aparisi (eds.), Multimodal Metaphor, 359–381. Berlin: Mouton de Gruyter.Zbikowski, L. 2017a. Foundations of Musical Grammar. Oxford: Oxford University Press.Zbikowski, L. 2017b. Music, analogy, and metaphor. In R. Ashley & R. Timmers (eds.), The Routledge Companion to Music Cognition, 501-512. New York/London: Routledge.Zbikowski, L. 2018. Music, metaphor, and creativity. https://www.researchgate.net/publication/326904557_Music_Metaphor_and_Creativity DOI: 10.13140/RG.2.2.10878.08004 (1 March 2019).31 (4/2020

Linguistic picture of war as an interplay of emotions and routines in the drama “Krieg” [War] by Rainald Goetz: a linguistic case study

Das Hauptanliegen des Beitrags ist eine diskurslinguistische Analyse des Bühnenstücks „Krieg“ von Rainald Goetz mit dem Ziel, das emergente – also sich aus Interaktion und nicht nur aus der Summe der Elemente ergebende – Bild des Krieges zu rekonstruieren. Ein wesentlicher Faktor sind dabei Emotionen, die der Sprache der Figuren innewohnen, und die sprachlichen Routinen, die auch von affektiver Bewertung der Sachverhalte zeugen. Die Methode der Untersuchung ist das DIMEAN-Modell von Warnke/Spitzmüller (2008) sowie die von Halliday (1971) formulierten Richtlinien für die Herangehensweise an die Untersuchung literarischer Texte.The aim of the paper is a linguistic discourse analysis of the drama “Krieg” [War] by Rainald Goetz with the purpose of a reconstruction of the emergent picture of war. An important factor in this process are the emotions inherent in the language of the characters, as well as linguistic routines, which also reveal information pertinent to the affective judgement of the situation. The method of analysis is the linguistic multi-level analysis model (DIMEAN) formulated by Warnke/Spitzmüller (2008) and the guidelines for analysis of literary texts as postulated by Halliday (1971).Tekst stanowi prezentację lingwistycznej analizy dramatu Rainalda Goetza „Krieg” [Wojna], której celem jest rekonstrukcja emergentnego obrazu wojny. Ważnym czynnikiem są tutaj emocje obecne w języku postaci, a także zrutynizowane zachowania językowe, również świadczące o afektywnej ocenie sytuacji. Jako metoda badawcza wybrany został model wielopoziomowej analizy dyskursu (DIMEAN) sformułowany przez Warnkego i Spitzmüllera (2008) oraz postulowane przez Hallidaya (1971) wskazówki dotyczące badania tekstów literackich

Is God nothingness or blackness? – literature as a platform for integration of religious discourse(s) and the discourse of (natural) sciences

The aim of the paper is to show how conceptual metaphors and metonymies, combined with other factors, enable literature to integrate specialized discourses, in accordance with the theory of Jürgen Link (1983) and his notion of interdiscourse (ger. Interdiskurs). We posit that in our research material, i.e. selected poems and lyrics, elements of two kinds of religious discourses – the discourse of Christian apologetics and atheist or anttheist discourse – are linked together with the elements of the discourse of (natural) sciences, especially with a view to enhancing the e ectiveness of persuasion. As the method of analysis the DIMEAN (linguistic multi-level discourse analysis) model (Warnke/ Spitzmüller 2008) is used, which has hitherto been applied almost exclusively to analyse German-language discourse

“Economy and science have long since been inseparable partners” – The Oder-Danube Institute and Professor Peter-Heinz Seraphim (Greifswald) in the Nazi Germany period

In December 1939 the Deputy Führer Rudolf Hess performed the ground-breaking ceremony for the Oder-Danube Canal, with Austria, Poland and the Protectorate of Bohemia and Moravia already under German control,. Besides connecting the Oder and the Danube, resulting in a nonstop waterway from the Baltic Sea to the Black Sea, spatial planning authorities, he saw the canal as a fundamental addition for the ‘second Ruhr valley in the East’ (Upper Silesia). The outcome of this connection would have been a widely expanded trade between northern and southern Europe. The trade might become then faster and cheaper, a wide array of strategic materials like coal, ore, petroleum and petrol would have been accessible for industry and armed forces. Due to the war progress the work on the canal had to be discontinued in 1940. One of the profiteers of the canal should have been the seaport in Szczecin, located at the intersection of the Oder and the Baltic Sea. Therefore a think tank called the ‘Oder-Donau-Institut’ has been found to deliver scientific arguments reinstating the work on the canal under the lead management of the economic chamber of Pomerania (Szczecin) in close contact with the University of Greifswald. The director of the institute was Peter-Heinz Seraphim, professor for political economy at the University of Greifswald. Under his leadership, the well-financed institute started to work not only for the economic interests of the economic chamber but also for the SS-Reichssicherheitshauptamt