CONCEPTUAL METAPHORS OF LOVE IN LYRICS BY BEE GEES

Significance of the study Theoretically, the research results will confirm the theory of cognitive linguistics as a believable approach to analyze the language in general and clarify se

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MINISTRY OF EDUCATION AND TRAINING

HANOI OPEN UNIVERSITY

TRẦN THỊ THUÝ

CONCEPTUAL METAPHORS OF LOVE

IN LYRICS BY BEE GEES

(ẨN DỤ Ý NIỆM VỀ TÌNH YÊU TRONG CA TỪ CỦA BEE GEES)

M.A THESIS Field: English Language Code: 8220201

Hanoi, 2018

MINISTRY OF EDUCATION AND TRAINING

HANOI OPEN UNIVERSITY

TRẦN THỊ THUÝ

CONCEPTUAL METAPHORS OF LOVE

IN LYRICS BY BEE GEES

(ẨN DỤ Ý NIỆM VỀ TÌNH YÊU TRONG CA TỪ CỦA BEE GEES)

M.A THESIS Field: English Language Code: 8220201

Supervisor: Đặng Nguyên Giang, Ph.D

Hanoi, 2018

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STATEMENT OF AUTHORSHIP

I, the undersigned, hereby certify my authority of the study project report

entitled “Conceptual Metaphors of Love in Lyrics by Bee Gees” submitted in

partial fulfillment of the requirements for the degree of Master in English Language Except where the reference is indicated, no other person‘s work has been used without due acknowledgement in the text of the thesis

Hanoi, 2018

Student‘s Signature

Trần Thị Thúy

Approved by SUPERVISOR

Đặng Nguyên Giang, Ph.D

Date:………

Many thanks go to all my lecturers at Hanoi Open University for their precious knowledge, which lay the foundation for this study, my colleagues and many others whose support and encouragement help me to have this thesis accomplished

Additionally, I am so grateful for Bee Gees who wrote wonderful songs which are loved by fans all over the world and me too Their lyrics are filled by deep feelings in the different up and down motions, especially in Love It is the source of inspirations for me to do this thesis

Last but not least, I am greatly indebted to my family for their patience, endless love, and devotion Whatever choices I have made, they have always stood by me and believed in me I am immensely thankful for all the assistance they have given to me

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ABSTRACT

This study is an account of an investigation of conceptual metaphors of love in lyrics by a band group – Bee Gees In the thesis, the structural metaphors and ontological metaphors will be analyzed to reflect the opinions of theirs about love in the lyrics of the composers The study is mainly carried out through the documentary analysis and descriptive study with the support of qualitative and quantitative approach In other words, the lyrics of the songs are used as the data source of this research The results of this research show that there are sixteen source domains of conceptual metaphors used to express love They are journey, light, pain, power, belief, closeness, sadness, music, dream, prison, paradise, plant, animal, source of warmth, object and flame These sixteen source domains

of conceptual metaphors have their own unique interpretation of what love actually is The source domains prove that the abstraction concept of love can be reduced and described in more concrete domains of conceptual metaphors Finally, I found that conceptual metaphor is being in our everyday life Thus, we are not difficult to meet somewhere in life without metaphor Studying conceptual metaphor or conceptualization and using it in life is important and useful It not only brings students benefits in the process of learning English but also helps them widen knowledge about a variety of language as well as access to the world around easily

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LIST OF TABLES

Page

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LIST OF CHARTS

Page Chart 1: The percentage on structural metaphors in selected songs of Bee

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TABLE OF CONTENTS

Page STATEMENT OF AUTHORSHIP

1.4 Scope of the study

1.5 Significance of the study

CHAPTER 2: LITERATURE REVIEW

2.1 Metaphors and conceptual metaphors

2.1.1 Metaphors from traditional view

2.1.2 Metaphors from cognitive view

2.1.3 Conceptual metaphors

2.1.4 Classifications of conceptual metaphors

2.2 Music and lyrics

2.4.1 Previous research works carried out in foreign countries

2.4.2 Previous research works carried out in Vietnam

CHAPTER 4: STRUCTURAL AND ONTOLOGICAL

METAPHORS OF LOVE EMPLOYED IN LYRICS BY BEE GEES

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REFERENCES

APPENDIX 1: Conceptual metaphors selected from Bee Gees‘ songs

APPENDIX 2: Bee Gees‘ twenty songs used in the thesis

CHAPTER 1 INTRODUCTION 1.1 Rationale

Metaphors play an important role in language Metaphors appear everywhere in literature, daily life and music Particularly, using metaphors in music is one of the most creative jobs of the people It is a way of expressing feelings, emotions and a source of inspiration of all song writers Furthermore,

it not only makes words more and more beautiful and interesting but it also clarifies our understanding of literature, arts and life As a result, employing metaphors of love in lyrics is an essential and indispensable factor for musicians in the world to compose their songs There is no denying the fact that love is always an eternal topic of human beings of all time The majority of texts in any language, in any country have been written on love It has been described as an emotion, a way of life, and even as it is considered as the most important thing in one‘s life Most of the songs in English are mainly attached

to this incredible feeling so as to express love between male and female people through mood and emotions of the composers

Conceptual metaphors are also known as cognitive ones These are not only the chemical forms of the ideas but also a process of cognitive and functional manifestations forming new ideas The cognitive metaphors are exploited and decoded due to the background knowledge, cultural patterns, psychological characteristics, ethnic thinking, etc about the human spirit Thus, approaching language towards cognitive linguistics is a new direction in which more current linguists and supporters are interested

Bee Gees were one of the world‘s most successful groups of all time They made a considerable contribution to music of the world Images of human beings, love and life which were appeared in the greatest songs composed by Bee Gees made a great impression on people in the globe as well as Vietnamese people

The researcher, as a teacher of English, believes that teaching English through the songs will make an interest, a source of inspiration and motivation for the learners They widen their knowledge and develop their reading and listening skills about a variety of language items such as vocabulary, grammar, pronunciation, stress on words or sentence rhythm, especially they can make out implying meanings about love with the appearance of conceptual metaphors of love in the songs the author would like to focus on In addition, the study on the conceptual metaphors in lyrics by Bee Gees will contribute a

new direction of love values as well as highlight the profound philosophy of human life in the songs For these reasons, the author has made a decision to choose the topic: "Conceptual metaphors of love in lyrics by Bee Gees‖

1.2 Aims of the study

The study is conducted to improve the English teaching and learning through the English songs in general and the songs by Bee Gees in particular The findings of the study, to some extent, help the teachers and the learners have a better way to teach and learn English

In order to achieve the aim, the study is expected to reach the following objectives:

indicated in the lyrics by Bee Gees;

the songs by Bee Gees

1.4 Scope of the study

Metaphor in cognitive linguistic is regarded as new in recent But it is studied by multiple researchers in various perspectives Because of a large studying scope to be researched by researchers in the past that is over my time

so this thesis concentrate on the conceptual metaphor Basically, the view of conceptual metaphor of LOVE is written by them having the same ideal, so the study of many different authors made me have more examples and source of knowledge of conceptual metaphor of LOVE

The scope of the research is mainly viewed on the structural metaphor and ontological metaphor of LOVE in Bee Gees‘ song lyrics During their career, they composed more than 1000 songs with many hit songs performed

by themselves and other famous singers Of all the mentioned hit songs, 20 most famous songs of theirs will be investigated and analyzed in the present study to reflect the opinions of the composers about love in the lyrics These

songs chosen are about love between male and female people (e.g How Deep

is Your Love, You are my love, Love so right, Too much heaven, Don’t stop the night, My eternal love, Love you inside out, Love me…)

1.5 Significance of the study

Theoretically, the research results will confirm the theory of cognitive linguistics as a believable approach to analyze the language in general and clarify several issues about the conceptual metaphors of love through the lyrics

by Bee Gees in particular Indeed, conceptual metaphor, which is not just a figure of speech but also a matter of thinking, is an extremely important mechanism for people

Practically, the findings of the research are applied to analyze, evaluate and translate English songs They help the readers and the listeners uncover the implicit thinking of Bee Gees through the lyrics they use in their songs It can

be seen that knowledge from this sort of work will be of great benefits to learners, who have more understanding about metaphors especially conceptual metaphors since this topic is still not familiar to them In addition, it is a good way for teachers to achieve contribution and additional data for teaching and apply these kinds of patterns to their semantic teaching periods

1.6 Methods of the study

The study is mainly carried out through the documentary analysis and descriptive study with the support of qualitative approach

The data is quantitatively analyzed in terms of the percentage of the occurrence of metaphorical images in all the songs to see the preference for which sets of expressions as well as frequencies of two types of metaphors: structural and ontological metaphors With the help of qualitative approach, the metaphors, after being divided into categories according to the procedure of transferring meaning from the vehicles to the tenors guided by a theoretical lens, will be analyzed in details, synthesized and evaluated

1.7 Design of the Study

The present study consists of five chapters, in addition to the appendices and the references:

Chapter 1: Introduction

Chapter 2: Literature Review

Chapter 3: Data and Methods

Chapter 4: Structural and Ontological Metaphors of Love Employed in Lyrics by Bee Gees

Chapter 5: Conclusion

CHAPTER 2 LITERATURE REVIEW

2.1 Metaphors and conceptual metaphors

2.1.1 Metaphors from traditional view

Metaphor is for most people a device of the poetic imagination and the rhetorical flourish – a matter of extraordinary rather than ordinary language Moreover, metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action

Metaphor has been studied extensively and there are many different theories concerning them The traditional view on metaphor originates from Aristotle who discussed it in his texts, for example in Poetics According to Aristotle, metaphor is ―the application of an alien name by transference either from genus to species or from species to species, or by analogy, that is, proportion‖ Aristotle agrees that metaphoric use of language gives language distinction, but then again he refers to it by a means of making language more beautiful and less ordinary Some figures of speech Aristotle considers as metaphors do not actually fit in the definition anymore; instead, as for example Rapp (2002/2010) writes, some of them are seen as cases of metonymy or synecdoche Rapp considers Aristotle‘s view on metaphor to be actually slightly closer to the modern approach as he says that the later tradition to interpret metaphors sees them as instruments of decoration to delight the hearer

The traditional concept of metaphors gave them the following five figures (Kovecses, 2002/2010):

Metaphors are properties of words and they are linguistic phenomena Metaphors are used in order to add some artistic and rhetorical purpose Metaphors are based on a resemblance between the entities compared and identified by them

Metaphors are used consciously and deliberately and using them requires certain talent

Metaphors are by no means an inevitable feature of language; instead, they are used for special effects

When talking about metaphors in the traditional sense, we need to be able

to grasp three concepts that are actually the elements of metaphor: “tenor”,

“vehicle” and “ground” Through these concepts, it will be easier to

understand the corresponding concepts in Lakoff and Johnson‘s (1980) theory

Montgomery et al (2007) stated that the vehicle was the word or phrase in a sentence that cannot be taken literally in the context whereas the tenor was the implied meaning of, or the meaning that was referred to, by the vehicle The ground can be understood when we identify what tenor and vehicle have in common - their ―common ground‖, that is and filter the aspects of the vehicle not related to tenor, they continue They also make a distinction between two groups of metaphors: explicit and implicit metaphors; when a metaphor is explicit, both vehicle and tenor are clearly specified and also present in the text

This can be seen in the example Love is a roller coaster ride, for instance In this metaphoric expression, Love is the tenor, a roller coaster ride is the

vehicle and the ground is the similarity between the two Similarly, to a roller coaster ride, love has its ups and downs, for example; going uphill is usually slower and less exhilarating compared to the ride down, but the anticipation and the memories of excitement and thrill carries through the tough times

2.1.2 Metaphors from cognitive view

The cognitive metaphor theory takes a completely different approach to traditional metaphors It does not see them as unnecessarily flamboyant language use of poetry but rather as an integral part of our being human beings Kövecses (2002/2010) sketched the idea by giving examples of metaphoric language use:

He‘s without direction in life

I‘m where I want to be in life

I‘m at a crossroads in my life

She‘ll go places in life

He‘s never let anyone get in his way

She‘s gone through a lot in life

All these examples speak about life and use expressions to do with journeys Kövecses (2002/2010) explained that the domain of journey was used extensively when referring to the sometimes very abstract concept of life According to cognitive linguists, we do this in order to grasp the abstract concept that is of life in terms of the more concrete and tangible concept of journey, he continues According to him, in order for us to try to fully understand an abstract concept, it was actually better to use a concept more concrete, physical or tangible than the abstract target concept we were trying to grasp the idea of He saw only natural and logical beings to rely on our experiences with the physical world as a foundation in this process

Lakoff & Johnson introduced their groundbreaking and at the time even

radical theory on metaphors in their book Metaphors We Live By (1980/2003)

They did not consider metaphor as simply ―a device of the poetic imagination and the rhetorical flourish‖ and a mere tool of extraordinary language use with little or no connection to our thought and action as understood according to the

prevalent theories of metaphor Instead, they claimed that metaphors were in fact present in our everyday life and not only in language use, but in thought and action as well This pervasive nature of metaphors arises from

the fact that the very nature of our ordinary conceptual system was fundamentally metaphoric, they continued, and the concepts governing our thought were not only matters of the intellect but they also governed our everyday functioning It is our concepts that structure what we perceive and even how we relate to other people and this means our conceptual system indeed plays a crucial part in defining our everyday realities (Lakoff & Johnson, 1980/2003) Bearing in mind the metaphoric nature of our conceptual system, the metaphor indeed is omnipresent in the way we think, what we experience and what we do every day Language is where our conceptual system can be studied as we are typically not aware of how this system works

2.1.3 Conceptual metaphors

The theory of conceptual metaphors was developed by Lakoff &

Johnson in the 1980's, and their collaboration resulted in the book Metaphors

We Live By where they explained and listed various linguistic examples that

their theory was based on An example of one of the commonly used conceptual metaphors is "argument is war" This metaphor shapes our language in the way we view argument as war or as a battle to be won It is not uncommon to hear someone say "He won that argument" or "I attacked every weak point in his argument" The very way argument is thought of is shaped by this metaphor of arguments being war and battles that must be won Argument can be seen in other ways than a battle, but we use this concept to shape the way we think of argument and the way we go about arguing Conceptual metaphors are used very often to understand theories and models A conceptual metaphor uses one idea and links it

to another to better understand something For example, the conceptual metaphor

of viewing communication as a conduit is one large theory explained with a metaphor So not only is our everyday communication shaped by the language of conceptual metaphors, but so is the very way we understand scholarly theories

These metaphors are prevalent in communication and we do not just use them in language; we actually perceive and act in accordance with the metaphors

Conceptual metaphors typically employ a more abstract concept as target and a more concrete or physical concept as their source For instance,

metaphors such as ―the days [the more abstract or target concept] ahead‖ or

―giving my time‖ rely on more concrete concepts, thus expressing time as a

path into physical space, or as a substance that can be handled and offered as a gift Different conceptual metaphors tend to be invoked when the speaker is trying to make a case for a certain point of view or course of action For

instance, one might associate "the days ahead" with leadership, whereas the phrase "giving my time" carries stronger connotations of bargaining Selection

of such metaphors tends to be directed by a subconscious or implicit habit in the mind of the person employing them

According to Ungerer & Schmid (2006) War, Money and Journey are

source concepts; the conceptual domains generally easier to grasp, and

Argument, Time and Love are target concepts; the conceptualized more

abstract domains (p.118) Source concepts and target concepts not only establish a way of understanding the nature of certain ideas, but two completely different conceptual domains can also be linked even if they seem to be by nature impossible to connect

However, there is not only one possible source concept for each target concept, but a target concept can be described by several source concepts For

instance, Love is a Journey is a very common conceptual metaphor, but love

can likewise be described by the source concept of war; similar to that one can

Win an Argument, one is likewise able to win someone's hand in marriage and

fight for someone in order to win their heart (Lakoff & Johnson, 1980, p.49) Target concepts are not exclusive to one particular source concept, and

likewise Argument is a Journey is a possibility; one can arrive at a conclusion

in an argument In this manner conceptual domains can be linked in multiple directions and to numerous other conceptual domains even though the conceptual domains may not be very close or generally connected by nature Conceptual metaphors are perhaps often seen as the means for simplifying and explaining abstract conceptual domains However, even if people suppose that such metaphors are simply used as rhetorical devices, or simply to colour

―ordinary‖ language, Lakoff & Johnson (1980) argue that metaphors are used continually and that ―the ordinary conceptual system, in terms of which we

both think and act, is fundamentally metaphorical in nature‖ (p.3) Not only is language structured in a way where conceptual domains are explained by means of other conceptual domains, but people use such expressions because they think in the same manner

Moreover, the use of conceptual metaphors is not always a conscious choice, but something used automatically (Lakoff & Johnson, 1980, p.3) Because conceptual metaphors are such fundamental and deeply integrated parts of language and thought, they are used continually to a great extent without people realizing it Therefore, describing one conceptual domain via another may not be as uncommon as one first may think

2.1.4 Classifications of conceptual metaphors

According to the function Conceptual metaphor can be divided into three kinds: ontological metaphor, structural metaphor, and orientational metaphor (Kovesces, 2002, pp.33-34), he had the distinct types of conceptual metaphor and possibly to classify metaphors in a variety of way but rely on especially important role of cognitive linguistic view he divided conceptual metaphor in this ways rely on the ―conventionality, function, nature and level

of generality of metaphor‖ (p.33) Depending on cognitive function: structural, ontological, orientational, their nature: knowledge-based or image-based, their conventionality: conventional or unconventional, their complexity: simple or complex, and so forth (p.310) Lakoff and Johnson: ―The division of metaphors into three types - orientational, ontological, and structural - was artificial‖ (1980/2003, p.264) They claim that all types of conceptual metaphor are structural and ontological metaphor, and ―many are orientational metaphor‖ (p.264) orientional metaphors are rarely used to

Basically, conceptual metaphor is classified into three types: orientational metaphor, ontological metaphor, structural metaphor which divided by Lakoff and Johnson, Kovesces And following them, structural metaphor is used in most case vice versa orientational and ontolotical metaphors are less

i) Orientational metaphors

Conceptually, spatial orientation is regarded as locating something somewhere in space, Orientational metaphors were said by Lakoff and Johnson (1980/2003) ,that is one concept is organized by a whole system of concepts with regard to one other, most of orientational metaphors having to do with spatial orientation: un-down, in-out, front-back, on-off, deep-shallow,

central-peripheral, and so on It is different from culture to culture because orientional metaphors are basic to our physical and cultural experience Following lakoff and Johnson, physical and cultural basic here are human point

of view in one culture or physical characteristic of human beings, in a vertical position we rises from ―DOWN‖ to polar opposition ―UP‖ It is Clearly that HAPPY IS UP (happy is good emotion, feeling, they are rising higher), GOOD

IS UP (the same as happiness, health, life and control the principle characteristic of what is good for a person are all UP), MORE IS UP (quantity and number of a substance or physical objects are rising, or their container goes up), VIRTUE IS UP (a point of human view about the human nature, is good in the society), HIGHT STATUS IS UP (status is correlated with social and physical power, status up mean more social and physical power), have different means in our experience so gives rise to many different metaphors They recognized that most of their fundamental concepts are organize with respect to one or more spatialization metaphors and metaphor has many possible physical and social bases, but which is chosen that depending on a part of the coherence

in overall system, this is the reason that why one concept structure in vertical orientation not breadthwise orientation, this is found that in some circumstances spatialization is an important part of a concept that is so hard to take place of metaphor that it might structure the concept, examples: ―STATUS

IS UP‖ , ―HAPPY IS UP‖, etc

Kovesces defined orientatonal metaphors ―the name ―orientational metaphor‖ derives from the fact that most metaphors that serve this function have to do with basic human spatial orientations such as up-down, center-periphery, and the like‖ (2002, p.40), ―Orientational metaphors have primarily

an evaluative function They make large groups of metaphors coherent with each other‖, he also call orientational metaphor as ―coherence metaphor‖, and claimed that it is in accordance with the cognitive function in performing metaphors ―Coherence‖ meant that certain target concepts were tendentiously conceptualized in a uniform manner He gave the examples about orientations such as: ―upward‖ orientation and opposite orientation ―downward‖ so he found that Upward orientation were consider with positive evaluation, vice versa downward orientation is negative evaluation He pointed out that lot of spatial image schemas are ―bipolar and bivalent‖, having two evaluation such

as positive-negative evaluation

ii) Structural metaphors

Most of metaphors is structural metaphor, following Lakoff and Johnson (1980), he called metaphors in the cases that one concept is metaphorically structured in terms of another to be structural metaphor In other words, structural metaphors are that restructuring the target domain in the perspective

of sense when receiving new knowledge which to be mapped by conceptual domain Or it is more clearly that: ―Structural metaphors (such as RATIONAL ARGUMENT IS WAR) provide the richest source of such elaboration Structural metaphors allow us to do much more than just orient concepts, refer

to them, quantify them, etc.‖ (p.61), this means that we structure one concept

by other highly structure and clearly delineated concept in systematic correlations within our experience ―Structural metaphor involves structuring one kind of thing or experience in terms of another kind, […] Structural metaphor involves imposing part of one gestalt structure upon another‖ (1980/2003, p.178)

More simply, Kovesces (2002) stated that structural metaphor is which

―the source domain provides a relatively rich knowledge structure for the target concept‖, in other ways we understand ―target A by means of the structure mapping of source B‖, most of structural metaphors provide this type of structuring and understanding for their target concepts Conceptually, domain B here is the complicated and abstract experiences is used as means to understand domain A (the simple and specific experiences), domain A here often are the concepts that is difficult to imagine if we would not have metaphor, so it is difficult for us understanding

So we see, structural metaphor is defined as using the experience of domain B to understand domain A, or Domain A is often the abstract concept that is difficult to understand which is understand by using the experience of domain B which is often the concrete or physical concepts This means that we structure one concept by other highly structure and clearly delineated concept

in systematic correlations within our experience or structural metaphor is the using experiences of a conceptual metaphor to understand other one

iii) Ontological Metaphors

Kovesces (2002) claim that ontological metaphor has much less cognitive structuring for target concepts than structural metaphors do (p.38),

―Ontological conceptual metaphors enable speakers to conceive of their experiences in terms of objects, substances, and containers in general, without

specifying further the kind of object, substance, or container‖ (p.328), it seems that: ontological metaphor is means, that to be structured further structural metaphors He considered that, abstract target in this case is brought new abstract entities This means target domain will become the concept with more experiences than initial one in terms of objects, substances and containers (our experience in objects, substances, containers) And vice versa, personalization, when nonhuman is understood as human

Following Lakoff and Johnson (1980), always having a consistent set of ontological metaphors in each structural metaphors, so structural metaphors is structured more complicated than ontological or ontological metaphor is sub-parts of structural metaphor They thought that: ―Understanding our experiences in terms of objects and substances allows us to pick out parts of our experience and treat them as discrete entities or substances of a uniform kind Once we can identify our experiences as entities or substances, we can refer to them, categorize them, group them, and quantify them—and, by this means, reason about them‖ (1980, p.25), thus understanding, experiences about objects or substances, which provide principle for unusual wide variety of ontological metaphor, that is the ways we view events, activities, emotions, ideas, and so on Ontological metaphors have different diverse purposes in use, each kind of metaphors reflect the kind of particular target They also asserted that using personification the physical object as a person that is ―the most obvious ontological metaphors‖ the most popular ontological metaphors which

we often use in life and literature Personification here is defined as a ―general category that covers a very wide range of metaphors, each picking out different aspects of a person or ways of looking at a person‖ (p.34), commonly they consider as extensions of ontological to provide us making sense of phenomena

in human terms that can be experience of own motivations, goals, actions, and characteristics basically

Container metaphors is part of ontological metaphor, thus when we use ontological this means that to use ontological metaphors to understand events, actions, activities, and state which are conceptualized as objects, activities as substances, states as containers metaphorically This one arises from the fact that: ―Each of us is a container, with a bounding surface and an in-out orientation We project our own in-out orientation onto other physical objects that are bounded by surfaces‖ (Lakoff and Johnson, 1980/2003, p.25), each person is a container and all thing (objects, substance), which we can see by

sight, they all have boundary That is, considered our visual field as a container then we conceptualize all thing what we see as being inside it, each can see or not but all of them can be conceptualize by one boundary of another one, if personification is experiences with nonhuman entities in terms of human motivations, characteristic, and activities, human have boundary to be bounded

by the surface of our skins, so by using ontological metaphor activities, actions and state would have imagined boundary that come from experience of human boundary

2.2 Music and lyrics

2.2.1 Pop Music

Unlike in the 1950s and the 1960s, today it is not necessary anymore to try to prove the validity of popular culture – or popular music in this case – as the target of academic study, as so much research has already been conducted

in this field This was not the case even some decades ago As Middleton

(1990/2000) writes in Studying Popular Music, originally written in 1990,

although popular music is almost omnipresent and everywhere in modern society, the study of popular music is still, in a way, in its infancy Popular music often used to be shunned by both traditional musicology and the relatively new field of cultural studies, despite the encouraging development of recent years We need to bear in mind that Middleton‘s book was first published in 1990 and the situation has improved since In fact, Frith and

Goodwin write in the same year in the preface of On Record (1990) that

although semiotics in the field of cultural studies and musicology use a very different language, they both attempt a similar project and that there already is

a budding synthesis between these two approaches This interdisciplinary is indeed what Frith and Goodwin concentrate on; that it is impossible to separate sociological, political and semiotic arguments from each other in this matter – and it is by no means productive to do so (Frith & Goodwin, 1990, pp x-xi)

True enough, pop music and the study of pop music have both faced a lot of critique Frith (1988) states that most of this can be derived from 1930s Leavisite arguments, referring to the British literary These Leavisites, as Frith puts it, consider pop songs banal and their wordings, imagery and emotion feeble Furthermore, they claim that pop lyrics picture an unreal world and that pop ideals are worn out, he continues According to the Leavisites, pop songs are of mass culture and mass culture turns the extraordinary into clichés of the ordinary and corrupts real emotions, Frith writes He continues by writing that

in the Leavisites‘ opinion, the typical themes of pop, namely love and romance, are ―the sentimental ideology of capitalist society‖, and that pop songs, with their love lyrics also express popular sexual attitudes and thus work for the reproduction of social relations In this light, (pop) songs can be interpreted as

a form of propaganda (pp 108-110) Along this lyrical banalism, Frith introduces the idea of lyrical realism, which implies that there is a direct relationship between a lyric and the socio-emotional condition the lyric in question is describing and representing He claims that the problem of pop for mass-culture critics is that, according to them, fans treat all pop songs as they were real, which leads to a false view of life; understandably, pop lyricists find this interpretation very bemusing Interestingly enough, pop has been defended from these charges of corruption based on the claim that nobody listens to the lyrics anyway Frith has a different view on the matter: in his opinion even commercial pop lyrics, which may be silly love songs, are not insignificant as words are a reason for people for buying records, as instrumental hits are rather unusual He agrees that pop lyrics may not be listened to as messages and they may lack some of the finesse of rock realism or blues poetry but, as statistics show, people do still want them (pp 112, 118, 120)

Although Randle and Evans (2013) mainly concentrate on the development of American popular music in their article So What Does ―Set Fire To The Rain‖ Really Mean?, most of their work can be applied to other traditions of popular music as well Randle and Evans refer to the lyrical narrative origin and explain that the American popular music has its foundation

on storytelling They continue by referring to Cooke‘s argument that American pop has its roots in Anglo-American folk music, which again arises from European mythic and epic storytelling (as cited in Randle & Evans, 2013, p 127) They continue by referring to Tick and Beaudoin who support this view

by writing about wandering performers in Medieval and Renaissance Europe, whose music was directed to commoners, and their importance in cementing

―the oral transmission and regionally distinct nature of folk narratives‖ (as cited

in Randle & Evans, 2013, p 127) Furthermore, Randle and Evans cite Abrahams and Foss who state that the choice of repetition and the simplicity of subject matter were not an artistic choice but a practical one as folk music was transmitted orally and this required that it needed to be understood and memorized easily (as cited in Randle & Evans, 2013) The utilization of simple forms and repeated phrases and lyrics, which are typical characteristics of

modern pop music as well, can be considered to be at least partially derived from this era, Randle and Evans conclude When the practice of printing song lyrics and tune names became popular, songs were turned into collectable merchandise – and the catchiness of modern pop lyrics must be indebted to also this – but this practice was also the beginning of the end to the oral nature of American folk music (p 127)

Frith (1983) writes about what pop music means to us – he states that the pleasure of pop is in it enabling us to feel its tunes and perform them for ourselves in our imagination (p 123) He cites Donald Horton who, according

to Frith (1988), concluded in his analysis that the popular song actually plays

an important role in dating rituals and relationships: the dialectic of love, which

is found in abundance in pop songs, gives people an easily approachable, linguistic means to express their profound feelings (as cited in Frith, 1988) Thus, Frith gathers, the singer became a messenger of love, spreading the message of emotional possibilities Frith (1983, 1988) concludes this by stating that people listen to music for pleasure and that pop love songs do not actually reflect emotions but instead they make it possible for people to articulate – and

so experience – their emotions by giving them the romantic terms to do this Later Frith (1996) also writes that we tend to add a certain amount of sexuality

in music because music makes us feel (p 142)

Music indeed affects our feelings, which is one of the thrills of music and the reasons we listen to music in the first place, as Aho (2007) writes Similarly, to Randle and Evans, Aho brings forth the importance of simplicity

in popular music According to him, especially the rhythm in popular music needs to be regular, unchanging and simple; it offers the listener a way into the musical experience and a possibility to be an active participant in it (pp 244,

246)

2.2.2 Pop lyrics

The word ‗lyric‘ refers to both songs and poetry as the

Merriam-Webster Online definition (―Lyric‖, 2015) for the word shows:“Lyric: the

words of a song; a poem that expresses deep personal feelings in a way that is like a song; a lyric poem”

Although song lyrics may not be fully comparable to poetry, it is good

to bear in mind that the word refers to both song lyrics and lyric poems – they are not as far from each other as some scholars claim Salo (2008), for instance,

defines song lyrics as its own genre, albeit sharing many characteristics and features, such as figurative use of language, with lyrical poetry (pp 35-37)

The world of music is vast and billions of songs in different genres have been produced through the years Every song produced has some kind of message to it that is forwarded through the lyrics

Frith (1988) indicates that the performance and the way lyrics are sung play an important role in interpreting the song Singers use verbal and non-verbal devices in making their points in their interpretation, but Frith points out that lyrics do have meaning on their own as well; in fact, they are dependent on each other, as music breathes life into the lyrics and lyrics give a social meaning for songs (pp 120-123) In any case, as Frith puts it, ―song words matter the most,

as words, when they are still open to interpretation‖ (p 123)

The way lyrics are structured and what words the songwriter uses to describe certain things naturally have an impact on the appearance of the song and thus the interpretation of it According to Citron (2000/120), the songwriter

is affected by cultural circumstances that naturally affect the written piece In other words, culture of different music genres or areas where a certain music genre is dominant, affects the outcome of the written lyrics

When listening to pop music, the lyrics are almost exclusively about love or unrequited love, which is conveyed in a rather innocent way Lyrics, and the nature of their delivery, mine deeper into the emotional complexity of the human mind and it is lyrics that give us subtle emotional detail, enrich the surrounding music with narrative context

Frith and Goodwin also point out the interesting fact that it was indeed love songs that dominated the charts also back then and agree with Horton suggesting that love songs actually work in dramaturgical terms and calling this

―a rhetoric of romance‖ (as cited in Frith & Goodwin, 1990, p 2) Furthermore, according to Frith, H F Mooney claimed that pop song lyrics, in fact, reflect the emotional needs of their time (as cited in Frith, 1988, p 106)

2.3 Love

2.3.1 Love defined

As this thesis deals with metaphors of love, I considered it necessary to try to define love – or at least how love is generally understood in the Western world and cultures Of course, in the confines of this study it is impossible to include an exhaustive description and definition but this section will shed at least some light on how our conception of love has become what it is today

Love is a kind of human emotions that existing pure naturally in life, they said that without love people whether people have true life So what is

definition of the term ―love‖? Following Oxford Advanced Learner’s

Dictionary ―love‖ is defined as: ―a strong feeling of deep affection for

somebody/something, especially a member of your family or a friend A strong feeling of affection for somebody that you are sexually attracted to‖ (eighth edition, 2010, p.916), and there are various wide range definitions of ―love‖, they can even said that the definition of love is very variety so that it is

uncountable

The ancient Greeks called love ―the madness of the gods.‖ Modern psychologists define it as it the strong desire for emotional union with another person But what, actually, is love It means so many different things to different people Songwriters have described it, ―Whenever you‘re near, I hear

a symphony‖ Shakespeare said, ―Love is blind and lovers cannot see‖ Aristotle

said, ―Love is composed of a single soul inhabiting two bodies‖

Love carries different kinds of meaning and in fact one can define

different types of love In The Four Loves, Lewis (1960) gives affection,

friendship, erotic love, and the love of God as four archetypes of love These have been studied and define further and for example Tissari (2001) mentioned five varieties of love: ―eros‖ (romantic and sexual love), ―storge‖ (family love),

―philia‖ (friendship love), ―agape‖ (religious love) and ―khreia‖ (love of things) She suggested that of different types of love, eros was the most

frequent in different text categories

Ketonen (1984) considered love the most written theme in world literature and continues by writing that the meaning of love is ancient indeed and it seems to have had an essential role in making human beings human beings (cited in Harpela, 2015) In addition, Protasi (2008) agreed that it was indeed eros, the romantic love, which we usually thought of when thinking of love She defined eros as ―the passionate attachment we feel for one special individual, who is seen as beautiful, desirable and valuable‖ (cited in Harpela,

2015)

Love is one of our basic emotions, along with happiness, sadness, anger and fear, for example, as Kövecses (1995/2007) states Although the same general basic emotion categories can be found possibly in all languages and cultures, there seems to be at least minor differences between them Despite these possible differences, we can safely assume that at least some of these basic

emotion categories are something that people from different cultures or language

background have in common

Why then do we write and sing about love? Rauhala (1984) claims that the possibility of being or falling in love is actually one of the most profound characteristics of the very concept of human being and that love has a strong influence on balancing and enriching our worldview (cited in Harpela, 2015) Salo (2008) considered love as a theme timeless, universal, omnipresent and, at least to some degree, part of everyone‘s life (cited in Harpela, 2015) In this light, it was only logical that love was also one of the most common song themes, although Salo warned that within this air of commonness lies a danger: creating new figures of speech on love can be very difficult (cited in Harpela,

2015)

2.3.2 Conceptual metaphors of love

It cannot be denied that, to approach the subject, we need to take the role

of conceptual metaphors into consideration on basic emotion concepts, to which love as well belongs

In cognitive linguistics, the concept LOVE is the main sources of conceptual metaphor ―Love‖ on the objectivist view, having various senses, each of which can be defined in terms of such inherent properties as fondness, affection, sexual desire, etc (Lakoff and Johnson, 1980, p.119) On the other

hand, the concept Love is typical of emotional concepts (emotional concepts

include: concepts about hate, love, anger, emotions, etc…), that is difficult for

us to understand by usual way directly, that we must be understood primarily

in-directly, via metaphor (p.85), Love can be understand via the domains of

Journey, Closeness, Unity , Patient, etc

Conceptual metaphors and their role in emotion concepts can be culture specific, as Kövecses (1995/2007) writes, also posing the question of whether the conceptual metaphors are constitutive of the cultural models associated to emotions, or whether they only reflect them He refers to Quinn, who considers the latter to be true (as cited in Kövecses, 1995/2007) Kövecses himself disagrees and, basing his point of view on the study on the prevalent container metaphor for anger, states to a probability of conceptual metaphors – with other factors – actually contributing to how emotion concepts are constituting Still, Kövecses says that such a black-and-white approach to the matter might not be the best one, agreeing that some metaphors indeed can create reality but some cannot (pp 9-10) Furthermore, Lakoff & Johnson (1980/2003) state that the

concept of Love is structured mostly in metaphorical terms Among the many

conceptual metaphors of love they give, Lakoff & Johnson mention the

following (pp.44, 46, 49, 51): Love is a Journey It is a bumpy ride Love is

Madness I‘m just crazy about Harry Love is Magic I was spellbound Life is a Gambling Game He‘s bluffing Of these conceptual metaphors, Theories are Buildings became Love is a Building/ Construct and Life is a Gambling Game

was changed into Love is a Game to meet the needs of the data better Lakoff

and Johnson (1980/2003) continue by writing that the core of the concept of

Love is minimally structured by the sub categorization Love is an Emotion and

further by links to other emotions, such as liking This is typical to all emotional concepts because, as they are not clearly delineated in our experience, they are comprehended primarily indirectly, via metaphor, Lakoff

and Johnson state (pp 51, 85)

According to Kövecses (1990), container metaphors 3 are central to metaphors of love – and in understanding any emotion When in conjunction with emotions, container metaphors work in two different ways: either the

emotion is the container, Love is a Container, or the emotion can be contained

in the human body, Love is Fluid in a Container (pp 144-159) Agreeing with

both Lakoff and Johnson‘s and Kövecses‘ views, Tissari (2001) considers subcategories of containment (my heart is empty), amount (endless love) and exchange (I give my love to you) very common when the target domain is love She continues by suggesting that when the target domain is love, people tend to fetch metaphors from spatial (love is lifting me higher), temporal (eternal love) and sensor (blinded by love) domains Also subcategories of containment (my heart is empty), amount (endless love) and exchange (I give my love to you) very common when the target domain is love (p 238) Kövecses (1986) gives numerous conceptual metaphors of love and some other conceptual metaphors can be altered to meet the requirements of the data The following are of

importance for this study: Love is Closeness I want to be by your side Love is

Rapture I‘ve been high on love for two weeks Love is a Nutrient everyone

needs love Love is a Fluid in a Container she was overflowing with love Happiness is Light he radiates with joy Emotion is Heat/Fire she was sizzling

with rage The relationships are plants cultivating business relationship Again,

the data required some changes to the conceptual metaphors Love is a Rapture has been given an additional part, High, to broaden the domain it utilizes

Happiness is Light became Love is Sun/Light; Emotion is Heat was altered to

Love is a Source of Warmth, whereas Relationships are Plants became Love is

a Plant The conceptual metaphor The Object of Love is a Deity was changed

to Love is Religion instead Tissari (2006) mentions the conceptual metaphors

Love is a Plant and Love is a Religion/Religious Rite (pp 145, 150), both of

which are suitable for the data - although the latter became Love is Religion

Two conceptual metaphors have been adopted from Tammela (2009) In his extensive Licentiate thesis on metaphors of love, Tammela utilises the

conceptual metaphor theory He uses the conceptual metaphor Love is

Astronomy and Love is Music in this study (pp 107, 118) The data required a

slight alteration to Tammela‘s Love is Astronomy and it became Love is an

Astronomical Object/Phenomenon instead In addition, both Lakoff & Johnson

(1980/2003, pp 140-144) and Kövecses (2002/2010, p 36) give the conceptual

metaphor Love is a Collaborative Work of Art, from which I believe Tammela has deduced his conceptual metaphors Love is Art and Love is Music The conceptual metaphor Love is Music suits the purposes of this study the best and

the aspect collaborativeness, which Lakoff & Johnson and Kövecses strongly

emphasized in conjunction with Love is a Collaborative Work of Art, will be

kept in mind The data required inventing some additional conceptual metaphors of love as it includes metaphoric expressions that do not match any

of the abovementioned conceptual metaphors Love is Flying/Floating, it means Love is lifting me up Love is Movement I want to dance to your beat

Love is Chromaticity you show me all the colors of love

2.4 Previous research

2.4.1 Previous research works carried out in foreign countries

Studies of conceptual metaphor have been conducted by many people, and there are studies where LOVE has been concentrated on To clarify, the

Love is a unity metaphor has been studied by Fu (2010) where the analyst

focuses on one particular conceptual domain which describes love In Fu's

(2010, p.9-10) research the occurrences of Love is a unity metaphors were

investigated, and the study illustrated various instances of the subcategories of

the Love is a unity metaphor; LOVE described as a unity of two

complementary parts, physical closeness or the stability of a love relationship

is physical stability Fu (2010) chose to analyses these subcategories through

analyzing various love songs, and the qualitative study showed that Love was

often described in those songs as a bond between two people which can be irreplaceable, unbreakable or rather fragile (p.27) Conceptual metaphors have

also been studied by Heli Tissari (2001), and while Fu did not include the

diachronic perspective in the study of Love is a unity Tissari did consider this

particular phenomenon Unlike Fu (2010) Tissari (2001) did not use lyrics as the focus of her study, instead she used corpora with texts from the Early Modern and Present-Day English period Tissari's (2001) analysis revealed that

there is a change in the metaphors of Love, but there exists a stability as well

Tissari (2001) writes ―People keep fetching their metaphors from the spatial, temporal and sensory domains‖, showing that metaphors have been, and are still, reflecting what people experience However, she also found that metaphors connected to agriculture are not as evident in Present-Day English

as in Early Modern English, indicating that people's usage of conceptual metaphors can indeed change over time

According to Lakoff & Johnson, they introduced their overview and deep

knowledge on metaphor Of all their famous books on metaphor, “Metaphor we

live by” (1980) is most helpful and worth for the researcher to take as a basic

theoretical background The book has a great influence on our understanding of metaphor and its role in language and the mind The authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how

we think and how we express our thoughts in language Lakoff & Johnson launch into a stimulating deconstruction of what they term "conceptual metaphors", and the complex way in which they interact to structure our experience of reality

Moreover, “Love, Kylie or Metaphors of Love in the Lyrics of Kylie

Minogue” carried out by Harpela (2015) finds out fresh figurative language and

novel metaphorical linguistic expressions in Minogue‘s lyrics instead of mere recycled conventional metaphors proved out to be correct The study is on metaphors of love, of which the data provided ample amounts As popular music

is part of our everyday life and pop lyrics arise from this, the metaphors of love found in the data often utilize everyday experiences and phenomena as source domains

2.4.2 Previous research works carried out in Vietnam

There have been many researchers mentioning the conceptual metaphors in Vietnam For instance, Lý Toàn Thắng (2005) mentioned the history of cognitive linguistics and the differences in the world images from different cultures He indicates that metaphorical linguistic expression may vary

widely cross-culturally but many conceptual metaphors appear to be potentially universal or near-universal Such potentially universal metaphors may display variation in their specific details because people do not use their cognitive capacities in the same way from culture to culture and many conceptual metaphors are unique to particular cultures or sets of cultures because of differences in such factors as social-cultural context, history, or human concern that characterize these cultures While Nguyễn Thị Tú Trinh (2011) investigated

the linguistic features of conceptual metaphors of three concepts: “life”,

“death” and “time” She proved that there are so many similar linguistic

features of conceptual metaphors for ―life‖, ―death‖ and ―time‖ between English and Vietnamese and the differences due to cultural background, religion, customs, etc… And as for Trần Nữ Thảo Quỳnh (2013), she focused on the

conceptual metaphors expressing Love and Hatred She brought the readers her

point of view about emotional aspects attached to human and performed through human attitudes, behaviors we cannot live with With Trần Thị Thanh Thảo (2011), she gave a comparison between English and Vietnamese songs in terms of the semantics of metaphors of love in her MA thesis She found out typical metaphorical images of love used in English songs and Vietnamese ones

by famous bands and singers and examined the value of metaphorical images in term of traditional and contemporary views

From that, the researchers presented a better insight into metaphorical messages in human emotion, cultural images, love songs…, a more completed vision of conceptual metaphor and these ones used in every aspect of life

2.5 Summary

In this chapter, the researcher has tried to give an overview of the relevant literature in the concern of the study It has dealt with the knowledge related to metaphors, detailed description about metaphors introduced such as definitions of metaphors from different views From traditional view, a metaphor is a figure of speech that refers, for rhetorical effect, to one thing by mentioning another From cognitive view, metaphors are not seen as unnecessarily flamboyant language use of poetry but rather as an integral part

of our being human beings This is proved by main viewpoints of Kovecses (2002/2010) and Lakoff & Johnson (1980/2003) In addition, the chapter indicates the point of view from Frith (1988) and others They point out that the performance and the way lyrics are sung plays an important role in interpreting the song and the songwriter is affected by cultural circumstances

that naturally affect the written piece Furthermore, the chapter helps the readers understand more profoundly and typically about the theories of the conceptual metaphors, particularly the conceptual metaphors of love – a very important knowledge to learn, teach, translate and study

As can be seen, there have been various studies on the metaphors carried out by foreign linguistic scholars such as Lakoff & Johnson (1980), Fu (2010), Tissari (2001), Harpela (2015) and others Besides that, some researchers in Vietnam such as Lý Toàn Thắng (2005), Nguyễn Thị Tú Trinh (2011), Trần Thị Thanh Thảo (2011) and Trần Nữ Thảo Quỳnh (2013) also carried out the conceptual metaphors and convey their concepts about them through their studies

In shorts, the author would like to present all the mentioned aspects above related to the conceptual metaphors in general and the conceptual metaphor of love in lyrics in particular for the study on conceptual metaphor of love in lyrics by Bee Gees to be fully implemented

CHAPTER 3 METHODOLOGY

3.1 Theoretical framework

Conceptual metaphor theory was introduced by Lakoff & Johnson in 1980 Pioneers within the field of Conceptual Metaphor Theory (CMT) developed a theoretical framework which identified how the source and target domains are related to the metaphors Their findings made a difference in the understanding of how to work during the process of determining conceptual metaphors

In Metaphors We Live By (2003), Lakoff & Johnson explain that in our

everyday life we use metaphors not only in conversation and writing but also in our thinking and in how we pursue our lives What is happening in our minds ultimately goes back to our experiences of the world and how it is influenced by our practical doings Lakoff & Johnson argue that a concept of mind is how one makes sense of the world in connection with other people Thus, a conceptual metaphor is based on the experiences people have in their everyday lives Lakoff

& Johnson (2003) point out that our normal conceptual system is metaphorically structured so that one concept is understood by means of our experiences of another concept The metaphors can be grounded in a cultural, ontological, and structural system This means that concepts which are based on the cultural systems derive from the idea that all values will be coherent with the structure of the metaphor Furthermore, the concept of culture is deeply rooted in the culture one is living in Therefore, the expression will be reflecting the view of the culture

it comes from The metaphorical concept that has the greatest influence depends

on the subculture one is living in and on the strength of one‘s personal values (Lakoff & Johnson, 2003)

3.2 Analytical framework

The study is employed in the help of the structural metaphors and ontological metaphors Structural metaphors let us do more just adjust concepts like referring and quantifying them They give us the chance to use well structured and clearly described concepts to structure another concept Structural metaphors are also grounded in systematic correlation with our experience An example of a

structural metaphor is the metaphor Rational Argument is War We humans are

able to understand argument as physical and non-physical conflict but among animals they understand a conflict as physical The animals fight for food, sex and territory We humans are more refined and rational when we fight, since we are able to be both verbal and physical when we fight Even though there is a division between animals and humans in this sense, we think and act in the same way as animals (Lakoff & Johnson, 2003)

While ontological metaphors are entity and substance metaphors Examples

of ontological metaphors reflecting entity might include referring metaphors (We

are working toward peace.), quantifying purpose metaphor (Like it will take a lot

of patience to finish this book.), identifying aspect metaphor (His emotional health has deteriorated recently.) and identifying causes metaphor (He did it out of anger.) and getting goals and motivating actions metaphor (She saw getting

married as the solution to her problems.) (Lakoff & Johnson, 2003, pp.26-27) A

substance metaphor might be a container metaphor Examples of this metaphor can

be visual field metaphors and an example of such a metaphor might be: I have him

in sight Another kind of container metaphor can be either events, actions,

activities or states An example of such a metaphor is: How did Jerry get out of

washing the window (Lakoff & Johnson, 2003, pp.30-31)

The analytical framework by Kovecses (2002/2010) is used to help the researcher analyzing the conceptual metaphors since this research analyses conceptual metaphors conveying love The reason why the researcher uses Kovecses‘ framework is because it proposes some kinds of concept of love such as LOVE IS A UNITY, LOVE IS FIRE, LOVE IS A HIDDEN OBJECT, LOVE IS

A CAPTIVE ANIMAL, etc Thus, the researcher uses the analytical framework by Kovecses to analyze the conceptual metaphors of love in lyrics by Bee Gees

3.3 Data collection

The data in the present study are collected from love songs composed by Bee Gees Therefore, to ease the researcher collecting the data, 20 songs mentioned

below with the lyrics of love by Bee Gees are taken from ouvirmusica.com

3 How deep is your love 1977

Table 1: List of songs of Bee Gees in ordered number

It is certain that Bee Bees were very successful for most of their songs The researcher chooses these twenty songs because the twenty songs are considered to have beautiful lyrics containing a lot of meanings of love with people in love This points out the personal concept of the songwriters in terms of using the conceptual metaphors of love in their songs as well as in their life

3.4 Data analysis

The researcher analyzed the data by using the theory of conceptual metaphor proposed by Lakoff & Johnson (1980) Then, the researcher categorized the data found in the lyrics into the source domain of conceptual metaphors of love where they belonged to and interpreted them There were few steps to analyze the data:

The first step to analyze the data was to prepare the data The researcher listed all of the conceptual metaphors of love found in the lyrics of Bee Gees‘

songs After preparing the data, the researcher read the data to get sense of the information The researcher tried to understand each meaning of the conceptual metaphors This step made the researcher understood what emotions which were expressed by the metaphors And then, the data which were found from the lyrics were categorized into the list of source domain and target domain of love

After categorizing the data, the researcher described the data in qualitative research and the researcher also uses analysis approach to provide expected research results It gave a clear explanation about the literal meaning of each conceptual metaphor especially the source domain of the concept

In the last step, the researcher made the interpretation of the findings of the conceptual metaphors of love Then, the researcher captured the idea and explained the deeper meaning of each finding

3.5 Procedures

With the purpose of investigating conceptual metaphors of love in lyrics by Bee Gees, the first stage in the process which lasts three months and then a material selection from different sources related to main topic of the paper is implemented After gathering useful materials, the needed data will be sorted out This stage is a long process which takes more than three months The last stage is implemented for analyzing and discussing the results

In the present research, the statistical and descriptive methods are chosen to provide expected research results Classifying the metaphor by conceptual categories to give the system of the basis conceptual metaphors and derivative conceptual metaphors, thereby analyzing the interaction between the layer concept, interoperability of metaphor and cultural harmony in order to explain the concept in each model related to metaphors The statistical methods will also help us find each type of cognitive metaphors in the lyrics of the songs by Bee Gees

Besides, the analytical method is used in the study The lyric of the song by Bee Gees is considered as a conceptual system (or spiritual vocabulary systems) Not only is the simple product of the intellect, but also the system was structured concept feelings, emotions, behavior, among human beings With the help of analyzing the concepts in each song and clarifying the nature of the conceptual/cognitive metaphor, this brings us more information about perceptions,

thoughts, feelings, inspirations and human activities in life as well as in the aspects related to love of Bee Gees in the field of art

It can be said that Bee Gees wrote all of their own hits, as well as produced several major hits for other artists All the collected data are descriptively and qualitatively processed The lyrics were analyzed and the occurrences which describe LOVE, or certain other aspects strongly connected to the idea of LOVE, such as relationships and couples, were singled out and placed in appropriate metaphor categories

As a result of limited time, the data in the present study are collected from twenty songs from a web page called http://www.ouvirmusica.com These twenty songs which are the main focus in this research are considered to be popular with the youth in particular and everybody in general Furthermore, each song of the authors has its own story and they represent the conceptualization of love in Bee Gees‘ point of view, which brings listeners sympathy in love and inspiration among lovers

From the conceptualization of love of Bee Gees, it is necessary that applying songs in the lessons in the process of teaching and learning English should be based

on In fact, metaphors are widely used in poetry, daily conversation Thus, metaphor is an effective language tool for teachers to teach vocabulary in the collocation of word and conceptual metaphor provides students with the possibility

of understanding one concept in terms of another From a domain, they can refer to many various domains by the metaphorical expressions As a result, they will broaden their vocabulary and make them more productive When studying one language, it is necessary not only to study vocabulary, grammar, reading, writing, speaking or listening, but also to know how to use language in natural way

In shorts, by studying the conceptual metaphor of love in song lyrics by Bee Gees, it has great significance to comprehension metaphor in the all view of cognitive linguistic, the ways that metaphor is uses in music, then we can see that the songs contain literature, linguistic, soul of English Throughout, we can be sensitive to the interesting and the beautiful English music lyrics also see that listening English song give facilities for us learning English

3.6 Summary

The chapter has presented the theoretical frameworks of Lakoff & Johnson (1980/2003) and Kovecses (2002/2010) in order to analyze and clarify the conceptual metaphors for the data gathered in the twenty songs composed by Bee Gees with the help of the two patterns such as the structural metaphor and ontological metaphor The twenty songs among more than thousand famous songs

by Bee Gees are taken from the website ouvirmusica.com The methods and

procedures of collecting data used in the study were fully described, and the major findings include the understanding of conceptual metaphor in the songs Besides, the approach is empirical and mostly qualitative and quantitative with nature With the main aims and objectives of the study, research methods would be mainly carried out throughout the process and statistical, descriptive, and analytical methods are also considered to be supporting methods of the study

CHAPTER 4 STRUCTURAL AND ONTOLOGICAL METAPHORS

OF LOVE EMPLOYED IN LYRICS BY BEE GEES

Love is always considered as a main theme in Bee Gees‘ songs Most of them are enjoyed by audiences in the world Employing metaphors of love in their songs is a combination of music with lyrics and it is the way that the musicians send their profound emotional expressions and their thoughts throughout his songs

As a result, they often make use of structural and ontological metaphors in each of their works

4.1 Structural metaphors

4.1.1 LOVE IS A JOURNEY

It cannot be denied that love interpreted as a journey is the concept of the structural metaphor of all the culture all over the world Kövecses (2002/2012) says the passengers in the metaphor LOVE IS A JOURNEY are lovers The vehicle they use is the relationship between the lovers and the journey consists of all the events the lovers face together The direction of the journey represents the choices the lovers have made and the destination equals to the final purpose of the relationship between the lovers Or in a more concise form (Kövecses, 2002/2012, pp 8-9):

Source: JOURNEY Target: LOVE

In the journey, lovers can have troubles or difficulties in moving, they can misunderstand each other, they cannot resist temptation in love, and they even experience the three - people love, it depends on means of transport, and objective factors the lovers meet by chance According to the song named ―Too Much Heaven‖ by Bee Gees, the journey of love is long and high, this means, to gain the destination, lovers have to overcome many difficulties and particularly it takes

them much time to put their foot on the mountain From this, they need encouragement from each other so that they will have their love in hands

It's as high as a mountain

And harder to climb

(Bee Gees – Too much heaven) Besides, when the boy and the girl love each other, they always have the same direction, the time, the space around them belong to them and the highway leads them to the sky where lovers can express the emotion, love to each other, which opens a good prospect to every couple enjoying happiness in their love

You and me girl got a highway to the sky

(Bee Gees – Too much heaven) The conceptual metaphor of love in the song ―Don‘t stop the night‖ and ―I believe in miracles‖ is interpreted as a destination of the journey Lovers fall in love and they bring special emotion to each other As a result, the protagonist takes his love to the destination and they finally reach that destination which any people

in love wish to achieve And it is called a happy ending for each couple

So I walk down the street, into the town

I'm followin' you and ya' new love around

You said to go back to where I belong

(Bee Gees – Don‘t stop the night)

Destination, your desire

And baby, oh sweet baby

(Bee Gees – I believe in Miracles)

I've got to get you for my wife

(Bee Gees – Let there be love) When the male meets the female by chance or on purpose and vice versa, it

is called a beginning of love, but it is open to question that they fall in love with each other because the protagonist still wishes to find out a half left of his/hers when he/she is on a journey

I'm on a journey, I don't know if I can make it on my own

(Bee Gees – I believe in Miracles) People can realize that, in the journey, the protagonist often shows different feelings For instance, he finds himself know to miss, long for the person he is in