September 24, 2007
After reading the post on metaphors, and viewing the youtube videos, I must say I have never experienced or dissected the aspects of metaphor so deeply. The sun is an apple blossom, or perhaps an apple blossom is the sun. When we reverse metaphors like that, I feel as though it is up to the writer, the person that expresses the metaphor that defines why they chose to call the sun an apple blossom rather than the apple blossom is the sun. In my opinion, when you reverse a metaphor, it can be perceived completely different from the original way it was meant to be stated or expressed. I feel they are on separate continuum's. The sun is an apple blossom, I think first the object being emphasized is the sun, we are talking about the sun, and then to say it is an apple blossom is to give the reader or listener the effect that to them the sun is an apple blossom. We will never be able to experience the sun in a way that we can experience an apple blossom, as far as holding it, smelling it, etc. So by using something we can actually relate to here on earth, the sun can be better perceived.
I believe you can reverse a metaphor if both instances is reflexive, or experienced in both instances. It can get a little sticky thinking about it, but I feel as though we can reverse a metaphor whenever we want to as long as we do it in a purposeful manner. If we want to use for example the apple blossom as the main subject of comparison than so be it, reverse the metaphor, but if we want the focus to stay on the sun, and describing it, then we leave it how it is. I think it is very tricky.
As far as elements a metaphor can have, i don't think there is a way to measure it, I don't believe there is a maximum or a minimum. I feel as though it can be interpreted in many different ways depending on who is the interpreter, and to others, some may have elements that others may not have even considered. So I feel the element component is very subjective. But as far as I see it, I think elements can include a wide range of ideas and beliefs. There is no wrong way here, that is if you can explain why you believe something falls in line with the comparison.
Same thing as far as the end point of a metaphor. I don't believe either that there is a maximum or minimum as far as elements go. It simply is how it is interpreted. I don't think anything really ends in a sense. Elements are endless. The sun is an apple blossom. Boom, that to me doesn't mean the end. The sun is an apple blossom...and we further interpret that, and why it is an apple blossom depending on who is investigating it.
When a metaphor is translated I think that sometimes it isn't so good to deeply take a part a metaphor. We say metaphors for reasons some may not be able to explain. Yes, the literal sense can be interpreted, but what we feel and believe can sometimes be hard to put into words, and is better left alone. Everyone will have their own way of translating a metaphor, and when everyone translates it, just like the website I checked out that translates words or phrases through a computer site it can completely change the meaning of things. This is how a metaphor can be translated. After going back and forth, in and out, through a maize of translators, what we start off could be completely different when ended. Like playing telephone.. we can sometimes completely lose what we begin with, and branch off into a completely different idea.
September 15, 2007
Eng 240 Melissa's Blog Pattern ID
After reading through the early history of poetry, I found that there were patterns in the first non-spoken human languages. The first non-spoken human language I found to contribute to poetic form is making sounds similar to cries. The hominids would cry out for certain experiences that relate to danger or storytelling about an encounter with a leopard. As these cries and gestures evolved and became more advanced, it turned into a way of story telling. Good story telling would be filled with pauses, changes in pace, and amplified noise as opposed to softer noise to symbolize certain parts of the story. These story telling techniques definitely share a relationship to poetry and poetic form today. For example, repetition in cries to convey happiness give a patternlike rhythm to the story, and today repetition is still a frequent poetic form used. We write poetry using repetition to emphasize something we feel and to add rhythm to the poem.
Furthermore, the pauses in these cries and gestures also give rise to poetic form used today. When we recite poetry, or even when we look at poems printed on paper, spacing is a huge technique used to give a rhythm to the poem. It conveys emotion and feeling the way a poem is recited and how it looks on paper. These pauses and spaces are in direct relation to the way that the early humans told stories. Furthermore, gestures is another huge non-spoken human language that remains as a huge technique in poetry. When we recite poetry, our body naturally moves and gestures to how we feel when we say certain parts of the poem. To show emotions of sadness when reciting a poem, ones body gestures in a way much differently than if we were to show excitement and happiness. Already, in early history were gestures a huge part in non-spoken communication and language. And til now, we use it to convey our emotions through language and poetry.