Many of the presentations I attended dealt with multimodal metaphors, including sounds and voice qualities, gestures, motions and visual metaphors in films, advertisements and conversations. My colleague from Vestfold University College, Professor Norunn Askeland, presented metaphors that her master degree students used to describe their writing processes; Prof. Alan Cienki presented his research on gestures in students’ conversations, and Prof. Raymond Gibbs addressed the issue of creativity and metaphors in his analysis of Charlie Sheen’s ways to address his audience on TV and Youtube-videos.When Prof. Masako K. Higara, in the last plenary session, spoke about frogs and cicadas in the haiku texts by Bashõ Matsuo, I was thinking how actions and sounds of these creatures has to be experienced in real life if we were to understand the metaphorical meanings of the haiku poems.
My own presentation addressed young children’s “embodied metaphors”, which certainly are not identical to “real” metaphors from adult’s world (as some from my audience commented after the presentation). But if we start talking about real and not real, many things from childhood would not even qualify to be compared with adult’s things; one would not know what to compare them with since adult’s world is divided and structured in different areas and fields, while everything fuses in children’s holistic world. However, that we find children’s reasoning, experiencing and interacting difficult to understand, should not make them less important. And we should not view children as some kind of aliens that are not able to explain what they think; We have all been children and our childhood experiences, however unarticulated, will keep influencing our later ways of reasoning.Through my paper “Creation of metaphors: Young children’s embodied metaphors and imaginative cognition” I tried to exemplify the processes of young children’s connections of past and present experiences. By doing that they become to understand that some things in the world are similar, but always dependent on the uniqueness of the contexts; Through imaginative connections of experiences, they seem to negotiate personal meanings as well as explore possibilities to communicate in understandable ways. As for instance, when the Spanish boy (see http://sculpturingwords.blogspot.co.uk/2011/01/our-mobile-bodies-move-though-world.html ) created his first multimodal expression for a horse, he later had to nuance and recreate the expression if he wanted to be understood by those who were not present in the context of his first horse-experience; To communicate we have to constrain our personal holistic experiences and make them shareable with others, but if we supress our individual experiences too much, some personal meanings might get lost.
Verbal language provides possibilities for sharing of common experiences, thoughts etc., but each of us has a unique combination of experiences and individual pre-dispositions to feel, perceive, imagine, create… Verbal language provides structures for organizing common understanding, but can also delimit individual experiences (Stern, 2003). Metaphors seem to make it possible to preserve at least some part of the holistic experiences. Children’s embodied metaphors are dynamic features that are supporting constant modifying of the existing version of their present understanding (Snodgrass and Coyne, 1992), and supporting their search for appropriate ways to communicate with others.
References:
Snodgrass, A., & Coyne, R. (1992). Models, metaphors and the hermeneutics of designing. Design Issues, 9(1), 56-74.
Stern, D. N. (1998). The interpersonal world of the infant: a view from psychoanalysis and developmental psychology. London: Karnac.
