La-metáfora-visual-coporeizada.-Bases-cognitivas-del-discurso-audiovisual

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La Metáfora Visual Corporeizada : Bases Cognitivas del Discurso Audiovisual Metafora Bisual Gorpuztua: Ikus-entzunezk Ikus-entzunezko o Diskurtsoaren Oinarri Kognitiboak

The Visual Metaphor Embodied : Cognitive Basis o Audio-Visual Audio-Vi sual Discourse María J. Ortiz

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Vol. 16 - Núm. 30 ISSN: 1137-1102 pp. 57-73 2011

Recibido el 10 de de julio de 2009, aprobado aprobado el 14 de febrero febrero de 2011. 2011.

Resumen

Las ías cgvas ha dmsad q l psam hma s ca cp  ad; s dc, q accdms a la aldad mda Sign ss sds y  pdms up to vote on this title d lls. Paa d y maja ccps absacslams pyccs mafó Useful  Not useful basadas  ssacs cpals. D ahí la bcdad d la máfa  l lgaj c . Aq sa amacó ha sd amplam pbada c l aálss dl cps vb

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María J. ORTIZ

 aa d bald bada, mafa bsalak  s bha d. H fg k haba adbd a a abada g da akl ha. Gako-hitzak: Mafa Bsala, Mafa Pmaa. Abstract

Cgv ths hav pvd ha hma hkg s mbdd. W accss aly h  sss ad w ca avd . W s maphcal mappg f mbdd sss  dsad absac ccps. tha maph s vywh has b dmsad wh s aalyss f dff vbal cps b  wh  vbal cps. th pap ag h pmay maphs a pa f  cgv cscs, h  h hma b csqc f h a f h ba, h hy ms ca vsal maphs . A s f xampls a gv ad dscssd  d  pv hs sam. Keywords: Vsal Maph, Pmay Maph.

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La Metáfora Visual Corporeizada: Bases Cognitivas del Discurso Audio

0. Introducción: La corporeización del pensamiento

Las Ccas Cgvas csda calm q l psam cssí la maplacó d símbls absacs q s cspdía c dads y c gías xss  la aldad, y q, p a, pdía cas acalm lgca mda cmpljs pgamas fmács. S mbag, alg falla algs as mpa a plaa q l cb  s dpd dl c y q la cgcó s ca dmada p a gaacó blógca, ómca, bqímca y slógca. el accs a la aldad s ca l p sa aala cpóa. D ahí q s habl d “mbdm” (Jh 1987); d –cpacó– dl psam (Bacla, 2000). ua d las hpó fdamals d las Ccas Cgvas Cpadas, amplam dms s la bcdad d la máfa  l psam hma. Ssacs cp cm l mvm  la pcpcó ga pas cs q pyca mafócam paa cmpd dads  ccps absacs. La máf  s d cm  fóm lgüísc  a ga óca dl lgaj, cm  fóm mal:  pcs mda l q aphdms y ga ms s ccm;  cs cgv básc q ha d s xplcad éms vlvs;  pcs habal q mpga s psam y p l a, s ja  sas fmas d cmcacó. La psca d la máfa pmaa  l cps vbal, a  l lg cda cm  l la, ha sdReading amplam dmsada. P l ca You're a Preview l cps advsal s ha vsgad la xsca d la máfa vsal  full access with a free trial. cm ac, mas q lUnlock sd d las mafsacs vsals  ml dals d las máfas pmaas apas acaba d cma 2. P s  xs Download Free p Triall bjv d la cámaa y  aldad dsda y dcam vsbl With capada alad q gaa sa aldad (ess,Sign 1991), s la paalla s   up to vote on this title d dl cal s gaa l cd  sqmas (Balás, 1978; Ahm, 19 useful  Not sa gaacó db basas  mchs cass   Useful máfas pmaas, ya q  cs fdamal d s psam.

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María J. ORTIZ

máfas sá fmada p l “sc dma”, q s l dm q psa ccps, y l “ag dma”, q s l dm q cb dchs ccp P jmpl,  la máfa ccpal MÁS eS ArriBA l “sc dma ArriBA y l “ag dma” s MÁS. es mpa sala q ls dms psacs mals,  palabas. La tía Ccpal d la Máfa ha sfd dsas mdcacs y ac m s a cmbacó d ca pas: la tía d la igacó Ccp d Fac y t, la tía d la Máfa Pmaa d Gady, la tía d Cmbacó d Csph Jhs y la tía nal d naayaa (Lak Jhs, 1999: 46-47). e s aícl vams a cas  la tía d la áfa Pmaa d Gady, ya q slv a d las css más dscda  a la máfa: l papl d la smjaa  la gsacó d la máfa. Gady (1997, 1999) dsg ds gads ps d máfa: “cla-b maphs” y “smblac maphs”. Las “cla-basd-maphs” s aca p la ó d ccps dss, dbd a q s ca cj m  dmadas xpcas, gáds cxs als da faca. P jmpl, la máfa pmaa MÁS eS ArriBA s ga al bs q a pla d bjs s lva cas más lms s añad, laca cadad c lvacó. Las “smblac maphs” s ca p a pcp físca  ccpal cmú  ls dms. Así,  “Aqls s  ló”,  A ls  l ló cmpa a xpca ssal cmú, s q s d spaadas q ps, p alga aó, caacíscas q ls . Las pm You're Reading a Preview s ha adcd  caslla cm máfas d clacó, y las sgdas c Unlock full access with a free trial. máfas d famladad (M Laa, 2005). C sa axmía ala la vsa sscada p la tía d la Máfa Ccpal, q gaba la sm With Free Trial  la gacó d la máfaDownload y s fcó d ac. es dc, xs máf gadas p la cpacó dl psam q lams d fma  cd Sign up to vote on this title p ambé máfas xcpcals basadas  algú p d smjaa. Useful  Not useful D dl gp d Máfas d Clacó sca las Máfas Pma q s masa  l lgaj, l a, ls gss  ls als. ivsgacs s

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 sgcad pacla  sa accó c l md. P l ca,  m ds d las máfas pmaas  c mag y s  a d  paáms báscs d fcs cgvas q s cscm accsb Así,  la máfa pmaa MÁS eS ArriBA l dm g ( ArriBA) c a mag q spd a a pcpcó vsal, mas q l dm ds (MÁS) cac d sa mag; s  ém más absac q ArriBA p s dad básca d cgcó. Gady (1997) ama q maplams cgvam mj ls ccps q ps mágs, p l q s dfícl psa  ca s acva la mag d lvacó,  psa  smld s ascal a ccaía. máfas pmaas  s pd dscmp y fma máfas ccp cmpljas más sscadas  vdsas mda dss mcasms cg (Gady, 2005). Las vajas d la dad d aálss d las máfas pmaas msas: xplca qé lms dl dm g s pycads sb dm ds y p qé, facla l sd d las pyccs mafócas la lacó  máfas cmpljas y, sb d, cdc la acó sb g d las máfas a la xpca ssal. 2. La Metáfora Visual

A la máfa vsal s ha accad hsads dl a, pscólgs, lgü ócs dl c, alads  lósfs. Algs d ls as aa la má Reading a Preview vsal ccscbéds a You're ámb, mas q s la aala  ds mds   gal. e algs cass s cfd máfa c símbl. D Unlock full access with a free trial. d a la hgdad d las vsgacs, ampc hay amdad  c a las dmacs, y pdms cas c ls éms “lm-map Download With Free Trial (ekhmbam  Alba, 1998), “cmac maph” (Ga, 1972), “v  maph” (Call, 1994), “pcal maph” (Fcvll, 1998, 2002)  “ Sign up to vote on this title maph” (Whck, 1990). Fcvll (2006 , 2008) pp  “ useful  Useful  Notdsg mdal maph” y “mlmdal maph”, amad q las máfas m mdals s aqllas  las q l dm g y l dm ds s c

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María J. ORTIZ

dc. e s pó, la máfa  l c s my dsa a la máfa  l gaj, pq  s úlm hay a sscó aalógca mas q  la lla sól pd hab a cmpaacó. La mayía d las máfas cmagá s basa  sécdqs, p l q s ca más cca d la mma pcd p cgüdad) q d la máfa (q pcd p sscó). e  m, la máfa  l c s a fma pacla d mma, al ca  l lgaj vbal dd s pd sablc a claa dscó  llas. D msma pó s M (2001) y My (1978). es úlm csda q la m fa s spádca  l c. A dfca d la máfa  l lgaj vbal d hay a sscó aalógca,  la paalla sól pd hab a cmpaacó pm csdaa q mchas spsas máfas fílmcas s  aldad m mas. Admás ama q mchas máfas fílmcas s apya  a m  sécdq sbyac. S b paa as cm Ma, My, M  Pylck (1975) las máf vsals sól s pdc p maj, s as csda q la má pd das ambé d d la msma mag p pcdms d ps sca. Sgú Da (1968), paa q ls plas s da cm gads  sa maca s có, l q s csg, p jmpl, mda psc cámaa sals, plas pcads  capcads, plas cadads c bj sgcas al fd, c ls q l psaj s cmpaad,  plas c   sc d la pspcva. S l spcad cc la cgca, asm s cada y la slv gadam. You're Reading a La Preview (1970) ambé csda a mag pd s mafóca mda l ágl d cámaa, la lmac full access with a free trial. la cmpscó, l cad  Unlock la aldad. Paa Ga (1972, 1975), s b maj s a ga f d máfas, la mayía d llas s da d d Download With Free Trial msm pla. Clf (1983) ama q ls ds éms d Sign la máfa fílmca s la ma up to vote on this title d la paalla y la da c la q s cmpaa, mas q paa Whck (199 Useful  Not useful  máfa fílmca s ga p la só  l bj y la fma d s lm q dmada a slcó gada. La maa  q la adca spd a

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  la laa,  q xs mafsacs vsals d las máfas as. esas mafsacs vsals, cm scd c las vbals, a md p dsapcbdas,  ha sd a ladas q ya s ha cvd  clchés. e s aícl pams d máfas pmaas dscas  Gady (199 bscams s mafsacó vsal  ds lms q dsaca p xpla ls css d la psa  sca: El Graduado/The Graduate (Mk nchls, 196 Réquiem por un sueño/Requiem for a dream (Da Afsky, 2000). el sl s l sg:

3.1 Control es arriba. Estatus social es elevación vertical. Feliz es arriba

La clacó  a pscó físca lvada y  l cl sb bj psas  sacs s la mvacó d ControL eS ArriBA q pdm ca, p jmpl,  –esá bajo s mad–. D sa máfa pmaa s d eStAtuS SoCiAL eS eLeVACiÓn VertiCAL y FeLiz eS ArriBA. Pbablm paa ss acss l amañ d a psa lacad c s may f casaba  may cl y, p a,  sas scal ppda. Así p gas eStAtuS SoCiAL eS eLeVACiÓn VertiCAL, ps  “M ha cendido d cagía”. P  lad, la clacó  a pscó lva ss a salv, c pd y cl, pd s la mvacó d FeLiz eS Arr hundido q acvams cad dcmsYou're “esy ”  “n m c q haya ga Reading a Preview s pm, sy otando”. Unlock full access with a free trial. esas máfas pmaas s pd laca c la pcpcó csa ó gava q dó Ahm (1994). S vcms l ó gava Download With Free Trial cms cl sb la fa csa a la q sams smds; s lvam  mams a psa ca. P l ca, Sign s s p l up todjams vote on thisvc title Useful  Not useful gava  jcms gú cl sb sa dscdms hasa ll  fa; a a psa hal. Cm pcbms q ls lms d a mag  dada ambé sá sjs a la fa d la gavdad, ls q s ca s

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María J. ORTIZ

spac, la dagal q va d abaj-qda a aba-dcha s pcb cm as d, mas q a la vsa s d cm dscd (Ahm, 1994:48 Dsd las pmas xs sb l c (cf. ekhbam  Alba, 1998), s csdad q ls pcads y capcads pd s mafócs. Sgú  pspcva, l g d s sgcad  lacó c sas máfas p as. Cm l spcad s dca c l p d vsa d la cámaa,  l pc l psaj s súa p dbaj y  l capcad s súa p cma. A v hay a aó lal paa s p d vsa, p jmpl, cad s  pla jv d alg q sá   lga más al. P cad  hay aó lal q l psaj s s ms  a pscó f a la sa cm sp ds, cs dms q s l psaj l q mafócam s c abaj  aba; s dc, q ha gaad  pdd cl, sas y/ flcdad. e l lm Réquiem por un sueño pdms ca jmpls dl s m fóc dl pcad y l capcad. Al cm dl lm, l psaj d Sa Gldfab   lav cl sb s vda y la cámaa s ca, ap madam, a la ala d ls js (ilsacó 1, qda). e la sgda m d la plícla, cad l psaj ya sá pdd l cl sb l fc las afamas q ma paa adlgaa y dcd ama la dss, la cáma súa p cma  plas cada v más pcads (ilsacó 1, dcha). es d s msa a Saa abaj dl spcad pq “Saa sá hundida, s sá v abaj ” ya q s fl y ha pdd l cl. Admás dl ágl d la cám You're Reading a Preview ambé camba la lmacó, mch más sca, dbd al s d la má pmaa MALo eS oSCuro. Unlock full access with a free trial. 3.2 Entender es ver


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La clacó  la pcpcó vsal y la ccca d c Not useful  Useful d adqscó m s la mvacó d sa máfa ps  “ Veo l q m qs d  “ No veo clara la sacó”.

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Ilustración 2. No

ver claro por estar confuso.

3.3 Lo bueno es luminoso. lo malo es oscuro. Lo moralmente bueno es lim

La lacó q sablcms  la l y la sgdad f a la scdad l plg s l g d Lo Bueno eS LuMinoSo/Lo MALo eS oSCuro, áfa q cams cad dcms: “es a psa c  lad oscur “S dscs f brillante”. esa máfa pmaa s laca c MorALMe Bueno eS LiMPio, ps  “es a psa sin tacha” , p l ca, a m sucia”. Cms q sas ds máfas pmaas s la bas d  máfas cgvas más spcícas cm FeLiz eS LuMinoSo, triSte eS Curo y LA ViDA eS Luz, LA Muerte eS oSCuriDAD. e sa pó,  llas s psa a s s  la psa  sca. You're Reading a Preview Unlock full access with a free trial.

Download With Free Trial Sign up to vote on this title Ilustración 3. El

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lado oscuro de Benjamin.

e l lm El Graduado s masa vsalm sa máfa pmaa ca

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María J. ORTIZ

dss paíss”,   “Hy ha sd  día redondo”. LA CONDICIÓN ES FOR ps  “n sy  ba forma” s mva p la clacó  la c có d  bj y s gdad, mas q LO NORMAL ES RECTO s d d la dca pcpal d csda las gladads cm amalías, la fca aa p la smía/gladad y la capacdad d ls bjs df ds paa fca ccam. es l cas d “nss plas s ha torc  “Smp ha acad c rectitud ”. rsmd, ccbms q las d  fma y q la fma mal s ca.

You're a Preview Ilustración 4. LaReading realidad está deformada. Unlock full access with a free trial.

ua msa d las máfas pmaas LA nAturALezA De unA entiD With Free Trial norMAL eS reCto la eS Su ForMA, ConDiCiÓnDownload eS ForMA y Lo sueño. Saah Gldfabacd dms ca  la plícla Requiem por un Sign up to vote on this title csla dl médc cad ya sá alm afcada p las dgas q ma  Useful  Not useful adlgaa. La sca ha sd lmada c  bjv ga agla j d p pdc a mag dfmada (ilsacó 4). esa dfmacó s a maf

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Ilustración 5.

Una relación cálida (izquierda) y una relación fría (derecha).

S l afc s cal y xs a lacó  cal y cl, pdms ama l cl d la psa  sca pd mafa l afc. es dc, eL AFeCt CALor (CoLoreS nArAnJAS/roJoS) y LA FALtA De AFeCto eS FrÍo (Co reS AzuLeS/VerDeS). P jmpl,  la plícla Requiem por un sueño, c ls psajs Hay y Ma ma a ba lacó amsa la ps sca cly cls cálds (ilsacó 5, qda) mas q cad la ja sá a, da la mag s alada (ilsacó 5, dcha). n s sc Reading a Preview asladas ya q la plícla paYou're d scas my lmadas y cls cálds ca las lacs va apam b, a scas scas y cls fís cad Unlock full access with a free trial. psajs s s cada v más sls y dsds. Download With Free Trial

3.6 Intimidad emocional es proximidad. Las relaciones son recintos Sign up to vote on this title

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La clacó  ma mcalm ca psa y pm s cc Useful useful  Not físca s la mvacó d sa máfa ps  “Úlmam m hmaa nos hemos alejado”. esa máfa pmaa s laca c LAS reLACioneS

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María J. ORTIZ

Ilustración 6.

Una pareja poco unida.

mag adq  sgcad mafóc. Pdíams dc q “ s  al , no forman una pareja unida.”

incluy

3.7 Una circunstancia es un lugar. Las circunstancias son entornos

La ascacó  sa lcalacó y las ccsacas q s afca s l eS unReading LuGAr, g d unA CirCunStAnCiA You're ps  “M has djad  a Preview gar”  “¿e qé lugar s ca sa lacó?” esa máfa pmaa s Unlock full access with a free trial. ca c LAS CirCunStAnCiAS Son entornoS q s ga p la cla  l amb físc y s sad mal, p l q ls jmpls s pac Download With Free Trial “H alcaad a buena posición  la vda” y “ella s ca   lugar dif  Paa Ga (1975: 193), l cad pd Sign s up a máfa dl cam to vote on this title Graduado ca  jm  a lal cm psclógc. e la plícla El  Useful  Not useful d s úlm cad la sña rbs a sdc a Bjam. La cm scó d ls plas d cada  d lls s my df. Mas q l d

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mas q la sña rbs encierra a Bjam, l aprisiona vsalm Vbalm pdía adcs cm “La sña rbs clca a Bjam  posición agobiante”. e s msm lm cams a sca dd ls cads dss m a sacs dsas. Bjam llva a ela a casa dspés d pasa la  js (ilsacó 8, qda). Dcd sa js más mp y s dg ba d  hl p, a v allí, ls mplads cc a Bjam, ya q l lga dd s ca c la sña rbs, mad d ela. e s m, l jv gadad s da ca dl ga bsácl q  s lacó cmpscó d la mag cad gsa s cs my dsa (ilsacó dcha). Aq s ca js  l cch, ya  pac  l msm cad. tal y cm sá lmads aha, apac a lía vcal q ls spa ds cads dss. el g d sa cmpscó s ca  la xsc la máfa pmaa unA CirCunStAnCiA eS un LuGAr . Al vlv dl h posición d ls psajs s dsa. As, la sacó s la d ds jóvs q gsa. Aha, la sacó psa  camb ssacal: ls ds jóvs s g p la lacó  bsácls. P a, ls cads  pd s gals q las sacs  ls s. Camba la posición pq camba la valacó sacó. Ls psajs, aq js, pac spaads p a lía v clda  la cmpscó d la mag, al xs  bsácl paa s acercam to. Cm ccbms q a paja db sa unida y fma pa d a m dad (LAS reLACioneS Son ela y Bjam  pac reCintoS), You're Reading a Preview  a msma mag, s q la cmpscó dvd  ds l cad . Pd Unlock full access with a free trial. vbala la máfa vsal dl sg md: “ela y Bjam s c  a posición q dcla s acercamiento, q mpd s unión, ls sepa Download With Free Trial

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María J. ORTIZ

as s vlvá a clca  a pscó dfícl p  pd gas a hacl fav. el cad msa al psaj mascl mch más pqñ q al saj fm (ilsacó 9, qda) y s cad s ma da la cvsacó;  camba a pms plas. Da d l mp, Bjam ma c  amañ my pqñ y abaj dl cad, mas q la s rbs s ca d spaldas y cpad d l cad. esa cmps d la mag mafa las dfcas  ls psajs basáds  las m fas pmaas iMPortAnCiA eS tALLA/VoLuMen y eStAr ControLAD eStAr ABAJo. el pagsa s más pequeño q la mj pq s s queñecido a lla y sá  a pscó inferior pq s fáclm c p lla. P l ca, cad más adla  l lm Bjam adq l v paa dsvla s lacó, q s ca empequeñecida e inferior s la s rbs (ilsacó 9, dcha). e s cas, la sña rbs ya  s aq sña mp q l ía clad, s a mj sgca q ya   clad. e ls ds cass, la mag mafa la mpaca y c la sña rbs sb Bjam.

You're Reading a Preview Ilustración 9.

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Sentirse empequeñecido e inferior.

4. Conclusiones


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e s aícl hms abdad la máfa vsal  cm  ac s c  Useful  Not useful  cs básc paa xpsa dmads ccps. Hms pad d m as pmaas paa bsca mafsacs vsals  ds lms q dsaca p

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lacs mcals cm cs úcs y cads, s lma a ls psaj md q qda sads  cads/cs dss. Las máfas vsals aadas s qvals a las c-máfas dsc p ekhbam  imágs Vbals d Call, aq c la dfca d ccbms q  s fdama  a máfa vbal, s  a má cgva q ambé s masa vbalm. S pd ccl, al c d l amad p M  My, q la máfa  l c  s basa sl  cmpaacó, s q,  cass, ambé  l msm g cgv as máfas vbals sadas a  l lgaj cda cm  l la tds ls jmpls s mmdals y scd d dl pla. ng y l sgm d la accó, a saga q pvalc  l c ccd sgú Whck, pq s mafsacs vsals d máfas pmaas lams  s aam da. F a sas máfas, xs  más macadas  vds q s mpla  dmads ámbs, cm la p cdad. n ha sd bj d s aícl ps q s hms cad  m fsacs vsals d máfas pmaas,  camp davía pc xplad fs abajs sía sa vsga qé máfas pmaas  ps  l dscs advsal y cáls , qé pcdms d la psa   a s laca c máfas pmaas, y cál s la ayca d dm máfas vsals basadas  máfas pmaas a l lag d ls añs, d gés  d ls mvms slíscs. igalm, csdams q pd You're Reading a Preview my vlad l aálss d máfas pmaas  dmads as. Ad la vsgacó db s cmplada c las mlmdals d Unlock full access with amafsacs free trial. máfas pmaas. Download With Free Trial Sign up to vote on this title

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María J. ORTIZ

DAMASio, A (1994). Descarte’s error. nw Yk: Gsss-Pma. DArt, P (1968). Fgav expss  h Flm. Speech Monographs, º 35, pp. 170eiSenStein, S.M. (1991). Mag 1937. En: GLennY, Mchal; tAYLor, r ads (cds.) (1991). Towards a Theory of Montage. Ld: Bhs Flm is ForCeViLLe, Chals (1998). Pictorial Metaphor in Advertising . Lds: r ldg [1996]. ForCeViLLe, Chals (2002). th dca f ag ad sc  pc maphs. En: Journal of Pragmatics,  º 34, pp. 1-14. ForCeViLLe, Chals (2006). n-vbal ad mlmdal maph  a c vs famwk: Agdas  sach. En: KriStiAnSen, G  al. ( Cognitive Linguistics: Current Applications and Future Perspectives . B nw Yk: M d Gy, pp. 379-402. ForCeViLLe, Chals (2008). Maph  pcs ad mlmdal ps s. En: GiBBS, raymd W. J. (d.). The Cambridge Handbook of Meta and Thought . Cambdg: Cambdg uvsy Pss, pp. 462-482. ForCeViLLe, Chals; us-Apas, edad (ds.) (2009). Multimodal phor. Bl: M d Gy. GeCK SCHeLD, Sab (2002). Estudio contrastivo de los campos metafór alemán y español. Una aportación a la semántica contrastiva . tss Dcal uvsdad d Valladld pblcada  la Bblca Val Mgl d Cva GiAnnetti, Ls D. (1972). Cmac Maphs. En: Journal of Aesthetic cation º 6 (4), pp. 46-91. You're Reading a Preview GiAnnetti Ls D. (1975). Godard and Others. Essays on Film Form , L Unlock full access with a free trial. tavy Pss. GrADY, Jsph (1997). Foundations of meaning: Primary Metaphors and Prim With d FreeCalfa, Trial Scenes. tss Dcal d laDownload uvsdad Bkly. GrADY, Jsph (1999). A yplgy f mvaSignfup ccpal maph: C  to vote on this title la vs. smblac. En: GiBBS r.W.; Steen, G. (ds.). Metaphor in Useful  Not useful  tive Linguistics . Amsdam: Jh Bjams, pp. 79-100. GrADY, Jsph (2005). Pmay maphs as p  ccpal ga.

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MArKS, Lawc e. (1996). o Pcpal Maph. En: Metaphor and bolic Activity , º 11 (1), pp. 39-66. MArtin; Macl (1962). La estética de la expresión cinematográca . Madd alp, [1955]. Metz, Chsa (2001). Máfa/Mma,  l f maga. El sig cante imaginario: Psicoanálisis y cine . Bacla, pp. 139-273. MitrY, Ja (1978). Estética y psicología del cine. 2. Las formas . Madd: S XXi [1963]. Moreno LArA, Mª Ágls (2005). La metáfora conceptual y el lenguaje odístico: Conguración, interacciones y niveles de descripción . tss Dc d la uvsdad d la rja. ortiz, Maía J. (2010). Vsal hc: pmay maphs ad symmc b algm. En: Metaphor and Symbol, º 25(3), pp. 162-180. PAWLiCK, Jhas (1996). Teoría del color. Bacla: Padós [1969]. PrYLuCK, Calv (1975). th Flm Maph-Maph: th us f Lag Basd Mdls  Flm Sdy. Literature/Film Quarterly , º 2, pp. 117-123. ruiz De MenDozA iBAÑez, Facsc Jsé (1999). Introducción a la cognitiva de la metonimia. Gaada: Lgüísca y Méd edcs. SAntoS DoMÍnGuez, Ls A; eSPinoSA eLorzA, rsa (1996). ual de semántica histórica. Madd: Síss. WHittoCK, tv (1990). Metaphor and Film. Cambdg: Cambdg u sy Pss. You're Reading a Preview Yu, ng (2008). Maph fm bdy ad cl. En: GiBBS, raymd W Unlock fullof access with a free trial. Metaphor and Thought . Cambdg: C (d.). The Cambridge Handbook bdg uvsy Pss, pp. 247-261. Download With Free Trial


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