Love And Metaphor

that the perpetrators should be "locked up," without thought to whether that meant a prison or a

Metaphor and imagery have a long history in psychotherapy, metaphor building up the relationship between the client and the psychotherapist (building trust, empathy and understanding). Metaphor is very powerful and can raise self- awareness and help clients to see more or less the full picture of the client inner world. Metaphor and imagery as used in the therapeutic relationship to building up the link between the inner world and external world is abstract but very powerful and can help the client to link between the here and now and the past (the echo of a significant event or situation in which the client feels stuck, in an impasse or in a dilemma not solved). Metaphor and imagery help the client to move in a positive way

F. Scott Fitzgerald stated, “There are all kinds of love in this world but never the same love twice.” Although this is true, and there are as many types of love as people who experience them, there are key elements needed in creating the “true love” each of us strives to possess. Psychologist Robert J. Sternberg explains these vital components in his Triangular Theory of Love. According to his theory, love is comprised of intimacy, commitment, and passion. Different types of love are the result of the various combinations of these elements. His metaphorical theory helps to define and explain the theme of various types of love presented in Thomas Hardy’s Far From the Madding Crowd, Alexander Dumas’ The Count of Monte Cristo, and Edith Wharton’s The Age of Innocence.

Throughout the book, Ordinary People, Dr. Berger used many unorthodox methods of therapy to help Conrad. Dr. Berger was able to make Conrad feel comfortable being himself. He used methods that would work for his situation. He also shows the use of psychodynamic psychotherapy, were the problems lays under the surface and usually the client. Berger also used many metaphors about how Conrad was feeling and doing to hide his emotions.

Love exists in the short story “The Bear Came Over the Mountain” by Alice Munro and in the short story “What We Talk About When We Talk About Love” by Raymond Carver. in Munro’s short story the plot is that of a mentally ill wife, Fiona, who falls in love with another patient while her husband still tries to hang on to their old love. Her husband eventually wants to have an affair with the wife of the man his wife is having an affair with. Their love changed because of their circumstances due to ill health. Carver’s story discusses the different definitions of love due to the type and quality of relationships; everyone has a different definition. Love also exists all over the world within different environments and cultures. The concept of love depends upon the environment in which it inhabits. Love is dependent on the life of the people in love and it also depends on their current environment. Nature and nurture are also huge factors into the development and process of love. What nature and nurture mean is whether it is due to how the person lives and acts along with their personality compared to whether it’s all in their genetics beforehand. Love is more on the nurture side instead of the nature side of human experience.

Diane Ackerman’s purpose for writing her essay “Love’s Vocabulary” is to inform the reader not to underestimate love since love is the great intangible and cannot be defined, but can be felt. The neutral and positive connotation of words such as “monotone” and “delirium” suggest Ackerman’s passionate tone about how love cannot be the same constant emotion that is felt everyday, but a powerful feeling that has many meanings since love is an emotion that is older than humanity itself. Ackerman’s use of figurative language, particularly metaphor and personification, reveal that Ackerman is trying to inform the reader that love is to intangible to be defined in a single word that is often used, which can also connect to her irritating attitude

In the essay, “Love’s Vocabulary,” Diane Ackerman communicates the idea through figurative language, that love is an emotion that is seen universally, but no one can explain what it is. For instance, the analogy about music conveys Ackerman’s idea as it suggests that every person from different time periods and locations recognize love just as they recognize music, but they cannot comprehend its meaning.

Student Name : jesica Education Level : 9th Grade Paper Type : Essay Originality detection : Works Cited : Paper : How does the author make connections her many ideas on love? Connections between the heavens, earth , and everything in between. In “loves vocabulary” Diane Ackerman is showing different types of love for an example day dream and nightmare, you have crowds cheering and beasts, fear love can be shown as a nightmare and daydream and also ancient delirium (old). To start off with is nightmares and daydreams , you have easy love and hard love. Love can be scary, frighten but can be amazing.

In the poem “Modern Love,” the English writer, George Meredith, writes about the love-less marriage of two people silently, suffering. Meredith uses strong metaphors and figurative language to convey his pessimistic view of love and his idea that marriage equates death.

Although Fredrickson provides evidence to support her definition of what love really is, her argument is not convincing because she contradicts herself by condescendingly limiting the definition of love herself and fails to address and explai1`n the flaws of the scientific experiments due to human error. When one limits himself/herself, he/she does not see the possibility of answers that there may be. Fredrickson claims that those who limit their views of love experience more complex emotions, while those who believe in their “body’s definition of love” experience a “clear path...that leads...to a better life” (Fredrickson 108). First of all, although “complexity” itself may be seen as negative at times, such as work or in this case, the “love..and [the] bewildering thicket of emotions, expectations, and securities,” the great satisfaction that results from love with another person is also due to the fact that one’s emotions is in simple words, a crazy rollercoaster ride. If one is always happy, his/her feel of happiness will and most likely be less than one

In May 2015, Walt Disney Pictures released the film Inside Out. The film emphasizes the neuropsychological finding that human emotions affect interpersonal relationships. It shows how emotions work inside a person’s brain and at the same time how these emotions shape a person’s outer life (Keltner & Ekman, 2015). In this film, each character is represented by a colour With is conceptual metaphor theory (Lakoff and Johnson 1980) can be applied. As this representation works with the theory of conceptual metaphors. ‘Conceptual metaphors are metaphors that we have in our mind that allow us to produce and understand abstract concepts’ (Littlemore, 2008). The five main human emotions that are represented as characters inside an 11-year-old girl brain are: Joy represented as a glowing yellow; Anger as red; Disgust as green; and Fear as purple. The film was released all over the world, gaining positive reviews from many different cultures. With these positive reviews, the question is asked are colours-emotion metaphors universal? The purpose of this study is to test whether the cultural experiences of individuals result in different mental representations of colour-emotion metaphors. The colours black, white, red, yellow, and blue were looked at because they are primary colours and have more colour-emotion metaphors associated with them.

nature of love and argues that there should be a balance between the two. He elaborates on that

A king who always and frivolously shouts for help from a lion attack so as to frighten his subjects, the day a lion truly attacked the king—the king shouted for help, his subjects concluded that their king is displaying his usual jokes and failed to respond to rescue their king from the lion, and the lion killed the king. Metaphor story by Osita Osadebe onye Atani, Ogbaru LG, Anambra

Shakespeare’s work is among the hardest to read because of its supposed complexity and sophistication. The language used in the Early Modern Era is different than that of the Post Modern Era. Audiences that saw the performances were aural learners and were able to pinpoint certain tones and facial expressions that readers may not detect through words. Watching the plays performed provided better feedback than readings do (Palfrey 10-11). Metaphors, implicit or explicit, are figures of speech that help compare two unlike things and are not designed for literal intake. Yet, with Shakespeare’s work, metaphors should be taken literally. According to George Lakoff and Mark Johnson, however, this technique of comparison allows metaphors to simultaneously highlight and hide certain attributes and/or qualities about the thing(s) being compared to (12-13). The highlighting and hiding of metaphors gives readers more insight into what Shakespeare may have meant at the time or even more so in what context did the people of the Elizabethan Age use language (Palfrey 11). Two important components of metaphors that do the highlighting and hiding are the vehicle and the tenor; each can be implicit or explicit as well. The metaphor in question emphasizes both the importance and unimportance of Lavinia’s character.

Another point for Peck is that love is not dependency. He defines dependency as “the inability to experience wholeness or to function adequately without the certainty that one is being actively cared for by another” (Peck 98). For Peck, people of passive dependency lack self-discipline and cling to withering relationships for the sake of attachment. They spend so much energy in seeking others to love them that they have none to love others. In this, dependency is a form of antilove, is only one-sided, and does not foster growth.