<p>The aim of this study has been to analyse metaphorical strings which have been interpreted literally, a process referred to as metaphor reversal. This was first described by Löflund (1999:18) and the specific term was later coined by Alm-Arvius (2006:6). Metaphor reversal is basically a subcategory of the broader term polysemy punning.</p><p>When a metaphor unexpectedly is interpreted literally, a humorous effect takes place and a pun is created. Especially if the metaphorisation in question has an entrenched figurative meaning, the unexpectedness of the literal interpretation is greater and the pun more obvious. The examples of these puns exploiting metaphor reversal have been taken from films featuring the verbal comedian Groucho Marx (GM), who frequently used this type and other kinds of puns in his films.</p><p>The terms internal and external metaphor, coined by Alm-Arvius (2003:78), have been used in order to distinguish between two different types of metaphorisations. Internal metaphor refers to metaphors with obvious internal collocational clashes and external metaphor refers to metaphors without such clashes, which can thus be given a literal as well as a figurative reading. However, this is not a clear-cut distinction and occasional overlapping between the two categories is common. Therefore, a continuum has been given which shows the overlapping category ‘more figurative external metaphors’. These are metaphors without collocational clashes, but with entrenched figurative meanings which make them metaphorical and not literal.</p><p>GM does not only revert external metaphors; he also reverts internal metaphors although this category contains collocational clashes which should make a literal interpretation impossible. Internal metaphor puns tend to be more absurd than external metaphor puns due to the collocational clashes which make the literal interpretation less probable. Reverted external metaphors are referred to as REM and reverted internal metaphors as RIM.</p><p>Most examples analysed are metaphorisations with idiom status with clearly preferred figurative meanings. Consequently, their figurative meanings are deeply entrenched and should not be altered. However, these figurative meanings are altered by GM in his punning; they are reverted and interpreted literally. This indicates that one of the few occasions when it is accepted or even possible to interpret a metaphorical idiom literally is in punning.</p>

<p>The aim of this study has been to investigate whether metaphors in terms of fire and heat in rock lyrics can be interpreted figuratively as well as literally. The terms for these latter two categories are internal and external metaphors.</p><p>Many rock lyrics are about love, a theme often described with the use of metaphors. One common type of metaphorisation for describing love is to use what in this study has been called “fire and heat metaphors”. These are metaphors that as their source use FIRE and HEAT/WARMTH and map some of these qualities on to the metaphorical target LOVE, which results in metaphorical constructions like I am on fire.</p><p>Internal and external metaphors are terms coined by Alm-Arvius (2003:78) and they serve the purpose of separating the metaphors that cannot be taken literally from those that can also be given a literal meaning in another context. The main aim of this study has been to investigate whether a set of chosen metaphorical constructions taken from different rock songs can also be interpreted literally in relation to another universe of discourse. Moreover, the semantic and syntactic structures of the metaphor examples have been outlined, and some theories why the constructions should be regarded as internal or external metaphors have been presented.</p><p>A number of related underlying cognitive structures (conceptual metaphors) were identified in this study, and (BEING IN) LOVE IS (EXPERIENCING) HEAT/WARMTH is a structure that allows external metaphorical constructions. Some cognitive scientists see this cognitive structure as metonymy. However, it seems more adequate to connect it to the occurrence of external metaphors, since the language constructions relating to it can be literal as well as figurative. However, the distinction between internal and external metaphors is not always clear, it is difficult to make a clear distinction. Therefore, a continuum has been presented in this study which shows both the distinction and the occasional overlap between the categories of internal and external metaphors.</p>

The aim of this study has been to analyse metaphorical strings which have been interpreted literally, a process referred to as metaphor reversal. This was first described by Löflund (1999:18) and the specific term was later coined by Alm-Arvius (2006:6). Metaphor reversal is basically a subcategory of the broader term polysemy punning. When a metaphor unexpectedly is interpreted literally, a humorous effect takes place and a pun is created. Especially if the metaphorisation in question has an entrenched figurative meaning, the unexpectedness of the literal interpretation is greater and the pun more obvious. The examples of these puns exploiting metaphor reversal have been taken from films featuring the verbal comedian Groucho Marx (GM), who frequently used this type and other kinds of puns in his films. The terms internal and external metaphor, coined by Alm-Arvius (2003:78), have been used in order to distinguish between two different types of metaphorisations. Internal metaphor refers to metaphors with obvious internal collocational clashes and external metaphor refers to metaphors without such clashes, which can thus be given a literal as well as a figurative reading. However, this is not a clear-cut distinction and occasional overlapping between the two categories is common. Therefore, a continuum has been given which shows the overlapping category ‘more figurative external metaphors’. These are metaphors without collocational clashes, but with entrenched figurative meanings which make them metaphorical and not literal. GM does not only revert external metaphors; he also reverts internal metaphors although this category contains collocational clashes which should make a literal interpretation impossible. Internal metaphor puns tend to be more absurd than external metaphor puns due to the collocational clashes which make the literal interpretation less probable. Reverted external metaphors are referred to as REM and reverted internal metaphors as RIM. Most examples analysed are metaphorisations with idiom status with clearly preferred figurative meanings. Consequently, their figurative meanings are deeply entrenched and should not be altered. However, these figurative meanings are altered by GM in his punning; they are reverted and interpreted literally. This indicates that one of the few occasions when it is accepted or even possible to interpret a metaphorical idiom literally is in punning.

The aim of this study has been to investigate whether metaphors in terms of fire and heat in rock lyrics can be interpreted figuratively as well as literally. The terms for these latter two categories are internal and external metaphors. Many rock lyrics are about love, a theme often described with the use of metaphors. One common type of metaphorisation for describing love is to use what in this study has been called “fire and heat metaphors”. These are metaphors that as their source use FIRE and HEAT/WARMTH and map some of these qualities on to the metaphorical target LOVE, which results in metaphorical constructions like I am on fire. Internal and external metaphors are terms coined by Alm-Arvius (2003:78) and they serve the purpose of separating the metaphors that cannot be taken literally from those that can also be given a literal meaning in another context. The main aim of this study has been to investigate whether a set of chosen metaphorical constructions taken from different rock songs can also be interpreted literally in relation to another universe of discourse. Moreover, the semantic and syntactic structures of the metaphor examples have been outlined, and some theories why the constructions should be regarded as internal or external metaphors have been presented. A number of related underlying cognitive structures (conceptual metaphors) were identified in this study, and (BEING IN) LOVE IS (EXPERIENCING) HEAT/WARMTH is a structure that allows external metaphorical constructions. Some cognitive scientists see this cognitive structure as metonymy. However, it seems more adequate to connect it to the occurrence of external metaphors, since the language constructions relating to it can be literal as well as figurative. However, the distinction between internal and external metaphors is not always clear, it is difficult to make a clear distinction. Therefore, a continuum has been presented in this study which shows both the distinction and the occasional overlap between the categories of internal and external metaphors.