Modelo de Negocio Crecer IFD

The definition of elaboration was given in section 2.2.2 as (17), repeated below:

(17) Elaboration is the filling in of existing slots in a metaphoric mapping with more specific, unconventional concepts.

Of the 116 cartoons in the database, 75, or 64.7%, employed the mechanism of elaboration. It is thus by far the most frequently occurring poetic mechanism in the cartoon database. This may be due to the requirement for visual texts to be specific, as mentioned in section 2.6. If a specific slot in a schema has to be filled by a specific concept – and cannot as in verbal language simply be left at the abstract level – then it is a natural step to have that concept contribute to the author’s ideological purpose with the metaphor. In this way the natural elaborative nature of the visual medium encourages the poetic elaboration found in the cartoons.

Consider again Figure 4.6 on page 67. This is one of fourteen instances in the database where the ‘vehicle’ slot in the ‘journey’ schema is filled with specific concepts such as ‘aeroplane’, ‘spaceship’, ‘donkey’ or, as in this case, ‘car’. Because the author is using the visual mode he is unable to leave the expression of concepts abstract in the way that can be done with words, for example the word “journey”. He has to convey the journey metaphor by drawing concrete images of objects. In many of the cartoons this elaboration occurs as a specific vehicle on a road of some kind.

Since the vehicle slot can not be left abstract because the author is forced to draw a certain kind of vehicle, this naturally leads to elaboration which serves not only to evoke the conventional metaphor visually, but contributes new content to the metaphor in an unconventional way. With each new concept that is introduced, such

as ‘car’, a whole new schema is also introduced that can itself form further metaphoric mappings, introduce new logic, and new connotations.

Such elaboration allows the conventional metaphor, such as SOLVING THE AIDS PROBLEM IS A JOURNEY, to be enriched by the new content. The new concept has its own set of associations and slots, all of which then becomes available for use in the conventional metaphor, thereby enriching it beyond its conventional use. In Figure 4.6 the concept of ‘car’ may be extended (see the following section on extension) with the concept of ‘wheels’ so that the ‘car’ schema itself can be the source of further metaphoric mappings within the larger conventional metaphor of a JOURNEY. This new sub-metaphor, AN AIDS CAMPAIGN IS A CAR, then allows cross domain mappings of its own slots, in this case resulting in the sub-metaphor ARVs ARE THE WHEELS OF A CAR. The logic of the source domain, namely that cars cannot drive without their wheels, is then mapped onto the domain of ‘AIDS campaigns’, which is in its turn seen as a subpart of the journey towards a solution for AIDS. In this way a discourse is constructed that would not be possible through use of the conventional metaphor in its unelaborated state alone. The message conveyed by the author of the cartoon through the use of this elaboration in combination with extension is that the government AIDS policy simply cannot succeed without antiretrovirals. More than this, the fact that it is obvious that a car cannot drive without wheels, and thus not reach its destination, is also mapped via the metaphor so that Mbeki and Manto Tshabalala-Msimang are made to look ridiculous for not understanding the need for ARVs. The elaborated metaphor that results constructs antiretrovirals and the people involved as having certain kinds of relations to each other that may not be thought of as true, or perhaps as clearly, without the metaphor.

The use of elaboration in the cartoon is therefore not simply a poetic flourish meant to entertain the reader – rather it is a fundamental method of constructing and undermining discourses that introduces new logic and emotional connotations into the reader’s interpretation of the text.

The previous paragraphs demonstrated how elaboration can introduce new logic and conceptual relations within a metaphor. I will now show how elaboration can result in the introduction of new emotional connotations (features, as discussed in section 2.1.2.2) not present in the conventional metaphor. Consider Figure 4.12 below:

Figure 4.12: Cartoon 2002-02-08: Elaboration

The metaphor used here is GOVERNMENT POLICY IS A TOXIN. The ‘toxin’ slot is not required by the metaphor to be filled in specifically. In this case the slot, via the representation of a bottle marked “GOVT. POLICY”, is elaborated specifically with something that is not in reality toxin, but sounds like one because of the ending “-ide”

also found in “cyanide”. Through this elaboration, the negative connotations of both the ‘toxin’ concept, and the ‘infanticide’ concept are mapped onto the domain of

‘government policy’. The GOVERNMENT POLICY AS TOXIN metaphor is further elaborated by constructing ARV as one of the possible chemicals in the metaphorically understood toxin, triggered by the phrase “contains no antiretrovirals.”

This ironically plays off of statements by Tshabalala-Msimang and others that ARVs are poisonous. The ideational purpose of the text could be verbalised as in (37):

(37) The government is murdering children by not including ARVs into its policy.

Such a claim stated verbally might be unacceptable in a verbal newspaper article.

Since the cartoon employs metaphor, and is subject to less stringent socio-political restrictions, it is able to communicate that message.