ZAGOVOR SLIKOVNE METAFORE: RENÉ MAGRITTE IN DRUGI NADREALISTI

While originally the study of metaphor was the exclusive domain of literary critics and literary researchers, the last few decades have witnessed an increasing interest in the phenomenon from students of language and philosophers. There has been a growing awareness that the relevance of the concept .metaphor' is not restricted to the area of art. Despite this broadening of horizons, however, research has, perhaps not surprisingly, predominantly focused on verbal metaphor. The aim of the present contribution is to argue the thesis that there is such a thing as ,pictorial metaphor', and tentatively to explore this field by taking Surrealist art as a starting point. I focused on Surrealism for the following reason: one of the central tenets of Surrealism was that ultimately all opposites (feeling vs. reason; beauty vs. ugliness; substance vs. spirit, etc.) are merely apparent opposites. In the last resort each two antitheses' are aspects of a deeper unity. It was Surrealism's task to show this. From this point of view, it is hardly surprising that metaphor, with its crucial characteristic of rendering one kind of thing in terms of another, could play an important role in bridging the seemingly irreconcilable opposites. As, moreover, Surrealism had both a verbal and a pictorial side, I thought it would not be improbable to assume that the central ideology of Surrealism would manifest itself in each of these. Examining some ten Surrealist works of art, I propose that the paintings/collages under investigation do contain metaphors. For the analyses I draw on concepts which are borrowed from theories on verbal metaphor {Black, Miller, Ortony). The discussion focuses specifically on the role of directionality and context in the metaphors. Continual reference is made to the works of art under discussion. Despite fundamental differences between the verbal and the pictorial, I claim to have contributed to the idea that ,metaphor' can occur in the realm of the latter as well as the former, and moreover that concepts developed in the area of verbal metaphor are, mutatis mutandis, to a considerable extent applicable in the area of the visual.Medtem ko je bilo proučevanje metafore izključno področje literarnih kritikov in raziskovalcev literature, smo v zadnjih nekaj desetletjih priče povečanemu zanimanju za ta pojav s strani proučevalcev jezika in filozofov. Vedno bolj se zavedamo, da se pomembnost koncepta »metafore« ne omejuje na področje umetnosti. Ne bi nas smelo začuditi, da se je navkljub temu razširjanju obzorij raziskovanje osredo-točalo predvsem na verbalno metaforo. Namen tega prispevka je zagovarjati tezo, da obstaja nekaj takega kot »slikovna metafora« ter poskusno raziskati to področje z izhajanjem iz nadrealistične umetnosti. Na nadrealizem sem se osredotočil iz naslednjega razloga: eno od osrednjih načel nadrealizma je bilo, da so v končni konsekvenci vsa nasprotja (čustvo glede na razum, lepota glede na grdoto, snovnost glede na duha itd.) le navidezna nasprotja. Konec koncev sta vsaki taki »antitezi« vidika globlje enotnosti. Naloga nadrealizma je bila to pokazati. S tega stališča je le stežka lahko predmet začudenja, da je lahko metafora, s svojo bistveno značilnostjo omogočanja ene vrste stvari z izrazi druge vrste, lahko igrala pomembno vlogo v premoščanju navidezno nespravljivih nasprotij. Ker je poleg tega nadrealizem imel tako verbalno kot slikovno plat, se mi je zdelo, da ni nemogoče predpostavljati, da se bo osrednja ideologija nadrealizma manifestirala v vsaki od njiju. Ob proučevanju kakšne deseterice nadrealističnih umetniških del zagovarjam tezo, da proučevane slike/kolaži dejansko vsebujejo metafore. Pri analizi se opiram na koncepte, ki so sposojeni iz teorij o verbalni metafori (Black, Miller, Ortony). Razprava se osredotoča posebej na vlogo usmerjenosti in konteksta metafor ter se nenehno sklicuje na obravnavana umetniška dela. Navkljub temeljnim razlikam med verbalnim in slikovnim trdim, da sem prispeval k zamisli, da lahko »metafora« nastopa tako na področju zadnjega kot prvega in nadalje, da so koncepti, ki so bili izdelani na področju verbalne metafore, mutatis mutandis v precejšnji meri uporabljivi na področju vizualnega