Phallic imagery in English-language comedy and the theory of image schemas
Now, there's no doubt in my mind whatsoever that George Lakoff's theory of mental imagery (usually referred to via the concept of Image Schemas) describes a phenomenon that is profoundly real. However, the question remains what kind of reality it has. It exists and we see it all the time. But is it something that exists at the level of the neuron, the language system or is it just an epiphenomenon? What happens when a phrase evokes an image? Is an image generated every time? And if not, what happens to it when it's not created? Is it stored somewhere in memory or is it drawn every time to fit the new situation? What does that look like inside the mind? What are the different levels of schematicity an image can have? How schematic can it be to still count as an image and how can we distinguish it from a simple representation (on the other end of the scale)? Funnily enough, the phallic imagery often evoked by English-language comedy (it presumably exists in all languages - but is not necessarily as pervasive, there) can point us in the direction of potential answers to these questions.
First, this kind of imagery is as ubiquitous as it is powerful. This is its latest appearance on the BBC's prestigious Today programme and its retelling in this mildly scandalized Guardian blog:
Sexing up at the BBC? | Lost in Showbiz | Guardian Unlimited It was all Barry Cryer's fault. He was talking about Groucho Marx and told a joke which involved a man with 13 children going to see Marx. Marx said: 'Why do you have so many?' And the man said: 'Because I love my wife.' Replied Marx: 'I love my cigar but I take it out now and then'.
And the BBC broadcast a follow up story the following day discussing whether this story is apocryphal or not. And this example is far from unique. I was just watching the popular US show Two and a half men (which as far as I know is family friendly) and it contains an entire catalogue of penis jokes.
First, we need to consider what's at stake here (no pun intended). There is a culturally sanctioned image of the penis (both erect and flaccid) and it's insertion into the vagina. Sometimes parts of the penis or its ejaculate are emphasized and sometimes reference is made to intercourse or masturbation. Then we have the cultural construction of referring covertly to this image in certain kind of humorous discourse. All this alongside strict taboo restrictions on actually displaying an unobscured penis.
Second, we need to have a look at the kinds of mappings that are made between images. They can often be very inexact. There is no doubt that Groucho (or the author of the story) is referring to copulation and the act of his inserting a cigar into his mouth is equivalent to the insertion of the penis. However, there is a significant mismatch, as well. (A mixed metonymy, if you will). If the cigar is the penis and the mouth a vagina, how come Groucho loves the cigar? For the metonymic correspondence to be exact, he should be loving himself. But nobody, in these pedantic times (and are there any other times?) has, to my knowledge, raised that objection. The two dynamic images don't match but they evoke extremely compatible situations and that is enough to produce unambiguous laughter. If somebody took the time and collected all the penis imagery in Two and half men, we would have a wonderful catalogue of image schemas of varying richness and their linguistic representations. What we would find there, I have no doubt, is many jokes similar to the one above and many much more subtle and ambiguous ones. But none of them would provide complete, detail-rich images of the penis. They would all focus on some part of the image, underscore this, deemphasize that. Then we should do a survey of the viewers and ask them to reflect on the kind of imagery they perceive.
So what kind of answer have we found here? Really, just a hint of one. Mental images are real, they are schematic and they can match without matching visually simply by evoking something else that matches. A proper inventory of image schemas in linguistic constructions is the next order of business.
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