ACADEMIC RESEARCH IN MODERN SCIENCE
International scientific-online conference
170
GENRE-SPECIFIC DISTRIBUTION OF SOMATIC PHRASEOLOGISMS
IN GERMAN LITERARY WORKS
Bakbergenov Aybek Esbergenovich
1st year master's student of Linguistics: German
language specialty, Karakalpak State University
https://doi.org/10.5281/zenodo.16809764
Abstract.
This article explores the genre-specific distribution of somatic
phraseologisms in German literary works, focusing on how idioms built around
div-part lexemes such as
Kopf
,
Herz
,
Hand
and
Auge
are used differently in
poetry, prose, and drama. Drawing on corpus stylistics and conceptual-
metaphor theory, the discussion shows that emotional somatisms cluster in lyric
poetry, cognitive and agency-related ones in narrative prose, and action-
oriented expressions in drama. These patterns reflect the interplay between
cognitive embodiment, genre conventions, and cultural norms in the German
literary tradition.
Keywords:
somatic phraseologisms; German literature; corpus stylistics;
conceptual metaphors; genre analysis
In German literary discourse, somatic phraseologisms — idiomatic
expressions containing a div-part term — occupy a unique position. They
encapsulate layers of meaning that range from the concrete and sensory to the
metaphorical and symbolic. Because genres channel both communicative
purpose and stylistic choices, it is not surprising that these bodily idioms
manifest differently in poetry, prose, and drama. The genre acts as a selective
filter, foregrounding some cognitive and affective mappings while marginalising
others.
A survey of corpus data from the Deutsches Referenzkorpus (DeReKo)
indicates that a small set of div-part lexemes dominate idiomatic usage:
Kopf
,
Herz
,
Hand
and
Auge
consistently appear at the top of frequency lists. Yet, their
distribution is far from uniform. In lyric poetry, for instance, the prevalence of
Herz
-based idioms is striking. Phrases such as
jemandem das Herz brechen
or
sein Herz verschenken
are not merely emotional shorthand; they align with
poetry’s conventional focus on inner feeling, intimacy, and personal address.
These expressions function as crystallisations of the
HEART IS EMOTION
metaphor, serving to condense complex states into resonant, culturally familiar
images [2].
By contrast, narrative prose — particularly realist novels and modern short
stories — leans heavily on
Kopf
and
Hand
phraseologisms. In the case of
Kopf
,
idioms like
einen klaren Kopf behalten
or
sich den Kopf zerbrechen
articulate
ACADEMIC RESEARCH IN MODERN SCIENCE
International scientific-online conference
171
processes of thought, calculation, and decision-making. They are well-suited to
prose’s narrative techniques, which often require representation of internal
deliberation or intellectual struggle.
Hand
idioms, such as
etwas in die Hand
nehmen
or
freie Hand haben
, align with agency and practical control,
complementing the action and causality that drive plot progression in narrative
fiction.
Drama presents a different picture altogether. Here, the stage’s reliance on
visible, physical action encourages idioms grounded in limbs and movement.
Hand
and
Fuß
are especially prominent, with expressions like
Hand anlegen
or
auf eigenen Füßen stehen
providing both metaphorical meaning and immediate
physical resonance for performance. In many plays, these idioms serve a double
function: they advance the plot while offering visual cues that can be physically
embodied by actors, reinforcing the genre’s multimodal nature.
The degree of conventionalisation also varies with genre. While many
somatic idioms appear in their fixed forms in lyric and drama, narrative prose —
particularly in modernist and postmodernist writing — frequently manipulates
them for stylistic effect. Authors may subvert expectations by altering lexical
components or embedding the idiom in an unexpected context, thereby drawing
attention to the phrase itself as a crafted object. This kind of play disrupts the
automatic processing of idioms, prompting readers to reflect on both literal and
figurative meanings [4].
These genre-specific tendencies can be explained by the interaction of
cognitive embodiment and literary convention. Conceptual-metaphor theory
predicts that the
HEAD IS REASON
mapping will dominate in contexts concerned
with thought and planning, the
HEART IS EMOTION
mapping in contexts centring
on affect, and the
HAND IS AGENCY
mapping where control and action are
foregrounded. German literature’s long-standing traditions — from Romantic
lyricism to 19th-century realism to 20th-century experimental prose — have
reinforced these associations, embedding them in the cultural lexicon.
For literary interpretation, recognising these patterns enriches genre-
sensitive readings. A critic attuned to somatic phraseologisms can trace how
authors exploit or resist established mappings, how they adapt idioms to
character voice, and how they manipulate bodily imagery to guide reader
response. For translation studies, the implications are equally significant:
preserving the idiom’s cultural resonance may require replacing it with a target-
language equivalent that fits both the genre and the intended conceptual
metaphor, rather than relying on literal transfer.
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Conclusion
. In sum, somatic phraseologisms in German literature reveal a
subtle yet consistent alignment between bodily metaphors, genre-specific
communicative functions, and cultural tradition. Far from being static decorative
elements, they are dynamic resources whose deployment reflects both the
embodied nature of human cognition and the formal demands of literary genre.
References:
1. Dobrovol'skij, D., & Piirainen, E. (2021). Figurative language: Cross-cultural
and cross-linguistic perspectives (Vol. 350). Walter de Gruyter GmbH & Co KG.
2. Kovecses, Z. (2010). Metaphor: A practical introduction. Oxford university
press.
3. Lakoff, G., & Johnson, M. (1980). Metaphors We Live By. University of Chicago
Press.
4. Piirainen, E. (2008). Figurative phraseology and culture. In Phraseology: An
interdisciplinary perspective (pp. 207-228). John Benjamins Publishing
Company.
