A cognitive approach to Berber-Tamazight sociocultural reality : the bioconceptual organization of Izri poetics by Tarifit-speaking Riffian women

!"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !! ! ! A COGNITIVE APPROACH TO BERBER-TAMAZIGHT SOCIOCULTURAL REALITY: THE BIOCONCEPTUAL ORGANIZATION OF IZRI POETICS BY TARIFIT-SPEAKING RIFFIAN WOMEN To all Riffian women that like Fatima have preserved the essence of our forgotten culture; to Maria del Carmen my beloved wife and mother of my girl Fadila; to Dr. Juani Guerra, scholar, lady and an all round good person. PhD Work by AMAR EL-ARBAOUI JELOULI Supervisor: Juana Teresa Guerra de la Torre Department of Modern Languages ULPGC, 2012 "# !"!#$%&!#'!()*$+%&()&*$ ! ACKNOLEDGMENTS Thanks to all Riffian women who taught me how to sing and dance with freedom and taught me about their pains, their joy, their desire for freedom, their perception of time, their silent revolution. Thanks to the people I have met on this long journey, all people that have made possible the achievement of this thesis. First of all I would like to acknowledge my very great appreciation for my teacher and supervisor Professor Guerra for her help, her valuable and constructive suggestions, her guidance and enthusiastic encouragement during the planning and the development of this dissertation since the beginning of my graduate studies in Cognition and Language at ULPGC in 2003. Her willingness to give her time so generously is here thoroughly appreciated. I am indebted to all those people that initiated me in the field of Cognition and Language. I cannot mention all their names because I would not have enough space for them all, but I have a special place for all them in my heart and mind. My special thanks to Professor Bernárdez, who taught me how to understand the relations between Language, Mind and Culture; and Professor Ruiz de Mendoza with whom I learned methods and models. I also want to thank my friends and research fellows in our Postgraduate Program for their constant academic and moral support: Michal Góral, Linda Henriksson, Victor Manteiga, Adán Martín, Mayté Morales, Graciela de la Nuez, Marta Silvera, Virginia Verdú. I am very greatful to Mario Bernal, his family and all the staff at my work place. Without their generosity I could not have had any possibility to carry out this long and difficult work. My deepest gratitude goes to my beloved family. To my wife Maria del Carmen, my son Said and my daughter Fadila, for their understanding and endless love throughout all these demanding years, which was felt with much sorrow by them; I here apologize for I stole from their happiness much of the time I spent on this work. Last but not least I would like to grant here my endless respect for all the women of the world that, like Amazight women, make human beings nobler and human cultural constructions better. This initial work is a gift to all these women. In Las Palmas de Gran Canaria, September 2012 !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $! ! INDEX 3 0. PREFACE 0.1. Sociocultural Berber network 8 0.2. The complex diversity of Berber 13 0.3. Our choice to use Izran as sociocognitive data 16 1. INTRODUCTION 1.1. The social position of the Riffian women 20 1.2. Geography and social situation 25 1.3. Compositional aspects of Izran 30 1.4. Variety of Izran subjects 36 1.4.1. Romantic Izri 36 1.4.2. Historic Izri 39 1.4.3. Political Izri 41 1.4.4. Sarcastic Izri 45 1.4.5. Izri from the domain of witchcraft 46 1.4.6. Izri with four lines in the form of two couplets 48 1.5. The way Izran are produced 51 1.6. Izran as enacted social criticism 55 2. SELECTING AND APPLYING A CORPUS OF IZRAN 2.1. Why Izran 60 %# !"!#$%&!#'!()*$+%&()&*$ ! 2.2. What is an Izri? 62 2.3. Taqsais versus Izran. A case 68 2.4. Storage and transmission of Izran 73 2.5. Tarifit: The language of Izran 78 2.6. The way history is narrated as Izran 87 3. GEOGRAPHICAL AND LINGUISTIC SITUATION OF THE TARIFIT VARIETY 3.1. Geography of Tarifit language 90 3.2. Social context of Tarifit language 91 3.3. Naming Tamazight as “Berber” 94 3.4. Imazighen speakers and Tamazight language 95 3.5. A brief historical review of Tamazight 97 3.6. The complex origins of Tamazight 98 4. FUNDAMENTAL OBJECTIVES AND COGNITIVE METHODOLOGY 4.1. Introduction to the way we (re)search 102 4.2. Objectives of this research 104 4.3. Principles, methods and models: Cognitive Poetics and Cognitive Linguistics 105 5. A GENERAL VISION OF THE COGNITIVE THEORIES OF LANGUAGE AND CULTURE 5.1. Introduction to the theoretical background 108 !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" &! ! 5.2. Foregrounding paradigm: from Objectivism to Experientialism 110 5.3. Meaning construction and knowledge of the World construction (structures and processes) 114 5.4. Dictionary meaning versus encyclopedic meaning 117 5.5. Cognitive schematizations. Image Schemas as responding to specific environmental perceptual stimuli 121 6. THOUGHT, LANGUAGE AND MEANING 6.1. Cognitive dynamics of oral language 123 6.2. Language and Thought. Poetics and Linguistics 126 6.3. Meaning out of context 129 6.4. Con/figuring literal and figurative language 143 6.5. Realism revisited. Embodiment and situated cognition 146 6.6. The social basis of Tamazightt cultural life: Collective and Individual cognition 148 7. IDEALIZED COGNITIVE MODELS (ICMs): METAPHOR, METONYMY, AND IMAGE SCHEMA AS BASIC COGNITIVE MECHANISMS OF CONCEPTUALIZATION. 7.1. Metaphor and the cognitive act 151 7.2. Conceptual metaphor 158 7.2.1. Types of conceptual metaphors 160 7.2.1.1. Structural metaphors 161 '# !"!#$%&!#'!()*$+%&()&*$ ! 7.2.1.2. Ontological metaphors 161 7.2.1.3. Orientational metaphors 162 7.3. Image schema metaphors 162 7.4. Metonymy 163 7.5. Classifying metonymies 164 7.6. Interaction between metaphor and metonymy 166 7.7. Izran Figurative language understanding 167 7.8. Emotion expression in Izran 169 7.9.The social and cognitive character of an emotion 174 8. APPLYING COGNITIVE MODELS TO IZRAN CONCEPTUAL DYNAMICS 8.1. Using Conceptual Metaphor models: Foregrounding Blending models as patterns of higher complexity in cognitive process 177 8.2. Analysis of an Izri 189 8.3. The Izri cognitive architecture: Conceptual Metaphor Model (CMM) and Conceptual Integration Model (CIM) 196 8.4. Counterfactuality as conceptual elaboration 204 8.5. Enunciation Blends 208 9. INITIAL SCHEMATIC CONDITIONS OF TARIFIT-SPECIFIC CONCEPTUAL CONSTRUCTION OF DAY/NIGHT FROM ITS USE IN AN IZRI: THE NEED FOR MORE COMPLEX CONCEPTUAL INTEGRATION MODELS 212 9.1. Social and historical context of irzan in general !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" (! ! and of one selected izri in particular 214 9.2. Differences and similarities between metaphor and blending as focal points of our analysis 216 9.3. Difference between “swass/day” and “djirth/night” and the culture-specific concepts linked to the meaning of each entity 220 9.4. Cyclic “day & night” blend 230 9.5 Checking the common features between source and target so as to define the intended meaning 232 9.6. Conceptual blending and semiotic spaces as a model to uncover the biocultural mechanisms in the construction of meaning in a performed Tarifit izri 235 9.7. Tarifit-Berber meaning as conceptualization 236 9.8. Tamazigh context is part of the Tarifit-Berber meaning 241 10. CONCLUSIONS 248 11. BIBLIOGRAPHY 257 12. APPENDIX Collected Izran. Tarifit originals and Translations into English and Spanish 277 13. RESUMEN EN ESPAÑOL (DOCTORADO EUROPEO) 317 )# !"!#$%&!#'!()*$+%&()&*$ ! 0. PREFACE 0.1. Sociocultural Berber network Due to the complexity of the linguistic and cultural synergies that have designed its evolution throughout millennia, the world uniformly known as Berber is shaped in a unique heterogeneous way. “Berber”, in the Tamazight milieu, is a term coined by other cultures with different philological and ontological history; it entered the Tarifit lexical form, ‘Berber’, from the Arabic language; originally it had come into this language from previous parallel constructions in Greek. In Arabic, the adjective means barbarous and uncivilized. In this Thesis we explore Berber as a sociocultural system within a biological frame of human cognitive evolution for the first time. Moreover, this is the first international academic study on Izran as significant Berber data in the African history. Regarding human cognition as human action, we set off from the contemporary strong sociocultural need to open new spaces of interdisciplinary research on the way Berber’s diversity construct knowledge, qualitatively and quantitatively. In a technical way, we regard Berber here as higher-level concept (Turner & Fauconnier 2002), of higher value (Dennet 1989, 1992) and of higher emotion (Damasio 1994); this complex construal refers to a cognitive organization of knowledge on a conceptual-linguistic basis. Our Thesis stems from a cognitive situation where Berber biocultural knowledge is enacted (Varela 1992) everyday by a human macrogroup of more than thirty million people distributed in about three hundred linguistic varieties as spoken in Africa. These !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" *! ! varieties are disseminated in the groups cited in the following map. We consider them here as “communities of practice” (Bourdieu 2005, Bernárdez 2008) organizing knowledge at various levels of biological and social complexity relative to their specific cultural (including geophysical) situations. ! "#$%&'()!*++,)--(./0121,(314/$&5-0121-6(&7(&894.5%45(:;<+*.$9$5%(=!>4?=!@A/!@BA@C The social (ethical & easthetical) reason that guides us in this project in the long term is that a new theoretical international space, advanced and innovative, is fundamental to elaborate a pragmatic description of the delicate human diversity of Berber that can be used to improve the everyday life of these human groups. One of our foundational methodological aims is changing the general hermeneutical way of interpreting native Berber texts on a cultural and linguistic visible experience basis; this is normally done on integrating linguistic material that is given superficially to thought and awareness. This way assumes that when we interpret texts we don´t need abstract scientific theoretical principles, methods, and models such as those developed by recent Cognitive Sciences. We will use them here, particularly those !'# !"!#$%&!#'!()*$+%&()&*$ ! possibilities of a coherent biocultural evolution), turns the linguistic representations resulting from its evolved specific conceptual constructs into a very fertile field that allow scientists and humanists together to make important contributions to the social progress of those people living in a very harsh and hostile environment. The so-called Arab Spring is currently intensifying this situation of creative complexity in a unique way as regards the Berber macroculture. From a cognitive scientific view we have to wait so as to identify the real human dimension of its collective actions (Palmer 1996; Sharifian 2003, 2007; Bernárdez 2005, 2008). Again, one of the most objective evidence will be the way in which salient emergent concepts and salient new meanings are entrenched and lexicalized in the various and distinct cognitive systems. This test does not necessarily offset traditional humanistic approaches of hermeneutical tint (without scientific method); our hope is that they can complement the new poetics. Our foundational Cognitive Poetic question will coherently be: “What cognitive mechanisms enactivated during the prelinguistic and preconceptual phases, and in what interactive environments, make it possible that a Tarifit text, an izri, can produce Tamazight-specific meaning as evidenced in the resulting Tarifit language? D.!+*(!E$99$01.5!:('+1$.!0(!0199!,&(:(.+!4.!1.1+149!E&4F(0$&2!+$!:%,,$&+!$%&! 3('1:1$.!+$!0$&2!01+*!&(49!+1F(!,(&E$&F(3!1G&4./!H*1:!3('1:1$.!0199!7(!F(.+1$.(3! 4541.!1.!+*(!1.+&$3%'+1$.!$E!'*4,+(&!@/ ! 0.3. Our choice to use Izran as sociocognitive data !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !(! ! When I finished my doctorate courses on Cognitive Studies of Language, I thought that this new paradigm comprised a unique opportunity to trace and revive the lost history of Rif as it is conceptually instantiated and linguistically evidenced in modern Izran. I received advices and suggestions from my supervisor to treat aspects related to Rif`s Berber oral language. Then I came about the uniqueness of Rif´s women oral poems known as Izran (plural), izri (singular), and we decided that they constituted a body of data as that presented by Fauconnier (1994: xxvii) as a repository of future cognitive contribution to our universal knowledge of human cultural evolution. In his seminal study on mental spaces, Fauconnier enthusiastically put it in the following terms: “Once we start paying attention in everyday life, to instantiations of connectors, frames, induced schemas, conceptual connections, and metaphor, counterfactual mental spaces … the real world discloses far richer and more revealing configurations than our feeble efforts as linguists or philosophers have been able to produce. There is an abundance of such data that goes largely unnoticed despite its obviousness, mainly, it would seem, because it does not fit the observational categories of our established academic practice. ‘Discovering’ bodies of data that were staring us in the face, and yet were invisible to us (the black holes of science, the blind spots of the scientist) is a common feature of the evolution of scientific inquiry.” We considered the possibilities to do field work in the Rif Mountains to record and transcribe these compositions as they were performed in real time by young women. Since then we have developed this idea and given it some shape within the general framework of Cognitive Poetics. In the beginning I was a bit unclear as to where this work would lead me. The scarcity of a written support added some difficulties. During the task of recollecting the corpus in the mountains, I found !)# !"!#$%&!#'!()*$+%&()&*$ ! assistance and collaboration from the informants which were most of the time optimal, though not exempt from some impediments. These informants were mostly women whose ages range between sixty and eighty years. Most of them were very knowledgeable in the art of producing Izran. They informed me about the contextual aspects of the production of most of the Izran I collected. They even enthusiastically instructed me in the art of changing a word in the short izri so as to adapt it to a special context. Now I recognize that from my early childhood I have been several times in direct contact with Izran but I never had the necessary awareness and the conscious interest in them that I have now, insistently enhanced by my supervisor. Fortunately, after my postgraduate studies in Cognition and Language at the University of Las Palmas de Gran Canaria, I acquired an intellectual and emotional appreciation of Izran’s deep-rooted cultural saliency and particularly of the importance of the biological and sociocultural context in the meaning construction of the situated concepts communicating the hidden inner life of these young Riffian women. Favorably, this is a cultural context that I have experienced in a direct way for many years as a native Riffian, Tarifit speaker. Promisingly, we soon figured out that this language is not found so far in the extensive research literature on Cognition, Culture and Language in the last decades; and barely scrutinized from other academic perspectives. izran izran inu a thkabasht imazray a thamja initchan isfaqan rmayath !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !*! ! Izran izran inu a thkabasht imazray A thamja initchan isfaqan rmayath My Izran, oh Izran treasures of the desirous Flute of the herdsmen that wake up the deceased "+# !"!#$%&!#'!()*$+%&()&*$ ! 1. INTRODUCTION 1.1. The social position of the Riffian woman The specific geopolitical and sociocultural situation that characterizes the African Riffian present society is a network of prime importance in the configuration and understanding of women´s social position; this position is crucial in this study because it substantiates their essential role in the transmission of language and culture. Structurally, a fundamental fact is that contemporary Riffian women live in a male dominant society. When a baby is born, her/his gender is the original mark of the position she/he will have in society. Girls are not socially considered as equal to boys; consequently, they do not enjoy the same rights as boys. It is just a few decades ago that girls were not allowed to go to school. Those girls living in small villages that could afford joining school were obliged to quit at round the age of twelve. It is clear that neither of them have received the same level of education as boys. Furthermore, they are introduced into the adult female world at an early age. This implies that still as kids they have to learn to wash the dishes, get water from the spring, wash clothes at the riverbank, gather firewood and cook food. In these circumstances of human rights devaluation and low social position, Riffian women have traditionally evolved a very efficient mode to express their emotional and cognitive complex reality through small poetic improvised oral compositions known as Izran (singular, Izri). The original hypothesis of this Doctoral Thesis was that these conceptual compositions, elaborations and compressions !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "!! ! (Fauconnier & Turner 2002) could uncover hidden complexities of the millenary way Berber women thought and how they conceptualized this sociocultural and gender specific thoughts. So we started a search for the possibility of finding out important Berber cognitive sociocultural data out of linguistic elements that are presently starting to extinguish due to the arrival of new technology like TV in the area. We here attempt at collecting such grounding unknown basic data as a repository for future research from this and other disciplines like Cognitive Anthropology that can help Riffian culture to evolve and to contribute in the social development of a cross-continental better World. If traditionally these compositions have been studied from the field of Literary Studies, we here approach them from an all-encompassing modern Cognitive Poetics and its theoretical interactions with other recent Cognitive Theories like Neurobiology or Cognitive Psychology, Linguistics or Semiotics, among others studying processes of thought and language that have recently bloomed up in the heart of a paradigmatic revolution centered on Cognition and Complexity (Guerra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e would like to start by considering a text about which nothing has been done before in the international scholarly community from any academic perspective. An oral poem improvised by women in celebration held in the Rif Mountains called izri. We are presenting it in its original Tarifit linguistic form. We will also add here the pronounciation transcription into brackets and its literal and non-literal translations into English and Spanish: !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "$! ! Original Tarifit Aya lala yamayama yamat inu Sham iyasnan minadys gwur inu [aya lala yama, yama yamat inu Shem yasnan mindays gwur inu] Spanish literal translation Querida madre, madre, madrecita mía Tú sabes qué hay en corazón mío. Spanish translation ¡Oh madre! Mamita tierna, mamita mía Solo tú conoces la pena que hay en mi corazón. English literal translation Dear mother, mother, mom of mine You know what is inside heart of mine English translation Oh mother! Tender mommy, dear mom Only you know the pain in my heart. "%# !"!#$%&!#'!()*$+%&()&*$ ! From a hermeneutical view, what a native Berber listener understands is that the girl addresses her mother in order to elicit information, part of which she already knows. She addresses her to make sure she understands what she feels and implicitly requires a confirmation. The speaker does not ask a question but implicitly wants her mother to express herself and confirm her attitudes towards her. The mother understands her daughter, but cannot experience her reality in its fullness. On the other hand, this izri exposes an emotion. This emotion is a metaphor because it has to do with imbalance in the mind. As a matter of a fact, emotions, unlike feelings that are private, these are public in the sense that they are manifested on the upper part of the skin, that is, we see some modifications on the physiological level. This body change is meaningful to the mother. The mother knows this emotion and now that her daughter has it she easily recognizes it. In fact, the emotive reactions that are psychophysiological, that is to say, body and mind, show a clear synchronism when these reactions are produced (Damasio, 1995, 2000). For instance, there can be no anger at a mental level without a series of manifestations like sweating, body-heat, tension, or shaking. Culturally, the heart is thought of to fulfill some cognitive functions. Indeed, it constructs some Riffian cultural model for morality as is well illustrated in the following expressions: 1. Ur damqran/da barshan/ da mazyan (He/she has a big heart/ a black heart/a small heart) 2. Ur inu yaqqar wah raaqar yaqqar la (My heart says yes and my mind not) 3. Arrahath dal maaisha g´wur. (Peace and wealth are in the heart) !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "&! ! 4. Ur inu yrgab khas. (My heart knows it) 1.2. Geographical and social situation Rif is one of the poorest areas in Morocco. Overall, it is a mountainous area with little water reserves. Actually, there are two rivers, which are dry most time of the year. The land is very poor for agriculture. People cultivate barley and other vegetables that depend mainly on rainfalls. Riffian men already cultivate their land using hand tools and traditional animals like the donkey. The prosperous families possess small herds of goats and sheep. When the girls are grown up they take care of the flock, gather fresh herbs, take the animals to the well for water, and so on. At the age of twelve they start taking care of their small brothers, helping to prepare food, washing the clothes, taking water from the spring, collecting and taking care of chickens and rabbits that offer them the possibility to get some money. At certain age between adolescence and maturity women are segregated from men. The only contact they have with males is limited to their nearest relatives. Historically, this segregation began as the result of an Islamic doctrine that was imposed on the Berbers with the Arab invasions during the seventh century. The adoption of the present identity is the result of a long process in which the construction and organization of the gender´s identity evolved as a result of the introduction of a new way of organizing the social and familiar environment. The construction of identity is not bioculturally the same for men and women, basically because the ontological and $"# !"!#$%&!#'!()*$+%&()&*$ ! English translation Bicker with me, but try not to be naughty Face of a sieve that serves to sift the bran The poet not only attacks but also defends herself and at the same time she indirectly makes us know that she is more beautiful than her adversary. Barley is a symbol of status and power, while bran is food for animals and the miserable. At the age of eighteen, it is hardly possible to find a young woman in Rif that is not able to compose Izran. In fact they are all expected to be some kind of local bards or poets. In the beginning it takes time to compose new Izran, but they insist in challenging the old ones and improvise new Izran with the intention to compete with others, or to draw the attention of young males. When I set out to collect Izran that are sung in some wedding parties, I realized how important the context is for their full understanding. My informants, mainly very knowledgeable old women in the art of producing Izran, insisted about the importance of context. They taught me some compositional strategies, such as changing one word in order to change the meaning of the whole izri adequating it to one´s own emotions, desires and interests. Clearly, they are poetically aware that this small instrumental change in the lexical structure of the verse changes the sense of the izri, its conceptual organization, and trigger them whenever they can as prompts into their real life as social persons, something that is not allowed to them out of the frame of the izri. New field work in the region of Kelaia in Northern Morocco has permitted !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $$! ! me to gather a good number of Izran that we have explored under the biocultural lenses of cognitive analysis. Now that the cognitive paradigm provides with the adequate tools to understand the cognitive mechanisms involved in its production we have progressed in the application of its poetic and linguistic principles, methods and models in search of a contribution of the Berber Izran to the overall human evolution. D.!$%&!J1(0=!+*(! E$'%:!$.!*%F4.!(J$9%+1$.!E&$F!1+:!&$$+:!F42(:!1+!.('(::4&?!+$!*4J(!4!013(&!:'$,(! $E!94.5%45(:!4.3!1.+(&'%9+%&49!&(E9('+1$.:!0*1'*!1.'9%3(!'%9+%&49!J4&14+1$.:!1.!4.?! :1.59(!(L1:+1.5!94.5%45(. In this study, Tarifit is the mostly unknown Berber language. So as to be faithful to the conceptual construal of the izri, we have provided the non-Berber reader with literal and non-literal translations into Spanish and English, sometimes idiomatic ones when necessary. I acknowledge that I have found some Izran very difficult to translate because of the relational complexity of the words improvised during its performance, a defamiliarization, on the other hand, that other mostly Western modern artistic movements consciously force basically to open the text to new possibilities of meaning construction when enacted by a different agent (Varela, Francisco, Thompson, E. & Rosch, Eds., 1991) The Riffian society in the area of Kelaia is fragmented in various sociological places such as Kebdana, Kelaia and Rif. The Izran produced in these areas are different from those produced in the south where Tashelhit is the language of communication. The Riffian izri, for instance, considers rhyming as a very important element in the art of composing, while in Tashelhit it is the coincidence of the meaning of the second verse with the first line. Probably the distance between the different tribes is responsible for $%# !"!#$%&!#'!()*$+%&()&*$ ! these differences. In Tashelhit, rhyming is not so important, while in Tarifit sometimes the poet enhances the meaning using rhyming as linguistic units. When we speak about Riffian literature, we actually speak of oral literature as manifested in the most popular configurations of Izran and the tales. Moreover, until just a few decades ago, there has been no work about Tarifit except for some official documents written by some military personalities. Recently, students in Europe whose mother tongue is one of the varieties spoken in the Berber world have started to publish some works that are mainly descriptive (Mohamed Chacha in Holland 1997 and Ekram Hamu in Spain 2002). However, almost no practical research on Tarifit has been carried out. When this is done it proves to be very difficult because of the poverty of language. We say “poor” because it has never been written in an everyday basis so as to facilitate its creative evolution. Technically there is a total absence of a scientific production in Tarifit language. This emptiness is filled with Arabic or Spanish non-familiar concepts and expressions. Apart of the core words, most of the lexemes used in Tarifit (I venture to say more than thirty per cent) are of Arabic and Spanish origin. This reality can be seen in many Izran, though women have reported that they try to use only Tarifit words. At the same time, these still unfamiliar expressions are interestingly activated in current Izran to express socially veiled personal experiences. Inner experience is the basic ingredient that constructs this Rif’s women oral poetry. On the contrary, interestingly, men’s Taqsais are made out of outer experience. Moreover, when Izran are sung in weddings and other religious parties, the present audience judges their artistic value. This is because traditionally, Izran occupy the most privileged position in Rif´s Berber !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $&! ! culture. As we have seen, young girls are hard-pressed to memorize the maximum possible number of Izran for this mental exercise allows them to master their mother tongue. When they start performing them, they may already have their proper innovative style like the famous Mimunt n´Selouan, who dared to criticize God in one of her Izran: Original Tarifit Aya sidi rabi ajmaa itharn nash Tmanyath u liman khir swanzar nash [Aya sidi rabi ajma itharn nesh Tmanyath u liman khir swanzar nesh] Spanish literal translation Oh señor! recógete pies tuyos Dinero de Alemania mejor que lluvia tuya English literal translation Oh lord! Move feet yours Money of Germany better tan rain yours Spanish translation Oh Dios aparta tus pies $'# !"!#$%&!#'!()*$+%&()&*$ ! El dinero de Alemania mejor que tu lluvia. English translation Oh God move your feet German Money is better than your rain. This izri was seen as a provocation to the religious men who considered her song as blasphemous and out of context. In the seventies, the immigrants that had been working in Germany were considered rich because they had enough money to cover all their necessities. Those who depended on local agriculture lived in abject poverty. In what follows we would like to introduce a basic typology of Izran based on their subject matter. Our aim is to start framing the sociocultural contribution of Izran to universal literature. 1.4. Variety of Izran subjects 1.4.1. Romantic izri Ushayd fus nem atham inigh shhar Ur inu th wani nem yagha thays ushaar [ushayd fuss nem atham ingh sh´har Ur inu th´wani nem yugha thays usha3ar] !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $(! ! Spanish literal translation Dame mano tuya a ti digo cuanto Corazón mío y el tuyo encender gran fuego English literal translation Give me hand yours tell me you how much Heart mine and yours set big fire. Spanish translation Dame la mano y te diré cuánto fuego arde en tu corazón y el mío English translation Give me your hands I tell you how Your heart and mine are set on fire. In this izri, the speaker expects the listener to understand the izri through the activation of relevant abstract knowledge (Gibbs 2003:28). For instance, the concept of “love” can be understood through different metaphors like, LOVE IS A JOURNEY, LOVE IS FIRE, LOVE IS INSANITY, (Lakoff& Johnson 1980; Lakoff and Turner 1989). When the listener hears the izri in a wedding ceremony, he presumably activates his knowledge of the activities normally associated to “love emotions”. This kind of knowledge is called “script”. It consists of well learned scenarios describing structured $)# !"!#$%&!#'!()*$+%&()&*$ ! situations in everyday life (Gibbs 2003:33). So as to understand the izri, the listener “must decide what “script” is relevant and how it should be modified to fit the situation at hand.” (Gibbs 2003:33). The script of the two lovers hand in hand, looking at each other is reconstructed mentally in accordance with the present context. That is, the interpreter understands the poem by simply creating a mental picture of two persons that are in love with each other. An experimented listener may use his/her previous experiences as the basis of the interpretation of romantic poems. In the izri, the speaker asks his beloved to give him her hand so as to feel her and enter in a direct contact with her and tell her how much he loves her. He explicitly confirms his feelings towards her. The speaker that is fused with her main character is capable of contemplating an amorous scene. The language used in the izri helps us understand that the speaker in the izri is a man and the addressee is a woman. In Tarifit “ushayd fus nem”, the sound /m/ is a reference to number and gender. If the speaker were a woman, she would have said “ushayd fus nesh”, the sound /sh/ at the end of a word is a reference to the masculine. The izri is composed as a kind of dialogue where only one character produces an utterance. The man is taking action, whereas the woman is simply supposed to give her hands to the speaker so as to confirm this love relation. The poem reveals the speaker´s innermost emotional sensations. He wants to assure his woman that their “hearts are set on fire”. It seems that he is sure of the woman´s feelings towards him. He said “Your heart and mine are set on fire”, this may seem a vague confirmation of the relationship that unites them. By understanding the metaphor LOVE IS FIRE, we get a perception of !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $*! ! the speaker placing himself closer to the woman. The woman by stretching her hands with him accepts the idea of allowing him to enter into her affections. The izri looks splendid in the way that, within a matter of two lines the poet moves from external to internal description using a very simple and emotive language. Our cognitive poetic approach and analysis sets out on the conviction that this interpretation is not at all exhaustive, that we could introspectively say much more about it in different situations. We will explore emotions, metaphor, or symbolism from the cognitive perspective. All this information could be brought to bear on new revelations about the human cultural evolution from these apparently simple poems. 1.4.2. Historical izri Original Tarifit Mayami guigh rhanni mayami khafi yugha Lala thawmat inu g gharrabu thanya [maymi gigh r´hanni maymi khafi yugha Lala thawmat inu g´gharrabo thanya] Spanish literal translation Porque poner “henna” porque sobre mí brilla Querido hermanito mío en barco subió. %+# !"!#$%&!#'!()*$+%&()&*$ ! English literal translation Because put I “henna” why on me shine Dear brother mine in the ship got up Spanish translation Porque he puesto la henna y porque se ha abrillantado Mi querido hermano en el barco ha embarcado. English translation Because I put henna and because it shines on me My dear brother on the ship has boarded. This izri was produced as a result of the many thousands of young Riffian that were obliged to participate in the Spanish civil war. It is produced from the point of view of a first person singular and feminine pronoun. The speaker refers to herself as “I” and “me”, or using the possessive expression “my”. This indicates that the poet is involved as a direct participant. She adopts provisionally the character´s personality (Fludernik, 1993: 125). The impact is psychological and we as listeners give total freedom to our imagination to conceptualize what is going on in the speaker´s mind, and as Laing (1967) said, even if we can´t experience the speaker´s experiences we experience ourselves experiencing her experiences. The reference to oneself as “me” is a special grammatical use that evokes in the subjects certain feelings of fear and responsibility. “I” and “me” converge in normal !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" %!! ! speech. The viewpoint and the speaker are the same. But language has “the potential to split one from the other” (Frawley, 1997:179). Fauconnier in turn argued that ““Me” and “myself” refer back to two different people. But since they are both first person pronoun, they should both refer to the speaker.” (Fauconnier, 1994: ix-x) The metaphorical use of “ship” as a reference to Spain strengthens this human emotion. There is symmetry, a harmony, between the woman´s feelings and the actual situation of Rif. The metaphorical use of “henna” to suggest the enjoyment of life is turned out to be a bitter irony. This kind of emotion is spread over the whole scenery. There is something that can be felt though it cannot be perceived by the senses (Tsur 2007). This emotion generates an intense psychological atmosphere. The listener is aware of a kind of mental instability. Moreover, the use of the word “henna” is a strategy to demonstrate who is talking to whom. The social process in which she was initiated, now serves her to play her role as a mature woman. It is also a strategy designed to give the listener more information about the gender of the speaker and the effects her information may produce in the listeners. 1.4.3. Political izri Original Tarifit Ushayd fus nem angaath gha wathrar Thin igha nashas gha thuthar imanan thizammar %)# !"!#$%&!#'!()*$+%&()&*$ ! To understand this izri, the listener activates the witchcraft scenario. The way the woman must prepare the tea models the conceptual structure of this particular piece of knowledge. And whether she uses magic for good or bad, it culturally expresses one emotion or another. This feeling is expressed in a kind of silent language. In our izri, the script of a woman preparing tea to bewitch someone is constructed mentally in accordance with the present context. Poetry as we see here stems from a modest mind. It is about life and is always meant to express an emotion or invoke a strong feeling. 1.4.6. Izri with four lines in the form of two couplets. Original Tarifit Mya thu shanen thi rg uth iwajthan Mya tighalwin thrqfit mziria Mya tahazant th hazbit Habiba Mya ta harkust thaqnit fatima [mya thushanen thi rag3uth ithajna Mya tagharmesh thraqfit mziria Mya tahazzant th´hazbit Habiba Mya taharkust thaqnit Fatima.] Spanish literal translation !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" %*! ! Cien lobos en las Colinas preparados Cien ovejas sufren de miseria Cien centurones poner Habiba Cien zapatos vestir Fatima. English literal translation Hundred wolves on the hills ready Hundred sheep suffer misery Hundred belts wear Habiba Hundred shoes wear Fatima. Spanish translation Cien lobos aguardan sigilosamente en las Colinas Cien ovejas en las llanuras viven en la miseria Cien cinturones vistió Habiba Cien zapatos calzó Fátima. English translation Hundred wolves on the hills laying still Hundred sheeps in the prairies living miserable Hundred belts around Habiba´s waist Hundred shoes in Fatima´s feet &+# !"!#$%&!#'!()*$+%&()&*$ ! When an izri is produced, we always wonder why the poet said what she said, and in terms of what she said we feel able to explain her intentions. We behave like psychologists who explain mental states on the basis of speaker´s observable actions (Gibbs 1994). On a mental level we have an image of wolves and another of sheeps, though both expressions are used metonymically to refer to the rebels and the conquerors; “hills” and “prairie” are used metaphorically to refer to resistance and weakness. The speaker knows about the kind of relation that holds between “wolves” and “sheeps”. She intuits a complex state of mind triggered by a limited verbal description. In fact, there is an exposition of an emotional change as a consequence of the outside forces that produce this change. This change is specified in the third line. Two things that any listener can speak about with some details are the emotional change and the psychological state of the characters of the world of the izri. Our perception gives way to our imagination. The linguistic level reveals what is happening at a conceptual level. In this izri we have various metaphors related to each other. We have wolves and hills, sheep and plains, Habiba and her belts and Fatima and her shoes. There is almost no plain simple and non-metaphorical language in the poem. The intense emotional atmosphere is generated by conceptual metaphor. In this izri there is a kind of contiguity between wolves and hills, sheep and prairies, Habiba and her belts and Fatima and her shoes. These objects combine into a coherent landscape that opens semantic possibilities to any potential observer. The linguistic expressions configure metaphors that construe the whole scene from what we know as the extended mind (Chalmers & Clark 1998). The conceptual construction of the landscape is thus contiguous, with the poet´s feelings. It prompts in harmony. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" &!! ! 1.5. The way Izran are produced. A wedding party is the most adequate event where women show their ability to compose, elaborate and comprise (Fauconnier & Turner 2002) Izran. The performance is taken ahead through two different methods: 1) The girls, mainly young and bachelors, sit on the floor forming a circle and using some instruments such as the “Bandir”, a kind of tambourine played with the palms of the hands. They start with a chorus, that they repeat as many times as they wish and then a girl sings her izri; if the izri is judged to be good for the occasion the others applaud. Then the chorus starts again singing “Yara la yara yara la buya”. Another girl sings another izri with the intention to produce a better one, and so on. 2) It can be performed in two groups forming two lines in parallel. When they start singing the chorus, one line of women moves a step back and the other in front, a step ahead, and immediately the movement is repeated in the opposite direction. When this is done one of the girls exhibiting her best dress and voice sings an izri. This time the audience can be formed by young males that can applaud the izri or not depending on the information she transmits. This is normally the best occasion for a young Riffian woman to advertise herself, point to the tribe she belongs to, criticize a pretender she rejects, or announce her relationship. This is the moment all of them have been waiting for. It is interesting to note that married women rarely collaborate in these choruses, only widows or unmarried women do. Those young girls that are engaged have to pay special attention about the Izran they sing; this is because they can offend the future &"# !"!#$%&!#'!()*$+%&()&*$ ! husband and this may signify their rupture. Others may criticize a rejected pretender as is expressed in the following izri. Original Tarifit Awassar, awassar ayarri nyabririthan Yakhs athyandu rashthu ath yash ithririthan Awassar awassar ayarri nyabririthan Yakhs athyandu rashthu ath yash ithririthan Spanish literal translation Viejo, viejo montón de Dolores Quiere saltar cama comer hojaldres. English literal translation Old man, old man heap of pains Want jump bed eat pastry. Spanish translation Vaya con el viejo atajo de dolores y deslates Quiere abalanzarse sobre la cama y comer los hojaldres. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" &$! ! English translation Come on with the old man, collection of stupidity and pains He wants to rush forward on the bed and eats the puff pastry. The poet uses the lexemes “collection of pains and puff pastry” metaphorically to suggest that the old man wants to have a sexual contact with a tender young girl. As we see, even if the poem seems very simple it could have taken a long time for the Riffian girl to find the correct words to describe the situation and transmit her intentions through words. Food elements are used as a metaphor to refer to tenderness and youth. In the following izri natural elements are used metaphorically to transmit a specific intention. Original Tarifit Uyur shway shway am waman thi thara Aqam amshan inu mani shig aridha [uyur shway shway am waman thi thara Aqam amshan inu mani shigh arridha] Spanish literal translation Camina tu despacio como agua en el manantial Este lugar mío donde comí “Arridha” &%# !"!#$%&!#'!()*$+%&()&*$ ! English literal translation Walk you slowly like water in the spring This place mine where eat me “Arridha” Spanish translation Camina despacio como agua del manantial Este es mi lugar donde comí “Arridha” English translation Walk slowly like water in the spring This is the place where I ate “Arridha” The boy is remembering the girl to be patient, because he is not interested as much in marriage as in that feeling that invaded him when he knew her. He wants to keep that feeling alive, whenever he visits the place where they knew each other for the first time. “Arridha” is a plant of love. When someone falls in love, Tarifit people say “s/he ates Arridha” or “Bunarjuf”. Note the following izri: Original Tarifit Aya limania ma thini bunarjuf Nashin thamurth negh yaga thays rajruf !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" &&! ! [aya limania ma thini bunarjuf Neshim thamurth nagh yaga thays rajruf] Spanish literal translation Tu alemania acaso hay “bunarjuf” Nosotros tierra nuestra hace en ella montañas. English literal translation You Germany by the way there “bunarjuf” We land ours make in it mountains. Spanish translation Dime tu Alemania, acaso tenéis “bunarjuf” ¡Oh nuestra generosa tierra donde se encuentra a raudales. English translation Tell me you Germany; by the way have you got “bunarjuf” Oh of our generous land where it grows in abundance! “Bunarjuf” and “Arritha” are two plants of love. It is believed that if one eats it one will be invaded by a strong feeling of love. 1.6. Izran as a social criticism From Joseph T. B. (1980: 427) we learn that the “woman who performs her songs at &'# !"!#$%&!#'!()*$+%&()&*$ ! wedding uses them not only as a social criticism, but as a strategy to defend herself, attack others, encourage suitors, announce an engagement, remind young men of the tribe she is in love, shame or ridicule an unwanted swain, or justify her decision to break an engagement”. In the Riffian society women have no effective means to address the community more a whole other than as Izran. Enhancing their social functions, Izran are a means that these women use to address the whole community. The freedom to criticize or praise the community is guaranteed in Izran. Men can´t address the whole community. They can only address their relatives, men or women. In the case of women, any young girl whatever her social standing is has the privilege and freedom to address the community. This opportunity is exploited by Riffian women to address men, criticize their mode of life and exert an influence on their decisions. The objects they criticize are so diverse that the young Berber woman has many alternatives depending on her wishes and interests. The socialization process in which they were initiated earlier in their lives serves them as a training for their future role as women. The following izri illustrates how men offer money to marry a girl: Origin Tarifit Ayaqat ayaqat thlulusht many thaghmi Qattar thi lwiz nesh ma tawyath su khami Ayaqat ayaqat thlulusht mani thaghmi Qattar thi lwiz nesh ma tawyath su khami !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" &(! ! Spanish literal translation Ahí la tienes, ahí la tienes, flor donde crecer Aumenta tu “lwiz” no te la llevas con mirarla English literal translation There she is, there she is, flower where grows Rise your “lwiz”, no take her with just looking at her. Spanish translation Ahí la tienes, ahí la tienes, como ha brotado la florecilla Aumenta tu caudal, y no creas que te la llevas con solo mirarla. English translation There you have her, there you have her and how the flower is sprouting Augment your offer and don´t think that with just looking she will be yours. Love songs are not composed solely for the sake of criticizing, but are also used as a strategy to defend herself, her dignity and her honor, to attack others, to remember any pretender of her tribe, to announce herself to be ready for a compromise, or to justify her separation from a pretender. The Riffian women´s social fight fundamentally consists of defending their freedom of marrying the man they prefer as a husband, normally expressed by her parent; of establishing new relationships through marriage; '%# !"!#$%&!#'!()*$+%&()&*$ ! Dear white dove Stand up she on high rocks mountains Do not be bored, not sad For you will grow wings. Spanish translation Querida paloma blanca Que está en lo alto de las rocas de la montaña No te aburres ni te entristeces Pronto te crecerán las plumas. English translation Precious White dove, That stands on a high mountain rock Don´t worry, don´t be sad Soon your feathers will be grown. A desire for freedom has traditionally been the source of inspiration for women since Northern Africa was invaded by the first Arab conquerors during the seventh century. In this izri, the descriptions the poet makes are not independent of that Riff´s sociocultural reality. On one side, we have a dove that is unable to fly; on the other, we !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" '&! ! have the actual situation of Berber women in Rif. The lexicalizations, the language used in the izri, guide us to this process of imagination. This idea is lucidly illustrated by (Fauconnier, 1997:187): “When language occurs, meaning directly ensues, and therefore that meaning is straightforwardly contained in language”. The production of a poem provides some complex information that sometimes is not contained in the lexicon used to guide us to the comprehension of the implicit meaning. The description of the dove standing on the top of the mountain ready but unable to fly, correspond to something real in the speaker´s imagination. The Cognitive semanticist, Turner (1991), lucidly explained that Science and art must converge so as to give us a full comprehensive view of the world, a world which is anticipated by schemas that do not delimit clearly the frontier between thought and emotion or between our mental and bodily actions. These poetic versions are also known as “Ragnuj” (plural, songs), or “Aganij” (singular, song), as “Shdih” (plural, dances), or “Ashattih” (singular, dance). They are also known as “Awar n Izran”, words of Izran, or language of Izran. As popular oral poems, they are frequently produced as songs and are accompanied by musical instruments and dance. When Izran are performed in weddings, they are very often introduced by a chorus that lingers as long as the singers wish singing the following lines: Yarahlayara, yarah laboya Yarahlayara, yarah laboya ''# !"!#$%&!#'!()*$+%&()&*$ ! There have been many popular inconsistencies about the meaning of these sound patterns. For some they are meaningless; for others there is a myth that relates how two lovely Riffian queens were assassinated by foreign conquerors. These queens were called “Yara” and “Boya”. Whatever interpretation we accept, it does not change the fact that “Yarah layarayarah laboya” has ever since been established as metric measure for any izri. In Rif, Izran are considered as an exclusive production of women, though recently some groups formed by men called “Imediazen” (plural of troubadours, singular “Amediaz”), appeared on the social scene as a challenge for women. These troubadours are excellent poets and masters of the versified word. In view of the magnitude of the party they join, they form groups that range between four and eight persons. The group is formed by a leader called, “Amghar” or, “Boughanim” which means “the man with the flute”, who plays a kind of Berber bagpipe (made of two tubes of bamboo with two horns at one end to make the sound louder), two drummers and a singer. Nowadays, the word “Amediaz” has negative connotations. Paradoxically, Riffian people enjoy their shows though they do not appreciate them as social persons. In fact, no one wants to be compared to an “Amediaz”. The rationale of this dislike is because Riffian people believe that the art of singing is reserved to women. Being aware of this reality, these troubadours call themselves “Shiukh” (plural of “Sheikh”). The lexeme is an Arabic loan and it evokes in the subjects some respect. “Sheikh” means old, respectful and experimented. The following izri is a proof of the negative value of “Imediazen”: !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" '(! ! Original Tarifit Thkahar theawash thaga thimmi nergaz Ifath hit arabi thmun ak umediaz “th`kahar th`sawash thaga thimi nargaz Ifath`hit arabi thmun ak umediaz” English literal translation Blackened she eyes, smartened she mouth Humiliated she god, got she with an amediaz Spanish literal translation Ennegrecer ella ojos, embellecer ella boca Humillar a ella Dios, juntar ella con un amediaz English literal translation She smartened her eyes and lips and blackened her eyebrows. God humiliated her and so she got together with an amediaz. ')# !"!#$%&!#'!()*$+%&()&*$ ! Spanish translation Ennegreció las cejas y acicaló la boca Dios la humilló y así se junto con un amediaz 2.3. Taqsais versus Izran. A case During the last few decades, men have evolved a poetical composition called, “Taqsais”. These poems are very long and structurally they have little similarity with Izran. The only similarity is confined to rhyming. We have noticed that when men in Rif are endowed with artistic qualities to produce oral poetry, they seem to be more dedicated to it in a rational and professional way. Nevertheless, on listening to “Taqsais” we have realized that Izran in many ways have become the source of inspiration for men, because on occasions we find a reproduced izri functioning as a link between the lines in a “Taqsais”. On comparing both compositions, the first and most salient feature is that poetry produced by women is more synthetic and that produced by men tends to be more analytical. The following poem, which we will only reproduce or translate into English, is of the kind produced by men. To my little brothers that eat bread kneaded with tears That sleeps on bare ground, covered with the stars The ship is ours, neither strangers nor enemies will ever steer it The waters on which it floats are our tears !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" '*! ! Its reddish colors the blood of our ancestors A friend told me this Taqsais. We infer that the speaker is affected by a strong emotional feeling. It is his desire to lead the destiny of Rif that made him expose this emotion. The promise to take control of the “ship” makes us feel his anger and allows us to describe his emotional reaction. The language used in the composition of this poem gives us a perception of something sad and dramatic. The landscape described has explicit emotional content. We see how the descriptive lines relate to one another and constitute the description of the whole landscape. The listener is not a passive observer. He/She actually forms part of the world of the Taqsais. The first thing we notice on hearing this poem is its exquisite musicality, then its intense emotional quality and its intense atmosphere (Tsur 2007:3). The description of the landscape is not far from the social reality of Rif. This reality is presented in terms of “starving kids that sleep on bare ground covered with stars”. The whole poem is pervasively metaphoric; we have various metaphors related to each other. We have a ship that floats on reddish water, kids eating bread kneaded with tears, kids covered with stars, and a whole see water made of tears. There are a series of metaphors that are connected one to the other in important ways. Almost in the poem there is no plain simple and non-metaphorical language. The intense emotional atmosphere is generated by metaphor. In the poem there is contiguity between “ship and water, sea water and salty tears, open landscape and stars, ship and controllers, kids and the ground, and so on”. All these objects combine to a coherent landscape. And all the linguistic expressions are metaphors that describe the whole scene. (+# !"!#$%&!#'!()*$+%&()&*$ ! The listener admires the beauty of the content of the language used. The parallelism between “starving kids and the freezing ones or the way the speaker links himself to Rif´s cause through the promise to not to let anyone “control the ship” guides to a meaning that is linked to certain images that evoke past recalls. These memories evoke certain diffuse emotions. The speaker refers to his main characters as “little brothers”, this is a special use of language that evokes in the speakers certain feelings of responsibility. The metaphorical use of “Reddish color” provides an image of death and suffering. In the fourth line, the poet compares seawater to the Riffian´s tears. This image strengthens even more the emotional feeling. In a word, there is a kind of resemblance between the speaker´s feelings and nature. The description of the environment goes in harmony with the kids’ inner feelings. After every line we perceive an increase of this emotion that provides a sinister and dramatic image. In the first line, the poet uses the expression “bread kneaded with tears” metaphorically to refer to a kind of mental suffering. It would be a mistake to give the expression its literal meaning. The mental suffering would be the right interpretation because it suggests its human significance (Tsur 2007). There is no real bread, no material mass but some diffuse entity separated from its environment. There is a kind of death and suffering ingredients. We consider our interpretation legitimate because it relies on one of the most important literary competence as posed by Culler (1975: 115) as quoted in Tsur (2007: 8): “the primary convention is what might be called the rule of significance: read the poem as expressing a significant attitude to some problem concerning man and /or his relation to the universe”. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" (!! ! This Taqsais is very rich in imagery that triggers some human significance. The link between people and their nation is visualized with no ambiguities. The device of emotional disorientation is presented by the image of “starving kids”, or “the reddish color of the water”. There is a diffuse image that confuses the literal with the pragmatic to which we will later refer as the dichotomy literal / figurative as it has been primarily reviewed in cognitive approaches by Giora, Turner, Coulson, Lewandowska and others. Guerra (2009) synthesizes our starting point: “Before Gilles Fauconnier, Mark Johnson (1987) had argumented in The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason about imagination as essential to the structure of rationality and not simply related to creative ‘unreal’ worlds, and had framed an interdisciplinary space for a comprehensive ontological, epistemological and philological view of the biocultural figurative (Giora, 1997, 1999, 2007) way human beings think that was further developed in the literary arena during the 90s with seminal studies like Turner’s The Literary Mind (1996). Turner’s groundbreaking Cognitive Rhetorics view was compressed a decade later when he wrote: “some products of thought and language feel literal while others feel figurative. We have reactions, and they are motivated, but these motivations do not come from fundamental differences in cognitive operations. ‘Literal’ and ‘figurative’ are labels that serve as efficient short-hand announcements of our integrated reactions to the products of thought and language; they do not refer to fundamentally different cognitive operations (Turner, 2005: 25).” Our first conclusion was that the poem is derived from the repressive voice of the poet, from a man as a dispossessed speaker. The meaning is located in the global ("# !"!#$%&!#'!()*$+%&()&*$ ! understanding of the poem and not simply deduced from a comparison between the given verbal variants. The significance appears as praxis transformed by the listener. In the poem there is a feeling of frustration and impotence implicitly deciphered from the hypothetically sad tone of the poet. We understand the various words and linguistic items in general with reference to emotions, because we are able to understand some cultural and historical elements that are largely shared by people in Rif. This is the contexts described by sociocognitive theories of language as exemplified by Frank et al. 2008. The listener/interpreter constructs some mental images that one exploits in understanding the meanings that lay behind the words used in the poem. For instance, in the poem there is no reference to history, but the language used allows us to make all the possible connections with history, geography, psychology, sociology, linguistics or literature. The question that may pose itself is whether the poet is subjective or objective. The description he makes is not independent of the reality of the external world. There is a situation in which strangers on one side control “the ship” and on the other side we have the actual situation of Rif. We cannot perceive of Rif´s reality if we are not able to decode the various expressions used in the poem and the images they give perception to. For instance, the “ship” is used metaphorically with reference to “nation”. We cannot give it a literal meaning. We have to see the verse as symbolic. It refers to something that is not a real “ship”. The reference orients us to a hidden sense, a pragmatic one. There is no similarity at all between the word “ship” and the meaning “nation” to which it gives birth. The poet borrowed one domain so as to say that which he cannot say literally. The expressions used in the poem guide us to this sort of imagination. This confirms Fauconnier’s (1997:187) idea as quoted above about !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" ($! ! meaning directly ensuing when language occurs which confirms that meaning is straightforwardly contained in language. 2.4. Storage and transmission of Izran Izran are produced orally and transmitted orally through hearsay from one generation to another and slightly modified by each individual in an adaptive experiential process. Thus, we consider their specificity as something relevant. This online language use as social performance will provide the theoretical guide in our search for their cultural specification. As different from other traditions mainly documented in the form of texts, Rif`s Berber art, as popular culture, is stored and saved in the collective memory of living Riffian. The contribution of women through time and in different contexts and situations, gives them the right to claim authority and monopoly of Izran as popular art production. A salient cognitive structural foundation of our thesis that will need more research from other disciplines like Cognitive Psychology or Cognitive Anthropology is that the capacity of improvisation of Rif`s women has much to say about culture, language and human capacity for symbolic thought in an illiterate environment. One of the main features that characterize Riffian women´s capacity to produce this popular art is the fact that, even if they are not instructed in the art of narration, or master the norms and conventions related to the act of producing oral poetry, they are crafted and innovative producers. The simple experiential mastery of their mother tongue Tarifit is a sufficient guarantee for the achievement of “Literature” which is conducted so as to learn the most )+# !"!#$%&!#'!()*$+%&()&*$ ! The language used in the izri is very simple and its effects are based on the use of some key words, like “fathers in law, silver, or the shining coin (gold)”, that prompts some feelings in the listeners. This simplicity does not mean that this text is simple as a communicative system and consequently we could explain it in simple terms. As posed in the introductory chapter, an important element that is always new when the izri is produced and that helps decipher the meaning is context. This context is a structural part of specific meaning construction. Indeed, it is fundamental for an appropriate approach to Izran since meaning emerges as a result of a combination of three elements, language, culture and context. Though counterintuitive, it is evident that most Izran dynamize figurative language as a tool to facilitate literal comprehension. It´s reasonable to find, upon a closer examination of these poems, many sounds, shapes, senses and situations that are selected and combined so well that the poet´s feelings and ideas can be effectively communicated. Izran, which are permeated with metaphor or are themselves cases of metaphor, are easily understood if we recognize the context as an integrative part of the meaning and knowledge of the World construction process. In this work we follow the developments of the Second Generation Cognitive Revolution starting in the late 1970s with Lakoff and Langacker as founding fathers; for them, formal semantics should be discarded as a mechanism of interpretation because it does not make use of inferences. Cognitive Semantics was originally proposed as a solution so as to see beyond that which is stated with words. That is meaning is intentional and it rises in the mental experience of the cognizer. This view helps perceive literature as a complex body of data that has a relation not only with the basic cognitive processes of human mind (Turner 1996) but also with the mechanisms of socialization that are based !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" )!! ! on the same principles (Bernárdez 2008). Language is not only syntax (as Chomsky stated in 1957), it is an instrument that can be used as an introduction to the study of literature because it´s linked to some basic and mental cognitive processes (Lakoff & Turner 1989, Gibbs 1994). The idea is lucidly exposed in Turner (1991: 4) where he explains that to study literature is to study language and to study language is to study the human mind: “Literature lives within language and language within everyday life. The study of literature must live within the study of language and the study of language, within the study of the everyday mind.” As posed by Guerra (2011: 845), Basically, Cognitive Poetics focuses on what primarily rubs out this dualism linguistic entity / encyclopedic entity that foregrounded after 1980 the cognitive breakthrough in the studies of language from the computational (understood as in Chomsky) to the experiential line (Lakoff, Fillmore, Langacker, Talmy). Cognitive Poetics is then a constitutive part both of a Second Generation Cognitive Revolution and of the so-called Theories of Complexity. It explores (chaotic) cognitive activity socially experimented by a human being about a category expressed through a (deterministic) symbolic, iconic or indexical element of any semiotic system. In 1980, a text was published that clearly exposed for the first time figurative meaning constructions as a matter not of (each) language but of (human) thought i.e, as fundamental cognitive mechanism instead of as rhetorical ornament of a language. For Cognitive Poetics and Linguistics, literature in its diverse manifestations is an embodiment of human daily experiences. This fact enables us to understand how the author and the interpreter´s resources have been modified over the years and with it our perception of the world. Cognitive Poetics, offers enough tools to understand the phenomenon of Izran with reference to some specific cognitive mechanisms as those )"# !"!#$%&!#'!()*$+%&()&*$ ! described by Cognitive Sciences in general. Guerra (2011*) shortly synthesizes this wide network: “Some of the most methodologically advanced cognitive principles today are entrenchment, figure/ground, mental spaces/blends/frames, or conceptual metaphor/conceptual metonymy. Entrenchment affords a self-replicating highly repeated experiential structure of meaning to become cognitively automatic (hidden, unconscious) in order to be activated with the least possible cognitive labour. The figure/ground alignment affords the organization of a distinction between a profiled element that first attracts the observer’s attention (figure) and those elements that operate as additional information foregrounding the figure in order to comprehend it and situate it; i.e., (con)figuring the salient constituent. The principle of mental spaces is related to conceptual integration processes and to blends (Fauconnier & Turner 2002) as emergent integrated spaces. Two or more mental spaces create possibilities for the emergence of a new one showing partial structure of these but new relations. Though we tend to think that the highest levels of complexity are found in artistic discourse, numerous apparently simple conceptual structurings are counterintuitively highly complex as for instance those projections and integrations found in an enunciation in use like “This surgeon is a butcher” (see Brandt & Brandt 2005). Thus, in the new Cognitive Poetics trivial things concerning language and thought are rigorous things. Last but not least, the Metaphor and Metonymy principle is widely known for its transferences to particular current social affairs like religion, health or politics (…). Very briefly put, partial conceptual structure of our knowledge of a given conceptual domain projects onto a different conceptual domain (metaphor) or into the same (metonymy), to endow it (at all instrumental linguistic-pragmatic levels like !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" )$! ! grammatical, syntactical or discursive) with positive structure of meaning it lacks. They are known as source and target conceptual domains. Due to its phenomenal adaptive complexity, the natural lack of endogenous meaning structure is very usual in abstract concepts like mind, life, reality, theory, love, and so many others.” Today, we have at our disposition various scientific disciplines joining forces in a new research alliance so as to explain language as well as the meanings that emerge from its use. We do not intend to limit ourselves just to the processing of words or the activation of image schemas. In fact, part of our comprehension contains images, feelings, emotions or social acts (Turner 1991). In our cognitive explorations of the Izran, we will basically search for the correspondences between the linguistic structures, body experiences and conceptual thinking (Gibbs 1994). Since these countrywomen are not instructed in the art of narration, their language, which is produced for similar consumers, is characterized by clarity and simplicity. When they are inspired by the different daily social events that take place in their environment and produce Izran to express their feelings and desires or to immortalize an historical event, they communicate their “living” ideas through an efficient and simple language; this language enables the listeners comprehension not only of the language used, which has certain properties that go beyond sentence level structure (Emmott 2004), but of all possible inferences that can be made and that are the product of a shared social knowledge. This extended idea in the social advances from Cognitive Linguistics, Cognitive Semiotics, or Cognitive Anthropology is well summarized in Emmott (2004:4): “In mutual speech, the main factor is mutual knowledge, arising from shared prior experiences of speaker and listener.” This means )%# !"!#$%&!#'!()*$+%&()&*$ ! that our interpretation of a poem is based on certain knowledge of social norms and social situations. Correspondly, our comprehension of an izri is not solely based on the comprehension of its individual words, but on the link our mind establishes between its events. Izran are a specific instance of this direct interactive discourse in which speaker and listener with the same language and culture converge on mutual understanding. People in Rif process Izran almost along the same structural dynamics because they are produced in a collaborative manner. They are a community of practice in this sense. Actually, there arises a kind of cooperation between the speaker and the listener/interpreter. The speaker produces a language with the intention to mean something and the listener has to be able to process what is meant by what is said. There rises a kind of interaction between what is happening in the speaker´s mind, with the assessment of what is happening in the listener´s mind (Wallace 1994). The speaker produces a language at a certain level and the mind of both speaker and listener process different meanings at different levels. According to cognitive psychologists (Gibbs 1994), these representations play an important role in language processing. Izran produced to immortalize historical events abound in Rif`s Berber poetry. But though they are inspired in real historical facts, women use a language in an innovative way mixing personal experiences, feelings and historical reality. They simply cannot free themselves from their ego and be subjective, because subjectivity produces emotional effects a most universal concern not only of poets but of every human being. Consider the following izri: !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" )&! ! Original Tarifit Athuyagh athuyagh huma yuhray u thar Sithi lif inu umi guigh r khathar [a thuyagh a thuyagh huma yuhray uthar Sithi lif inu umi guigh r´khathar] Spanish literal translation Caminar yo, caminar yo hasta cansar mío pie Querido amor mío a quien complacer yo. English literal translation Walk me, walk me till tired mine foot Dear love mine whom I pleased. Spanish translation Voy a caminar caminar hasta la extenuación de mis pies, Ay¡ de mi Amor! Ay ¡a quien he complacido. )'# !"!#$%&!#'!()*$+%&()&*$ ! English translation I keep walking and walking till my feet are tired Wow of my beloved whom I pleased. The poet relates how her beloved left her after she pleased him sexually. She felt very angry. This emotion concept was getting to a higher level. So as not to explode she had to walk till she is tired. The listener/interpreter perceives an emotion that is spread over the whole scenery. This emotion generates an intense psychological atmosphere. The listener is in certain ways aware of a kind of mental instability (Tsur 2007). There is no naming of an emotion, but the language used contains some hidden elements that allow us to perceive mentally something sad and dramatic. The landscape has an explicit emotional content (Tsur 2007:3). The listener sees how the two lines that are related to one another constitute the description of the scene. In Tsur terms (2007: 8), the abstraction the listener makes from the lines is that of “emotional decrease”. This intense emotional quality is the first thing we notice on listening to this izri. It is a splendid occasion to see the natural function of language represented by the association of words. The izri is not a description of lifeless things; in fact it concerns human emotions (Tsur 2007:7). Once again we notice how the unity of art and science help us understand the world better (Turner 1991). Culturally speaking, the “foot” is used in the construction of some cultural models that, amazingly, reach the level of cognition in some cases. Consider the following Tarifit expressions: 1. isinay idarn dinni / my feet took me there (I don´t want to come but here I am) !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" )(! ! 2. jarran ayi idarn dinni / my foot pulled me there ( inspite of me here I am) 3. ghas idarn di zirarn / he/she has long feet (though not invited she dared to come) 4. ghas dar yafsus / he/she has a light foot (she is always the first to be everywhere even when she is not invited) 2.6. The way history is narrated in Izran In Rif, history is still narrated in rhymed verse because it is the easiest way to transmit it from generation to generation; its oral condition and its communicative effects enhance this. Nevertheless, in many Izran, we do not know where factuality ends and where legend begins. Women narrate invented facts, or facts distorted by the collective imagination, but they believe, or rather make us believe, that they are veridical. In Rif there is a tendency to exaggerate mixing myth and reality or tradition and truth, as is well illustrated in many religious oral texts that circulate between Riffians. Sometimes, the listener finds it very complex to make a distinction between reality and fiction. The frontier between history and literature or reality and fiction is fuzzy. It is reasonable to think of this matter as a special use to exercise some effect or trigger some feeling in the listener. Women are not specialist in reporting objectively historical records. But since poetry is the only means to immortalize historical events and due to its poetic effects that facilitate memorizing them, they feel obliged to mix fiction and reality so as to exert a real effect on the listener. Accepting these difficulties, we will try to demonstrate the uniqueness of Izran as a Rif`s Berber contribution to universal literature. ))# !"!#$%&!#'!()*$+%&()&*$ ! To interpret an izri, or produce it the speaker does not feel obliged to follow any rules. The freedom of producing historical Izran is not an impediment for the poet to distort reality by adding myth and traditions. Since the production of poetry is a matter of the successful use of imagination, the poet does not feel obliged to respect the historical truth. Since we are going to deal with Izran from the perspective of Cognitive Poetics and Linguistics, we want to emphasize that every izri is a unique text in itself, which needs to be explored, so as to discover what hidden complex knowledge lay behind the words making them new in every new relation. We know that every time an izri is produced, it is not new anymore; because once it is individually produced and socially distributed speaker and listener become responsible for its interpretation and the most common interpretation given is frequently a pragmatic one (Van Dijk 1978). At a cognitive level, every izri can be considered as a world in itself, for it shows on-course enactment of Rif`s women knowledge of the world. Thus, it is our hypothesis that an izri can tell us much about human mind and culture. Popularly, of course, it can also entertain us, upset us, or make us cry. An izri can have a happy, or a gloomy atmosphere. It can deceive us, or make us stronger. It can also produce in us a feeling of resentment, anger, fear, disillusion, rejection, or indifference. As every other process in natural complex systems, this is a dynamics of action and reaction (Guerra 1992) very important here for the Cognitive Sciences we are applying in this thesis foundationally define human cognition as human action. Thus, understanding (action) an izri and experiencing its cognitive effects (reaction) in a specific context is what evokes in us such feelings and produces such emotions. Using the interdisciplinary research by the new cognitive paradigm, we think that for the first time in our epistemological and !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" )*! ! ontological history we can start depicting and explaining those feelings that foreground our cultural life and our representations of an extremely rich hidden shared world. Izran that are considered as a form of art that represents the zenith of Riffian literature, should be seen as a torch that illuminates rather than as a mirror that shows a reflection (see Steen 2003). A hidden proof is that the listener assimilates what he/she hears, with what he/she already knows. Anthropologically and historically, Izran were originated in religious rituals and other popular traditions. Performed as songs, they are an exclusive production of women meant to be a mode of instruction and a delight of relating history, literature, philosophy, or politics. But most outstandingly they are a mode of immortalizing Berber feelings and reasoning making them progress in a creative way. This Berber evolution is still up to date mostly hidden under the egotistical scrappy currents of other expansionist cultures or else, under the traditionally imposed supremacy of native men over women. We hope that this centrality of the human being to female Izran, together with their human inner reality constructions prioritized over outer reality constructions as in male Taqsais, make as advance in an all-encompassing shared history of human sociocultural evolution in the frame of Human Rights. *'# !"!#$%&!#'!()*$+%&()&*$ ! Zenaga, Gadames, Tasiwit, Tayyart or Nafusi many difficulties arise. Full understanding is not assured, and in most cases impossible. These varieties have a common grammar and a common denominator in the production of sounds from the pharynx, larynx and the occlusive ovular. In grammar the common denominator is the use of /K/ and /m/ for the second person singular pronoun (Bassett 1935). There are a lot of traits that characterize the unity and the diversity of Tamazight. The differences between speakers can be perceived in different linguistic levels like phonology, morphology and syntax. This reality shows out, because of the diverse sociolinguistic situations. For instance, Tarifit and Tashelhit are not very far from each other, but comprehension is not guaranteed between them. The difference is not only true about phonology and syntax, even the common terms could be rendered unknown under the different forms in which they are presented. A basic lexical instance is that in Tashelhit “thanhurt” is used for “cow” and in Tarifit the same word means “porch”. “Ijdi” in Tarifit means “sand” while the same linguistic form in Tashelhit means “dog”. The following list shows the distribution of some varieties in different Countries of North Africa. 1. Morocco: Tarifit, Tamazight and Tashelhit 2. Tunisia: Tashelhit 3. Algeria: Chenoua, Tashawit, Tashelhit, Tageregrent, Tamahaq, Tahaggart, Tamasight, Temacie, Tadekelt, Tarifit, Taqbailit, Tazanatit and Tumzabt 4. Libia: Awjilah, Ghadames, Nafusi, Sawknah, Tamahaq, Tahaggart 5. Mauritania: Zenaga !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" *(! ! 6. Mali: Tamajaq, Tawallamat and Tamashiq 7. Niger: Tamahaq, Tahaggart, Tamajaq, Tawallamat, Tamajeq and Tayyart 8. Burkina faso: Tamasheq 9. Egypt: Tasiwit We see that there is a dissimilar distribution of Imazighen in all these Countries. The historical fact that these people have always been invaded by foreign powers has always obliged them to move and dwell in diverse geographical areas; either by being pushed there by the enemy or by willing movements that resulted from their nomadic life. Now most of the Amazigh communities are located in the wastelands of the desert and in the mountainous areas. Their mode of life is still today nomadic or semi-nomadic. 3.5. A brief historical review of Tamazight The investigations taken ahead about the origin of Tamazightt have not brought about convincing results. Some linguists have related Tamazight to the old Egyptian, others (Fellmann and Green) to the HamitoSemetic (known as Afro-Asiatic) and even others have tried to find a link between this language and the Basque. The French Berberist, Basset thought back in 1935 that there was not enough evidence to link Tamazight to any other family. He maintained that Tamazight should be considered as an isolated language. On the other hand, Cohen´s theory (1950) established that Tamazightt should belong to the Afro-Asiatic family on the basis that it is the only language that is spoken in both Continents. This theory became widely accepted. *)# !"!#$%&!#'!()*$+%&()&*$ ! Some recent comparative studies have come to the conclusion that these linguistic groups share some similarities, which lead us to think about one common origin. This resemblance is clearly manifested in the phonetic system, in the grammar and in the lexicology. The phonetic features that characterize the Afro-Asiatic group are the sounds produced from the pharynx, larynx and the plosive ovular (Basset 1935). 3.6. The complex origins of Tamazight Rif area has been invaded by foreign powers for centuries; Phoenicians, Romans, Arabs, French and Spanish, tried in the past to impose their culture and language on the population of this area. They monopolized politics, economy and also so-called noble domains such as literature and philosophy. For a long time, Tamazight has been demoted to the lower classes; those that wanted to climb up in the social ladder had to learn the language of the invader. In this humbled context, Tamazight survived thanks to the wide number of the population that lived a nomadic life. As a product of !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" **! ! geography and history, sociological diversification brought apart the communities of Imazighen. This initial diversity gave rise to the Tamazight varieties we know today. However, the question that may pose itself is whether there existed at any time a mother tongue from which all other varieties were derived. Though Tamazight is spoken in many areas, the fact that it is not a written language has deprived its people from a written record that could have provided us with the minimum information about its origin and formation. Two scientific disciplines lend themselves to hypothesize about its formation, archaeology and history. The archaeological findings allowed the historians to estimate the time of its carvings and opened a new door for the linguists to hypothesize about this language and its formation. Hence, the term “archaeolinguistics” was coined, to cover a series of works in archaeology and linguistics in order to reconstruct the old civilizations. Allati puts it this way: “Le terme archeolinguitique est utilise par plusieurs chercheurs pour designer un domain qui couvre tous les traveaux qui confrontent des elements archeologiques et linguistiques, et en general, tous les tipes d échange entre ces deux discipline pour la reconstruction des civilizations anciennes.” (Allati, 2000:63) Our chronological study of Tamazight is based on inferences made from some prehistoric studies as well as from some archaeological studies. These studies were meant to locate Afro-Asiatic as has been baptized by some scholars such as Greenberg, and its domain of activity without having convincing dates extracted from these domains, archaeology and linguistics. The relation that unites the Hamito-Semitic is estimated in ten thousand years BC. Even though, Allati has argued that “cette profondeur historique !++# !"!#$%&!#'!()*$+%&()&*$ ! contrast avec l indigence des documents qui relattent les stades anterieurs des branches du Chamito-semitique et des renseignements sur les periods anciennes de l Afrique du Nord.” (Allati, 2000:64) The real thing is that we know nothing about the oldest periods in the area. We have no information about the periods preceding the Phoenician expansion in North Africa, or about the historical period situated between the Roman occupation and the Arab penetration in the area. If we admit with Mcburney (1995) and Fellman (1993), that North Africa constitutes the nuclei of the Hamito-Semitic, only then we conceive of the past of this region, not only in the construction of the civilization of the HamitoSemitic, but all the civilizations bordering the Mediterranean sea. Only under this view we can conclude that Tamazight constitutes the most archaic branch of the HamitoSemitic branch (Fellman 1993). It is almost impossible to locate an access to the former states of Tamazight. Our small windows are the Libico-Berber inscriptions found in many Berber areas. The other vital windows are the living linguistic elements, which are distributed in all Berber territories for millennia and whose exploration has just began. We are concerned here with those linguistic elements as alive in the present Izran that registers the history of Berber language/culture in its conceptualizations processes. It is in this sense that we approach local texts as living fossils called mentils by Guerra (2009) where the global history of the human biocultural evolution is inscribed. The inscriptions located in many Berber areas are live testimonies that facilitate the task for both linguists and historians, mainly now that these studies are interweaved with others such as archaeology. Some scholars have discovered that geographical names, place names and even proper names !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !+!! ! (of saints), constitute a good way for the reconstruction of old languages. In fact, many scholars (Hart 1960) have managed to distinguish between different toponymic layers in relation to the languages of the people that have successively inhabited North Africa. This is the outstanding Allati`s view again: “On distingue plusieurs couches toponymiques en relation avec les langues des populations’ qui sont succede en Afrique du Nort (Berber ancien et modern, phenicien, latine, arabes, francais et espagnol). La couche la plus profonde, celle qui est opaque et que ne peut etre explique que par les formes modernes du Berber ou par les autres langues connues dans cette región, est forme dans une strate linguistique sur lequelle on ne dispose aucun renseignement.” (2000: 65) The study of place names and the inscriptions located in different Berber territories have to some extent helped the reconstruction of the phonetic and the phonological system of old Tamazightt. We have also seen in the etiological recitations how originally Berber names remained intact, even after the imposition of other foreign languages. Archaeologists have found names in areas where Tamazightt is unknown to its inhabitants, because of the imposition of an official or national language of the invader. One vivid example is the one that evokes a possible existence of a Berber population in the Canary Islands before the exclusive use of the Spanish language at the beginning of the 15th century. At present it is the Arabic, French and Spanish, which intervene in the practice of Tamazightt. !+"# !"!#$%&!#'!()*$+%&()&*$ ! 4. FUNDAMENTAL OBJECTIVES AND COGNITIVE METHODOLOGY 4. 1. Introduction to the way we research Poetics today presents a remarkable diversity of methodologies we can use to make sense of our world, the world of the izri, or the various worlds an izri may show. Many distinct linguistic phenomena are interweaved with each other, as well as with human cognitive processes, because they are all motivated by the same force, that of making sense of our world in a communicative basis. As humans, we acquire knowledge and experiences in the environment and we name everything we know in a comprehensive language. This knowledge is grounded in perceptual inputs and determined by parameters of human embodied experience (Johnson 1987, Janda 2007). The fact that we understand our experiences entails our ability to express linguistically that nonlinguistic, conceptual, understanding. At the same time we experience abstract thought, imagination, or emotions as rooted in the physical reality of our body and our environment. As we introduced in the first chapter, the comprehension of abstract concepts is realized via cognitive fundamental mechanisms like entrenchment, image schemas or metaphors. This cognitive tool when enacted online (Varela & Maturana 2003) helps grasp a whole complex of non-physical relations at once. (El conocimiento inactivo es el adquirido en la acción de un organismo en un entorno). But at the end of any explanation, there emerges always a question such as the one raised by founding fathers of Cognitive Linguistics like Lakoff (1980) or Johnson (1987), where they wonder how we can reason about abstract objects like love, time, justice, or emotions, !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !+$! ! since our experiences in the world are physical. Actually, modern Cognitive Science has observed that human cognition, even in its most abstract and sophisticated form is deeply embodied, as seen in a huge amount of interdisciplinary works from Lakoff and Johnson (1980), like Varela, Thompson and Rosch (1991), Bernárdez (2002) or Ziemke (2003). It is deeply dependent on the human processes of representations underlying perception and motor-actions. Boroditsky (1990) wants us to think that we experience things out there in the world, but we do not know exactly what this world is really like. The main question she puts forth is whether abstract things are internal or external and wonders about the correlation between the inner and the outer world. As social beings these findings seem very important to us. Theoretically and methodologically, Izran will be dealt with from the perspective of Cognitive Science, mainly Cognitive Poetics and Linguistics, so as to extract from them, the structured underpinnings of their meaning construction (conceptual structure) and of their knowledge of the world construction (conceptualization processed). As is widely known, meanings are produced by linguistic expressions, which are injected a kind of life in them. These are morphemes, words, or phrases, none of which are semantically empty. The meanings contained in the lexemes, are considered, as the very energy that propels the motor of language (Janda, 2007:7). Language here is considered in Fauconnier´s terms (1997) not to carry meaning but to guide it. Thus metaphor, as a conceptual projection, does not go unnoticed in this work. This cognitive resource has been widely studied by scholars for centuries, more as a matter of language (ornament), than as a matter of thought. Its importance lies in the many attempts to explain it. It was first defined, as a figure of speech, then as ornamental, empty of any content. Towards the end of the twentieth !+%# !"!#$%&!#'!()*$+%&()&*$ ! century, scholars like Lakoff, Johnson, Talmy, Jackendoff, Turner, Fauconnier, Sweetser and their collaborators defined it as the basis of human cognition. Nowadays, metaphor is considered as a cognitive mechanism, which allows us to conceptualize different domains based on experience. The treatment of metaphor in this work will be developed from the first turn of the screw, in Lakoff and Johnson´s classical theory (1980). We will show the importance of metaphor as evidenced in the oral language of Izran. Indeed, this PhD dissertation will cover many cultural aspects of their language use. We will discuss language production and comprehension, Izran processing, relationship between language and thought, or the importance of context in their comprehension. Additionally, we will touch on issues of perception, mental representations, such as schemas, frames and mappings as they are relevant to our discussion. 4.2. Objectives of the research The present study focuses on a delineated area known as Kelaia, in Rif and the role played by Izran in the transmission of values and as a strategic power for Riffian women in an institutionalized structure of male society. The language used in these poems is very rich in imageries and semantic content. We have discovered that the cognitive paradigm helps understand the cognitive tools used in their conceptualization. The analysis of oral Riffian poetry has always been realized on the basis of a literal interpretation of the verses. We propose to go beyond this view and study them from the perspective of Cognitive Poetics and Linguistics adapting them to some specific !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !+&! ! characteristics of Rif´s Berber variety. The cognitive paradigm provides us with enough materials and techniques for the comprehension of the cognitive mechanisms involved in the process of conceptualization. We will exploit the advances made in the field of Cognitive Poetics, so as to understand and describe the basic mental and emotive processes that underlie the making of engaging with fiction. The importance of metaphor in the language of Izran makes it obligatory to concentrate our attention on it, as a conceptual process and dive deeper into aspects related with the last contributions in the field of metaphor and other conceptual models such as, metonymy and image schema. This dissertation will make a special interdisciplinary emphasis on the analysis of Izran, using different academic disciplines such as Cognitive Poetics, Cognitive Linguistics, Cognitive Psychology, Cognitive Anthropology, or Cognitive Sociology. Our intention is to contribute to a more practical works about Imazighen and their culture. Hopefully we can bring some impulse from the poetic approach to Rif`s Berber Izran, so as to share some interest in Cognitive Poetics and Cognitive Linguistics. Through the present work, we will try to prove the urgent needs to discuss new approaches and insights that may lead to a better and richer understanding of the bio-cultural semantics or Rif`s Izran and thus to its social value. 4.3. Principles, methods and models. Cognitive Poetics and Cognitive Linguistics For readers unfamiliar with Izran, we have given a detailed description of these oral poetic versions so as to enable them to understand some theoretical points of orientation. This work encapsulates a series of elements related to language and !!"# !"!#$%&!#'!()*$+%&()&*$ ! are related to two important functions associated with language, the “symbolic” function and the “interactive” function.” (2006: 2-3). Briefly, Cognitive Linguistics adopted a point of view which Lakoff and Johnson denominated “Experientialist” as opposed to “Objectivist” (Johnson 1987; Lakoff 1987). For the Experientialists, thinking is more than just manipulating abstract symbols. The cognitive processing depends on the global structure of the conceptual system and not on simple operations between isolated symbols. This thesis is clearly opposed to the objectivist´s view that sees thought as a mechanic manipulation of abstract symbols, which acquire meaning by direct correspondence with the outside world. According to this view, abstract thinking is independent of the human body and his perceptual and nervous system (Hilferty, 1999:15). The experientialist view however, proposes that the structures that constitute our conceptual system emerge from our embodied experience and make sense according to that experience. The peculiar nature of our bodies and brains, especially our sensory motor system, shapes our very possibilities for conceptualization and categorization (Lakoff & Johnson, 1999:19-22). Thus, thought and language are seen as foregrounded on our experiences with the environment we inhabit. Consequently, the study of language is no more a simple study of syntax, phonology or morphology, but a matter that is concerned with patterns of conceptualization (Evans & Green, 2006:1). In a word, Cognitive Linguistics provides accounts of language, which mesh well with the current understanding of the human mind. The guiding principles behind this area of Linguistics are that language must be explained, with reference to the underlying mental processes (Gibbs 1994). Cognitive Poetics and Linguistics are today two scientific disciplines that are inside a !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !!$! ! wider range of disciplines, known as Cognitive Science. A series of scientific disciplines join forces, so as to explain language, the functions it serves, how it is produced and its relation to mind. In Cognitive Science, the study of language has become a fertile field for Neuroscience, Biology, Sociology, Psychology, Philosophy, or Linguistics. Whichever point of departure we may take, we always get to related conclusions. If we start by studying the mind, we finally get to language and if we start by studying language, we get to the mind. This is a remarkable feature that distinguishes Cognitive Linguistics, from other linguistic frameworks. Language cannot be studied by one, single discipline. To make the idea clear, let´s say that basically, language represents thought and this one is located in the mind and the mind is the result of the brain matter and the millions of neuronal interconnections. So, we need the intervention of Biology, to explain the composition of the brain matter, Neuroscience to explain how the neuronal interconnections are realized. We also need the intervention of Sociology, to explain the relation between language, mind and culture (Bernardez 2003; Sharifian 2003). The thought that is represented in the outside world, begs for the linguist´s and the psychologist´s explanation. It is this interdisciplinary study of language, which gave birth to Cognitive Science. This discipline is defined in accurate terms in the following quotation by Oatley: “Cognitive Science is about knowledge, conscious and unconscious, about how it´s represented, how it is used by the human mind and artificial mind and how it may be organized for particular purposes. It is interdisciplinary and multimethodological… it derives from psychology, linguistics and literary theory. Its field is literature, including texts that are read, movies that are seen, poetry that is heard.” (Cited in Steen 2003: 161-163) !!%# !"!#$%&!#'!()*$+%&()&*$ ! 5.3. Meaning construction and Knowledge of the World construction (structures and processes) Cognitive Semantics is a Linguistic Theory developed as a cognitively oriented and experience-based approach to meaning. In formal theories, meaning was seen as the link between the world and the words, completely separated from human cognition (Sweetser, 1990:4). In contrast, in a cognitive approach, the fundamental assumption of Cognitive Semantics is that language does not represent an isolated system with a separate cognitive status; rather, language is considered a cognitive ability, which interacts with other cognitive abilities within a common knowledge system, as in Geereart (2007). This implies, that any kind of knowledge structure that is associated to a particular word, potentially belongs to the semantic structure of the lexical item in which the concept is symbolized. To put it another way, meaning is a cognitive structure, which receives its value only against the background of a larger context of knowledge, understanding and beliefs. This conceptual view of meaning rejects the objectivist’s view, which tried to make a distinction between the speaker´s general knowledge and his linguistic knowledge. In Cognitive Semantics, it is difficult to draw a line between what one knows through linguistic competence and what one knows through words. Turner (1991) as a Cognitive semanticist, argues that Cognitive Semantics adopts an experientialist perspective, that is, the external reality exists, but the way in which we mentally represent the world is a function of embodied experience. Turner explains the idea in the following terms: “Expressions do not mean they are a !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !!&! ! prompt for us to construct meaning, by working with processes we already know. In no sense, is the meaning of /an/… utterance, “right there in the words”, when we understand an utterance, we in no sense understand “just what the words say”; the words themselves say nothing independently of the rich, detailed knowledge and powerful cognitive processes we bring to bear.” (Turner, 1991: 206) Meaning and thought are characterized as experimentally grounded phenomena. This view regards our conceptual and hence semantic structure, as determined by fundamental human experiences, (nature of the body, our physical functioning in the world, our sensory abilities, or our sociocultural models). Consider the following izri: Original Tarifit Rkhukh tha raman mshabashen izuran Mana rkhira nyawthan inaga thi thuran [R`khukh tha raman mshabbashen izuran Mana r`khira nyawthan inagga thi thuran] English literal translation Peaches and pomegranates, grafted roots What nice people we made fathers in law. Spanish literal translation !!'# !"!#$%&!#'!()*$+%&()&*$ ! Melocotón y granado, entrecruzar raíces Qué buena gente hemos hecho suegros. English translation: Peaches and pomegranates grafted their roots Noble people have we chosen, as fathers in law Spanish Translation: El melocotonero y el granado entrecruzaron sus raíces Noble gente hemos elegido como consuegros. The inferences generated are: (1) Peaches and pomegranates are fruits (2) Peaches and pomegranates have skin, are reddish, sweet and good to make juice. The projection in (1) is true, because of the semantic features that define the meaning of the lexeme “fruit”, whereas the sense in the projection (2) comes from the purely linguistic meaning we have of “peaches and pomegranates” and the experiential representation we have of them. This is not a case of separation between the speaker´s general knowledge and the linguistic knowledge. Cognitively it is difficult to make a distinction, between what one knows as a result of the linguistic competence and what !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !!(! ! one knows through words. So as to understand the metaphoric or metonymic use of “peaches and pomegranates”, the listener must have acquired in his sociocultural environment, a good knowledge about these “fruits” and all the elements that distinguish them, or relate them to other fruits. 5.4. Dictionary meaning versus encyclopedic meaning. Let us see this difference as it is rentabilized in the following izri: Original Tarifit Arabi atajath syathi ithuran nagh Ushinangh thasqwarth yartha wayrath nagh [arabi atajath syathi ithuran nagh Ushinangh thaskwarth yaqbar wayrath nagh] English literal translation Lord, keep sirs fathers in law ours Give they us partridge accepted lion ours. Spanish literal translation Dios, guarde señores suegros nuestros !!)# !"!#$%&!#'!()*$+%&()&*$ ! Dieron ellos a nosotros perdiz, acepto león nuestro. English translation God bless our sirs and fathers in law They gave us a partridge and our lion accepted. Spanish translation: Dios bendice nuestros señores y suegros Nos dieron una perdiz y nuestro león acepto. 1. Partridges are birds 2. Partridges have two legs, wings, lay eggs, do not bark and build nests. The function of the dictionary components is the study of Lexical Semantics, whereas the encyclopedic components fall within the field of Pragmatics (Kimmel 2004). The working difference lies in the division between the semantic meaning and the meaning that emerges in the text. From the Cognitive Semantics point of view, the existence of encyclopedic knowledge subsumes dictionary knowledge (Evans, Bergen and Zinken 2007). The meanings carried by words (by linguistic items, properly) and our knowledge of them is not a disorganized mess, but it is deeply structured. Different theoretical frameworks have framed the dynamics of conceptualization. Some theories concerning this biopoetic organization of meanings have been developed by scholars like Fillmore (1977) in his “Frame Semantics”, in !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !!*! ! which he argues, that word meanings are organized in “Frames”. Lakoff`s Idealized Cognitive Models are described as a kind of established mode of conceptualization. He established four types of, Idealized Cognitive Models, (Ruiz de Mendoza 2000). 1. Propositional models (knowledge is associated to one linguistic form) 2. Image schema (up-down, in-out, etc.) 3. Metaphorical models (understanding one thing in terms of another) 4. Metonymic models (correspondences within one domain and one of its subdomains) For Lakoff, Langacker´s Cognitive Domains (1987) are similar to Fillmore´s Frame Semantics (1977, 1985), or else to Shank and Abelson Scripts (1977) which are described by Ungerer and Schmid (1996: 231) as “Structures that are particularly designed for frequently recurring event sequence.” They are also known as schemata, scene and scenario. For instance, the concept of “mother”, as posed by Lakoff, emerges from the combination of various domains. For example, we have “my mother, or the woman that is married to my father and that conceived me, gave me birth and nurtured me. But we have also surrogate mother, step mother, genetic mother and an unmarried woman with a child.” This reality, of course, implies some problems and difficulties, related to categorization that emerges from the conjunction, between Idealized Cognitive Models and a more complex reality. This reality shows out in the relation between the semantic and the experiential reality (for instance, Don Juan, Casanova). In Langacker´s theory, “Domains are necessarily cognitive entities, mental experiences, representational spaces, concepts, or conceptual complexes.”(Langacker, 1987: 147) The image schema, “in-out, up-down, right-left, etc” is understood, in different !"+# !"!#$%&!#'!()*$+%&()&*$ ! structural cognitive domains. These are bound up in our cognitive conditions. Johnson´s (1987) Image Schema and metaphor and metonymy, that suppose a conceptual projection, between or within domains are dynamic and more complex than “Frames”, or “Scripts” (Ruiz de Mendoza, 1996a). These models are a mixture of propositional models and image schemas. We illustrate this view by citing names of three different animals, lion, wolf and hyena. We can make a distinction between conventionalized domains of knowledge, which is similar to the folk´s model of knowledge. This knowledge that forms the domain of dictionary knowledge is not the only knowledge that one can offer. There exists also, a metaphorical projection of the domain of lions, wolves, or hyenas on the domain of leadership, intelligence and cowardliness. Image Schema, appeared in the works of the early founders of Cognitive Linguistics, Talmy 1983; Lakoff 1987 and Johnson 1987. Image schema, is fundamental in Cognitive Linguistics, because they are imaginative, embodied and form part of the meaning, as is lucidly put forward by Johnson, “Understanding meaning involves image schema structures of imagination that are extended and figuratively elaborated, as abstract structures of meaning and patterns of thought.” (Johnson, 1987: xxxvi) But, understanding as he later states “…is the way our world presents itself to us and this is a result of the massive complex of culture, language, history and bodily mechanisms that blend to make our world what it is.” (Johnson, 1987: 104) Image schema help construct a good number of complex events and images. They are preconceptual and prelinguistic (Mandler 1992, 2004). They are not concrete images !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !"!! ! that is, they do not have the specificity of rich mental pictures; according to Johnson, they operate at the level of generality and abstraction (1987: 23-24). These images help organize our experiences. According to Lakoff schemata are concepts, based on our perceptual system, that emerge from our interaction with the world. Amongst the followers of the early founders of Cognitive Linguistics that have dealt with image schema theory we find Beate Hampe, Joseph. E.Grady, Timothy. C. Clausner, Raymond Gibbs, Jean. M. Mandler, Tim Rohrer, Michael Kimmel and Jordan Zlatev (Hampe 2005). The various definitions and interpretations of Image Schemas are based on divergent specifications of selected criteria, pertaining to relational character of Image Schemas, their level of specificity, or the role of their perceptual information (Grady 2004; Kimmel 2004). In a word, an Image schema is a mental pattern that provides structured understanding, of various experiences and is available for use in metaphors, as a source domain to provide an understanding of yet other experiences (Kimmel 2004). Johnson (1987:126) made a long list of schemas such as: Container, balance, compulsion, blockage, counterforce, enablement, path, attraction, cycle, iteration, splitting, contact, link, center-periphery, merging, etc. 5.5. Cognitive schematizations. Image Schemas as responding to specific environmental perceptual stimuli The followers of the early founders of Cognitive Linguistics tried to investigate the neurobiological basis of Image Schemas. Words evoke images in the mind, but before these images became linked to words, these have been generated in the mind. Now !")# !"!#$%&!#'!()*$+%&()&*$ ! on the principles underlying language. He finally concluded that the language of thought (Mentalese) is different from language of Language (as mentioned in Katz, 1998:19). Similarly, we read in Katz (1998) that Vygotsky position is that the child´s earliest attempt at problem solving, reflect thinking without language and the earliest speech, indicates that there language without thought. Fodor (1983) proposed that the mind contains a central cognitive system, as well as a set of specialized, autonomous modules (in Katz, 1998: 12). Whorf and Sapir argued that language shapes thought. From a cognitive point of view, concepts are prelinguistic because man, long before he developed language to communicate, improved tactics to avoid predators and techniques for survival and defending his properties. This ability requires the use of some sort of cognitive tool. In the anthropologically based view of language that will support our sociocognitive study of Izran, language is a fundamental mechanism through which we exteriorize our thoughts and its absence does not mean the absence of thought, because thought is far richer than language. In many Izran the poet uses figurative language such as metaphors or metonymies so as to facilitate comprehension and say clearly that which is not possible to say literally (Katz 1998). We actually, create words to name objects as is stated by Slobin in the following quotation “The activity of thinking takes on a particular quality when it is employed in the ability of speaking. In the evanescent time frame of constructing utterances in discourse, one fits one´s thoughts into available linguistic forms.” (Slobin, 1987: 435) “Thinking for speaking” The oral production of Izran obliges the poet to seek the appropriate words to recreate an emotional and evaluative view of the world. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !"*! ! 6.3. Meaning out of context Everything in this work is conducted in a specific context limited to a particular time and place. The interpreter forms part of this same context. Indeed, we are part of the people we seek to understand. Context, therefore, should be given full attention in carrying out our research. At some point in time, human beings started to produce sounds, as representation of objects and ideas. These communicative sounds are intended to transmit some meaningful message. The processing of meaning becomes a vital and primary step to be taken to understand the text or the spoken discourse. To this end, many theories have been evolved and many techniques have been employed. In the course of exploring the ideas expressed in an izri, we will not be satisfied with just asking questions, but we will also try to provide some directions towards solutions. Though we know from a cognitivists perspective that language is not a code (Lema 2009), so as to understand the meaning that is being produced online when the izri is being produced, the listener/ interpreter has to be able to decode the language used and be fully aware of the context of its production. When the izri is produced, the listener feels something occupying his/her mind. The first step to be taken is to find out what is personally thought of the izri. When she comes in contact with the izri she enjoys it, learns it by heart and recites it, but does not discuss its language. An advantage that is achieved through this interaction, which is achieved face to face through a collaborative work, provides an elementary example of !$+# !"!#$%&!#'!()*$+%&()&*$ ! human social organization (Goodwin & Duranti, 1992: 22). The interaction between speaker and interpreter is a kind of social action. That is, the talk that is shaped by the social properties of its interactive environment sheds some light on the basic organization of language itself. What then do we know when we hear an izri and what are the cognitive tools that intervene in its comprehension? To understand an izri is to understand the intended meaning through the use of words, which acquire different meanings in different situations. In fact, to understand an izri is not a very intricate matter. Apart from many other things, firstly this has to do with context. Context is of crucial importance to Cognitive Poetics. It is social and continuously changing according to time and circumstances. The following izri can be fully understood if we place it in its right context. Original Tarifit Nsigh lili lil thalalegh gha ythran Trajigh thziri masha thug atban I spent the night watching the stars Waiting for the moon but it did not show up If we freeze the moment people gathered in a huge plaza in Fez watching the stars on a dark starry night with the desire to see a plain and try to understand the social, historical !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !$!! ! and cultural context in which the izri is produced, only then we can grasp the real meaning. The context forms part of the meaning and is not a thing we call up when bare semantic is not enough. A listener ignoring the social background will probably activate a literal interpretation of the izri. But, if this literal explanation is accepted between many people, why should we disagree with them. What we understand, or why we understand what we process depends mainly on the context in which one gets in contact with the izri. For instance, a woman can think of her lover as the moon and of the rest of people as stars. Methodologically, and thinking in terms of a metaphorical theory, we can say that a native Berber comprehension of an izri is not a matter of chance but she unconsciously has to follow certain rules that she uses as a framework. The interpreter must first understand the language of the speaker and share with her the rules used in the codification of meaning, if he/she wants to understand the speech language content. Context may trigger variation of meaning and provide substantial information to understand why a word varies in meaning when it is used in different contexts (Bernárdez 2005, 2007). A word in a given izri may denote one meaning amongst a series of meanings it inherently carries. This meaning is determined by the power of context. The meaning to be processed is easily identified once the context is identified. This of course is not the process through which the listeners understand Izran. The idea behind this argument is differentiate between understanding online and thinking in terms of a theory so as to understand what is said. The environment one finds herself in at the moment of poetic production contains some elements that constrain the use of words and delimit the meaning to be !$"# !"!#$%&!#'!()*$+%&()&*$ ! processed. This is at least the contextualists view (Sperber and Wilson (1985, 1986), Grice (1975), Searl (1993), Davidson (1983), or Carston (2000)). For Austin (1962), when we are engaged in the analysis of language, we do always turn to cultural and social conventions, which provide the interpretability of performative utterances, as in “I baptize you, or I declare you” uttered by a priest, changes the status of the surrounding framework of the social conventions. So what is there in a specific context that facilitates pragmatic comprehension of meaning? Consider the following izri: Wi yakhsan yawi yawi yawi burahwa Rkhthmath war ikhaddam isfuruj abaatha [wi yakhsan yawi yawi, yawi burahwa R`khathmath war ikhadam isfaruj abaatha] English literal translation Who want take take, take a troubadour Work not work he, entertains he at least Spanish literal translation Quien querer llevar llevar, llevar un trovador Trabajo no trabajar el, entretiene el por los menos !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !$$! ! English translation She that wants to marry, marry a troubadour Work, he likes not, but at least he entertains Spanish translation Quien quiera casarse que se case con un trovador Trabajar no trabaja, pero al menos entretiene. This izri is very sarcastic. Traditionally, Berber women get married at an early age. Those that are old enough and not married are frequently criticized or mocked at. In this izri, and according to Berber thinking, the element we call sarcasm is not contained in any of the linguistic elements used in the izri. It is probably contained in the congruity between what we expect and what we are confronted with. In fact the listener does not construct meanings only from the given verbal variants; culture plays an important role in its comprehension. In reality there is no theory that can tell us how meaning is constructed in the mind of the conceptualizer. When a Berber woman understands a poem it does not mean that she knows or understands the cognitive processes involved in its codification. Language cannot be analyzed as an encapsulated formal system that can be isolated from the rest of the society, culture and social organization (Goodwin & !$%# !"!#$%&!#'!()*$+%&()&*$ ! Duranti 1992; Bernárdez 2008). The importance of context in the comprehension of meaning has been dealt with by many scholars; Goffman (1974:4) stated that context helps to account for aspects of meaning that go beyond the scope of semantics. Cognitive Linguistics frequently uses the term “context” as a reference to some mental phenomena. Searl (1979: 125) defined context as “a set of background assumptions that are necessary for an utterance to be intelligible.” Langacker (1987: 147) defined the notion of “domain” as a “context”. For De Mey (1989: 80) “context is a term that is easily invoked but rarely explained and even if it were a clear notion, one would still need a model of the way in which contexts interact and combine.” According to Givon (1989: 2) “the meaning of an expression cannot be fully understood without understanding the context in which the expression is used.” Vygotsky (1962, 1978) and his closest associates Luria (1979) and Leontèv (1981a, 1981b), as cited in Goodwin and Duranti (1992: 20), tried to place the genesis of thought and language within a context constituted through the dynamic processes of social interactions. According to Lyons, “The choice of words is determined by the internal context of the utterance constituted by all the factors which by virtue of their influence upon the participants in a language event systematically determine the form, and the meaning of an utterance.” (Lyon, 1977:572) Context here refers to intentions, assumptions and presuppositions of speakers and listeners, which ensure that their discourse is perceived as coherent and therefore, makes sense for the participants in a situation of communication. A full account of how important context is in any communicative process is given in Bernárdez (2008). Consider the following izri: !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !$&! ! Ushayd pluma ath plumigh rkas Ath plumigh lif war itih gha yamas [ushayd pluma a th`plumigh r`kas A th`plumigh lif war itih gha yamas] Englsih literal translation Give you me pen to scribble glass Scribbles I beloved not go to mother of his Spanish literal translation Dar tú a mí pluma para plumear vaso Plumear yo mi amante para no ir madre de él English translation Give me the pen to scribble the glass I scribble to my beloved so he won´t visit his mother. Spanish translation Dame la pluma para plumear el vaso !$'# !"!#$%&!#'!()*$+%&()&*$ ! Para plumear a mi amante y así no acuda a su madre. From a neurobiological interpretation of signs, meanings exist only in the brain (Freeman 2000). When we contemplate some archaeological findings such as the Libico-Berber inscriptions found in different Berber areas and we do not understand what they mean, we will never know what happened in the mind of these people. Looking at the matter from this perspective, we deduce that writing contains no meanings (Freeman 2000; Fauconnier 1997; Turner 1991). To sum up, meanings are in the mind. To this end cognitive scientists developed the theory of cognitive semantics whose main preoccupation is the nature of meaning and how it is constructed. Cognitive semantics treats the meaning construction as the essential motor of human cognition. Indeed, the construction of meanings depends mainly on the social embodied experience, mental simulation and the extensions in abstract domains via analogies, metaphors and blending. In fact the cognitive paradigm evidences that our cognition is embodied, dynamic and situated. Our cognition depends largely on our embodiment and on our relations with other cognizers. When we speak of meanings we have to be clear about what we mean by “meaning”. In our work, we do not refer to “meaning” as an entity in the world. To be in harmony with cognitive semantics, we think that meanings are intentional. They are constructed in the mental experience of the cognizer with a brain in a body in a social environment that interacts with other cognizers (Williams 2004). Our interactions with the shared world and with others play an important role in the meanings we construct. The brain as a physical organ of the body is seen as a kind of controller adapted !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !$(! ! for the embodied activity and as such it has developed together with the body to treat the demands of life in the physical world (Williams 2004). Conceptualization is dynamic and ever changing. The activities in the human brain are in a continuous motion. To understand an izri, an experimented interpreter has to follow certain rules; these rules discard the traditional view, which isolates pragmatics from semantics. The cognitive representation, which is not given importance in the traditional view, bases meaning on conceptualizations and makes an emphasis on the relation between language and mental representations (Lakoff 1987; Langacker 1986). That is, all organisms seem to have some subjective needs for knowledge. In fact, they do contain some inherent meanings (friendship, food, help, etc). The organism processes the information through the sensory-motor organs which help predict where the meaning occurs. These motives for knowledge are basically the same for all human beings. Another aspect that is not always clear in Cognitive Linguistics is the distinction between the system that represents the world around us to form a mental image, and other systems which represent an exception for these defaults. Some of the well known models are known under “Frame” (Minsky 1975), “Script” (Shank & Abelson 1977), “Domains” (Lakoff 1987; Langacker 1987) or “Idealized Cognitive Models” (Lakoff 1987); these latter serve to represent reality from a certain perspective. These models have a lot to do with the organization of our knowledge. That is, the comprehension of Izran demands the activation of some cognitive tools. The dynamic sum of these tools forms the Idealized Cognitive Model or ICMs. These models are described as a kind of established mode of conceptualization. These structures configure our knowledge. Lakoff (1987), as we have mentioned before, !%%# !"!#$%&!#'!()*$+%&()&*$ ! One of the most amazing elements in the production of Izran is the ability of illiterate women to produce poems using dark words, unclear sometimes for the ear of a normal listener, even though the hidden significance announces its presence for both experts and non-experts along the words used. In many Izran poets construct something that is not mentioned directly by words. Thus natural invisibility of intense meanings acts poetically as in art production. Look at the following izri: Original Tarifit Ayaqat ayaqat thlulusht mani thaghmi Kattar thi luiz nesh ma tawyath sujkhami [Ayaqat ayaqat thlullusht mani thaghmi Kattar thi Louis nesh ma tawyath su khammi] Spanish literal translation Ahí está, ahí está, flor donde florecer Aumentar “Louis” tuyo, te la llevas con mirar? Englsih literal translation !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !%&! ! There she is, there she is, flower where flourish Increase “Louis” yours, you she take with look. Spanish translation Ahí la tienes, ahí la tienes ¡como ha brotado la florecilla! Aumenta tu caudal, no creas que con sólo mirarla va a ser tuya. English translation There you have her, there you have her, and how the flower has bloomed Increase your offer; do not think that just with looking at her she will be yours It is clear, that some insight is manifested out of this izri. The meaning is accessed by all the listeners, independently of their level of education or social status. What is there that facilitates the comprehension of both figurative and literal language? The borders between the literal and the figurative are fuzzy. Many investigations have been taken ahead, concerning the notion of literal and figurative in language (Lakoff 1987, Lakoff and Johnson 1980, Panther and Radden 1999, Kovecses 1998, Coulson 2005, Turner 1998). According to Fauconnier (1994, 1997) and Talmy (2000), the linguistic meaning requires pragmatic enrichment. However, the question that one keeps asking, is about the relation between literal and figurative meanings and why a word with multiple meanings (Gibbs 1994), has one !%'# !"!#$%&!#'!()*$+%&()&*$ ! of its meanings chosen over the others. Once again, is it the context that decides the election of one meaning over the others? What about metaphors, metonymies and conceptual integration. Why all that is not perceptible has been debated as cognitive rather than linguistic? Whether a word is used literally or figuratively evokes a frame is it a question of framing? A word may have many related senses and which one is processed when used in an izri depends on the situation and context. There are always some hidden and invisible elements in context, which make one meaning more salient than others. The more salient ones are the first to be processed (Giora 2003). For many contextualists like Recanati, Sperber and Wilson, or Davidson a word is judged to be literal, or figurative, by the power of context. For Gibbs (1994), whether a word is used literally or figuratively, is characterized in terms of the cognitive processes involved in utterance interpretation. As students of cognitive linguistics we had access to the methodology developed by the Praggljazz group, headed by Steen (2007), which evolved a new and simple methodology to identify words that are used figuratively. As we have seen so far, this relationship between the various meanings of a word is at the center of what has been progressively examined from different perspectives like Cognitive Poetics, Linguistics, Semantics, Pragmatics, Psycholinguistics, or Philosophy. 6.5. Realism revisited. Embodiment and situated cognition Given the operational bodies we have, these bodies can be considered as the centre of all the information we can implicate and explicate (Guerra 2001). Our bodies are in !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !%(! ! constant contact with different objects in the environment. The object we get in contact with exercises an influence on our bodies that is responded interactively to. Through these experiences in the environment we acquire knowledge. At first sight the world may seem chaotic and disordered, but by using our cognitive abilities, we even find sense in it. We categorize and manipulate objects changing the relationship between them. As a challenge to the outside world we not only improve strategies for survival but also try to shape this same world from which we acquire knowledge to our own wishes. These strategies need a cognitive apparatus of some sort (Janda 2007). Our experiences in the environment provide us with a wide range of knowledge which is explained in words which acquire meaning in the shared human experience of bodily existence (Zlatev 1991, Ziemke and Sharkey 2001, Tomasello 1999, Janda 2007). Social practices allow us to see how a wide range of concepts can only be understood by reference to our bodies (Ziemke 2003, Barsalou 1999, Varela et al. 1991). Even the image schemas “in-out, up-down, left-right”, have the body as their experiential basis. During our early childhood we learn them by putting things in our mouths and spitting them, or getting in and out of the rooms. The adult erect posture itself, which is seen as an achievement of balance, dictates the position “up-down”. “Count-mass and Figureground” derive from our sensory-motor apparatus like seeing, touching, smelling, tasting, or hearing. These examples are just a small sample of meanings attributed directly to body existence. Embodiment is of crucial importance to Cognitive Science and since the mid eighties the term has been used extensively in Artificial Intelligence, and Cognitive Science. In Ziemke (2001), we find references to “Embodied Mind” (Lakoff and Johnson 1999, Varela et.al), “Embodied Cognition” (Clark 1997), !%)# !"!#$%&!#'!()*$+%&()&*$ ! “Embodied Cognitive Science” (Clark 1999, Pfeifer and Scheier 1999), “Embodied Intelligence” (Brooks 1991), “Embodied Action” (Varela et al., 1991), “Natural Embodiment” (Ziemke 1999), or “Social Embodiment” (Barsalou, Niedenthal, Barbey and Rupert). All these studies, hint to the importance of the concept of “Embodiment” in Cognitive Poetics and Linguistics. In a given social environment, the reference is not made to a single body but to the body of a special social group and now the environment becomes part of the cognitive system. So, to be embodied is just to be realized in some physical substrate as Chrisley and Ziemke (2001) or Bernárdez (2002, 2007, 2008) have shown in detail. Actually, all work in Cognitive Science is about embodied systems. Bernárdez (2003: 8) argues that the body can be seen as an individual or social reality. This author doesn´t question the existence of the body, but what this one does: what it does is outward bound, directed towards others, i.e., social. The idea of embodied collective cognition could even be the foundations of a Third Generation of Cognitive Revolution guided by Social Cognition in the new space of Social Sciences. This work on sociocultural evolution of Berber-Tamazight could be framed in this new social paradigm. 6.6. The social basis of Tamazight cultural life: Collective and Individual cognition According to Edelman (1992), we live in a world that is previous to us and we acquire all that we know in this same world. This knowledge is in turn used to understand this same world better. So in a given culture, people tend to think approximately in similar ways, though we can speak of individual cognition as being unique to each person. In !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !%*! ! spite of this fact, there are some unseen but felt powers that shape their thinking and characterize their actions. This is what makes us distinct from each other. According to Bernárdez (2004: 5) “If thinking is an individual affaire, activity is necessarily interactive.” Tomasello states that “… all artifacts that enable and empower human cognition (…) are the joint product of many people working over many years, combining and accumulating skills and knowledge.” (Tomasello, 2000a: 357mentioned in Bernárdez 2004:10). Tomasello makes an emphasis on the importance of the collectivity in the development of the individual cognition. This idea is very clear in the following quotation “The cognition of the individual participating in similar collective activities, will develop in similar directions.” (Bernárdez, 2004: 10). Sharifian (2003: 190) maintains that “[At] the cultural level of cognition, meanings and conceptualizations appear to arise from the interaction between the members of a cultural group.” Izran that are produced in weddings, or other rituals such as baptizing or religious rituals require at least a speaker and a group of listeners. The listeners process the izri in almost the same terms. What the participants know configurate the collective knowledge. The cultural conceptualizations developed through interactions between the members of a cultural group enable them to think approximately in one mind (Sharifian, 2003:190). The following schema on cultural conceptualizations represents a distributed model of cultural schema (Sharifian 2003: 191): BCD BCDE ABDE ADE ABCD CD ACDE CDE ABD BCE AE !&+# !"!#$%&!#'!()*$+%&()&*$ ! The figure represents how conceptualizations are represented in a distributed fashion across the minds in a cultural group. It is clear that the cultural elements represented by the letters (ABCDE), are not equally shared by the members of the social group. In Sharifian´s terms (2003: 192), “The knowledge embodied in these schemas, is distributed across the network of the minds in the group.” Izran that are produced in a collaborative way and whose basic ingredients are experiences in the environment are understood and processed by the audience in a collaborative way. That is, the construction of meaning as a distributive process depends on the interactions between individuals and the material world. Robert.F.W. (2004), in his comment on the distributive cognition reports that in Hutchins’s and Palen´s terms (1997), language, gestures and space are combined in the construction of complex representations but none (by itself) singly is complete. The theory of the distributed cognition sees the construction of meaning as a cognitive distributed process that depend mainly on the interactions with the material world and other creators of meaning. The conceptualizer and the world are intimately linked to each other. The world has its structures but it takes the mental activity of the conceptualizer. What meanings may a poet of izran produce depends on the world she inhabits. The meaning construction process can change the internal structure of the conceptualizer and the conceptualizer can change the structure of the world (Williams 2004). This creative operation is at the center of the evolution of languages and cultures like Tarifit and Berber-Tamazight. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !&!! ! 7. IDEALIZED COGNITIVE MODELS (ICMs): METAPHOR, METONYMY, AND IMAGE SCHEMA AS BASIC COGNITIVE MECHANISMS OF CONCEPTUALIZATION. 7.1. Metaphor and the cognitive act “The mind is inherently embodied. Thought is mostly unconscious. Abstract concepts are largely metaphorical.” (Lakoff & Johnson, 1999:3) Arabi atajad syadi iduran nagh Ucinangh taskwarth ifah wa yrad nagh [arabi atajad syadi iduran nagh Ushinangh thaskwarth yada wayrath nagh] Spanish literal translation Dios glorifica señores consuegros nuestros Dieron a nosotros una perdiz aceptar león nuestro English literal translation !&"# !"!#$%&!#'!()*$+%&()&*$ ! God glorify sirs fathers in law ours Gave they us a partridge lion ours accepted English translation Oh Lord! Glorify our sirs and fathers in law They gave us a partridge and our lion accepted. Spanish translation Oh señor! Glorifica a nuestros señores consuegros Nos han dado una perdiz y nuestro león ha aceptado. Long before the publication of Reddy´s article “Conduit Metaphor” (1979) and Lakoff and Johnson´s seminal book “Metaphors we live By” (1980), foundational figures on thought, experience and language such as Aristotle, Quintilian, Vico, Coleridge, or Descartes and many others have continuously debated this topic through different ages. At these precognitivist periods before the Cognitive Sciences as we know them today, metaphor was mostly thought of to be ornamental, empty of any biologically based content. “As clothes were first invented to protect us against cold and afterwards began to be used for the sake of adornment and dignity, so the metaphorical employment of words began because of poverty, but was brought into common use for the sake of entertainment.” (De oratore, 3.155, E.W. Sutton and H.Rackham-in Kittay, 1991: 1) !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" !&$! ! In Kittay we read that “Lock spoke of metaphor as a “Conduit.” J. J. Rousseau, in his “Essay on the origin of language” (1781) saw that all languages originated in metaphor. Coleridge in his “Biographia Literaria”, (1871 ch2), said, “The power, by which one image or feeling is made to modify many others, by a sort of fusion, to force many into one.” He thought of metaphor as a realization of this unity.” (Kittay, 1989:6) In the past, figures were linked to literature and they had just an ornamental or rhetorical function. This view changed as times went on. Towards the end of the first half of the twentieth century, scholars like Max Black and I. A. Richard, devoted thought to it. Donald Davidson, John Searle, Suzanne Langer, Kenneth Burke, Derrida, Hayden, Rorty, and Foucault, amongst many others have debated metaphor in their respective works on symbolic form, cultural criticism, and hermeneutics. In reality, metaphor is an issue that stands at the junction of many disciplines, including literary works, philosophy, psychology or anthropology (kimmel 2004:24). Metaphor is basic to the human mind and its ubiquity is not accidental. Most scholars studied it as part of our everyday thought as can be seen in outstanding works by Lakoff and Johnson (1980, 1999); Lakoff (1987, 1993); Johnson (1987); Barcelona (2000); Ruiz de Mendoza (2002); Gibbs (1994, 2005, 2008); Gibbs and Steen (1997); Fauconnier (1994, 1997); Kittay (1989); Steen (2007), Bernárdez (2002), Lizcano (2006). In this general context, source and the target concepts in metaphoric projections have been baptized with different names by different scholars taking part in the socalled ‘cognitive revolution’. I. A. Richard named it tenor and vehicle; Max Black (1962) named the metaphorical sentence frame and the words used metaphorically focus as is expressed in the following example by Black: “This battle is a game of chess.” "&'# !"!#$%&!#'!()*$+%&()&*$ ! motivated from natural light and “danger” from non-light, the unknown or the unseen, and so, how these are in principle two categories which are unlikely to be connected. In day is light and day is danger, the category in both metaphoric projections is framed in light but putting on a par the two examples results in the izri in a semantic violation. The features which distinguish both examples are erroneously equalized by the suggestion of identity. The use of “day” with reference to “danger” obeys in Tarifit to certain communicative and contextual situations. Its use is problematic because it gives emergence not only to a linguistic problem but also to a communicative one. The intention of the poet by using the term “day” violates the order of literality because its actual meaning belongs to a different class. The speaker is invisibly aware of the morphological or semantic alteration. We have tried to give a comprehensive view of how meaning in this sense is constructed by the Riffian cognizer and how different cultures differ in the way they organize concepts. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "&(! ! BIBLIOGRAPHY Allwood, Jens (1998). “Semantics as Meaning Determination with Semantic-Epistemic Operations”. 1-17. En: Allwood y Gärdenfors (eds.) Cognitive Semantics. Meaning and Cognition. Ámsterdam/Philadelphia: John Benjamins. Allati, A (1999). Toponymy et Reconstructions Linguistiques en Afrique du Nord et aus Illes Canaries. Langue et Linguistique, 25, pp: 9-53. Barcelona, A (2000a). Introduction. The Cognitive Theory of Metaphor and Metonymy. En Barcelona, A. (ed.), Metonymy and Metaphor at the Crossroads. Berlin: Mouton De Gruyter, pp. 1-27. (2000b). On the Plausibility of claiming a Metonymic Motivation for Conceptual Metaphor. En Barcelona, A. (ed). Metonymy and Metaphor at the Crossroads. Berlin: Mouton De Gruyter, pp. 31-57. (1997). Clarifying the notions of metaphor and metonymy within Cognitive Linguistics. ATLANTIS 19,1, pp. 21-48. Bandura, A (1977). Social Learning Theory. New York. General learning Press Barber, E.J (1989). Archaeolinguistics and the Borrowing of Old European Technology: the Journal of Indo-European studies, Vol, 17. 3&4.pp 239-250. Barsalou, Lawrence (1993). “Flexibility, structure, and linguistic vagary in concepts: Manifestations of a compositional system of perceptual symbols”. En: Collins, Gathercole, Conway (eds.): Theories of memory. Londres: Lawrence Erlbaum Associates, 29-101. (1999). Perceptual symbol systems. Behavioral and Brain Sciences, 22, 577609. (2003). Abstraction in perceptual symbol systems. Philosophical Transactions of the Royal Society of Londres: Biological Sciences, 358, 1177-1187. (2005). Abstraction as dynamic interpretation in perceptual systems. In Gershkoff-Stowe, Rakison (eds.): Building object categories. Majwah, NJ: Erlbaum, 389-431. Bartolomeo, Paolo (2002) “The Relationship Between Visual Perception and Visual Mental Imagery: A Reappraisal of the Neuropsychological Evidence”. En: Cortex 38:3, 357-378. Bateson, Gregory (2000[1973]) Steps to an Ecology of Mind. Chicago: University of Chicago Press. [Pasos hacia una ecología de la mente. Barcelona : Planeta, 1991] Berlín, Brent y Paul Kay (2000[1969]) Basic Color Terms. Their Universality and Evolution. Berkeley: University of California Press. Bernárdez, Enrique (2008a) El lenguaje como cultura. Madrid: Alianza. (2008b) Collective Cognition and Individual Activity: Variation, Language, and Culture. In Frank, Dirven, Ziemke, Bernárdez (eds.): 137-176. (2006a). “Psicosis, psiquismo y lenguaje. ¿Qué lenguaje?” Siso 43, año 2006, 99. (2006b). “Cómo mirar una parte del mundo: el vocabulario del cuerpo en una lengua amerindia”. En: Caplletra nº 40. "&)# !"!#$%&!#'!()*$+%&()&*$ ! (2005). “Variation, Language and Culture in a Cognitive Linguistic Typology.” En Ruiz de Mendoza, Peña Cervel (eds.). Cognitive Linguistics: Internal Dynamics and Interdisciplinary Interaction. Berlín: Mouton de Gruyter, 191-222. (2002). ¿Qué son las lenguas? Madrid: Alianza Editorial Boas, Franz (1990). Cuestiones fundamentales de antropología cultural. Barcelona: Círculo de Lectores. Bourdieu, Pierre (2001 [1985]). ¿Qué significa hablar? Torrejón de Ardoz, Madrid : Akal. (1980 [1997]). Razones prácticas: sobre la teoría de la acción. Barcelona: Anagrama. Bouissac, Paul (2007).“Putting gramaticalization to the iconicity test”. En: Tabakowska, Ljungberg y Fischer (eds.) Insistent images. Iconicity in language and literature. Ámsterdam: John Benjamins. Bomhard,A.R and Kerns,J.C (1994). The NostraticMacro-Family: A Study in Distant Linguistic Relationship. Berlin-New York – Mouton Bickerton, D (1990). Language and Species. Chicago University Press. Bickerton,D (1995). Language and Human Behavior. Seattle University of Washington. Boroditsky, L (2000). Metaphoric Structuring: Understanding Time Through Spatial Metaphor. Cognition 75, 1-28. Boroditsky, L and Ramscar, M (2002). The Roles of Body and Mind in Abstract Thought. Cognition 75, 1-28. Brandt, L. & Brandt, P.Aa. (2005a). Making sense of a blend. A cognitive-semiotic approach to metaphor. In F. J. Ruiz de Mendoza Ibáñez, Annual Review of Cognitive Linguistics 3 (216-249). Amsterdam & Philadelphia: John Benjamins Publishing Company. [Earlier version published as “Making Sense of a Blend”, 2002, Apparatur 4, 62-71.] (2005b). Cognitive Poetics and Imagery. European Journal of English Studies, Vol. 9, No. 2, August 2005, 117-130. Brandt, Per Aage (1995) Morphologies of Meaning. Aarhus: Aarhus University Press. (2005) Mental spaces and cognitive semantics: A critical comment. Journal of Pragmatics, Vol. 37, No. 10 (Special Issue on Conceptual Blending Theory), 15781594. (2004a). Evidentiality and enunciation. A Cognitive and Semiotic Approach. In J. I. M. Arrese (ed.), Perspectives on Evidentiality and Modality (3-10). Madrid: Editorial Complutense. (2004b). Spaces, domains, and meaning: Essays in cognitive semiotics. Bern: Peter Lang. (2004c). From Gesture to Theatricality – On Enunciation and the Art of Being Visible. In Spaces, Domains, and Meaning. Essays in Cognitive Semiotics (219-243). Bern, Berlin, Bruxelles, Frankfurt a.M., New York, Vienna: Peter Lang. (2004d). The Architecture of Semantic Domains – A grounding hypothesis in Cognitive Semiotics. In Spaces, Domains, and Meaning: Essays in Cognitive Semiotics (33-67). Bern, Berlin, Bruxelles, Frankfurt a.M., New York, Vienna: Peter Lang. Beardsley,M.C. (1982). The metaphorical twist. In M.J Wreen & D.M.Callen, eds. The aesthetic point of view. Cornell University Press, Ithaca, London. Páginas !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "&*! ! Bundgaard, P. (1999). Cognition and Event Structures – The notion of Blending and Caused Motion Constructions. Almen Semiotik, No. 15 (special issue on SemioLinguistics), 78-106. Aarhus: Aarhus University Press. Burke, M. (2003). Literature as Parable. In J. Gavins & G. Steen (eds.), Cognitive Poetics in Practice (115128). London: Routledge. Blank, A (1999ª). Why do New Meanings Occur? A Cognitive Typology of the Motivation for lexical Semantics, pp: 61-90. Blank, A (1999b). Introduction: Historical Semantics and Cognition. Pp: 1-16. Bloom, P; Peterson, M. A; Nadel, L and Merville, F (1996). Language and Space Cambridge, A, The MIT Press. Bloom, P (2001). Behavioral and Brain Sciences. 24, 1095-1103. Department of Psychology: Yale University. Cuenca, M.J. and Helferty, J (1999). Introduccion a la Linguistica Cognitiva. Ariel, Barcelona. Chafik, M (1989). Treinta y tres siglos de la historia de los Imazighen. Dar el Kalam. Traduccion de Mustapha Ouzir. Chaker, S (1984). Textes en Linguistique Berberes: Introduction au Domain Berbere. Paris, C.N.R.S. Croft, W (2000). Explaining Language Change. Linguistics Longman. Coulson, S and Van Patten, C (2002). Conceptual Integration and Metaphor: an Event Related Potential Study. Memory and Cognition 30: pp: 958968. Chomsky, N (1965). Aspects of the Theory of Syntax. Cambridge University Press Cohen, L.J (1993). The Semantics of Metaphor: In Ortony (eds) Metaphor and Thought, 2nd Ed. pp: 58-70. Cambridge: Cambridge University Press. Clausner, T.C and Croft, W (1999). Domains and Image Schemas. Cognitive Linguistics 10, 1, pp: 1-31. Carrithers, Michael (1992) ¿Por qué los humanos tenemos culturas? Madrid: Alianza Editorial. Casad, Eugene H. (1995) “Seeing it in more than one way” En: Taylor, John R. And Mac Laury, R. (eds). Language and the Cognitive Construal of the World. Berlín/Nueva York: Mouton de Gruyter 1995 Casimir, Michael J. y Michael Schnegg (2002) “Shame across cultures: the evolution, ontogeny and function of a ‘moral emotion’”. En Keller, Heidi; Poortinga, Ype H., Axel Schölmerich (eds.) Between culture and biology: perspectives on ontogenic depelopment. Cambridge: Cambridge University Press. Chafe, W. (1994). Discourse, Consciousness, and Time. Chicago & London: University of Chicago Press. Chalmers, David y Andy Clark (1998) “The extended mind” En: Analysis 58 (1), 7–19. Collins, C. (1991). The Poetics of the Mind’s Eye: Literature and the Psychology of Imagination. Philadelphia: University of Pennsylvania Press. Coulson, S. (2001). Semantic Leaps. Frame-Shifting and Conceptual Blending in Meaning Construction. Cambridge: Cambridge University Press. Coulson, S. & Oakley T. (eds.) (2005a). Journal of Pragmatics, Vol. 37, No. 10 (Special Issue on Conceptual Blending Theory), 1507-1742. (2005b). Blending and Coded Meaning: Literal and Figurative Meaning in Cognitive Semantics. Journal of Pragmatics, Vol. 37, No. 10, 1510-1536. "'+# !"!#$%&!#'!()*$+%&()&*$ ! (2003). Metonymy and conceptual blending. In K.-U. Panther, L. L. Thornburg (eds.), Metonymy and Pragmatic Inferencing (51–79). Amsterdam & Philadelphia: John Benjamins Publishing Company. (2001). (Eds.) Cognitive Linguistics 11-3/4 (Special issue on conceptual blending), 175-358. (2000). Blending basics. Cognitive Linguistics 11-3/4, 175-196. Coulson, S. & Pascual, E. (2006). For the sake of argument: Mourning the unborn and reviving the dead through conceptual blending. Annual Review of Cognitive Linguistics. Damasio, Antonio (1994[1996]). El error de Descartes: la emoción, la razón y el cerebro. Barcelona: Crítica. Dancygier, B., (ed.) (2006). Language and Literature 15(1), (special issue on Blending). SAGE Publications Dancygier, B. & Sweetser, E. (2005). Mental Spaces in Grammar: Conditional constructions. Cambridge: Cambridge University Press. (1996). Conditionals, Distancing, and Alternative Spaces. In A. Goldberg (ed.), Conceptual Structure, Discourse and Language. Stanford, CA: CSLI publications. D’Andrade, Roy Goodwin (1981). “The Cultural Part of Cognition”. En: Cognitive Science: A Multidisciplinary Journal, 5 (3), 179-195. Deacon, Terrence (1997). The Symbolic Species: The co-evolution of language and the human brain. Londres: Penguin Press. Deignan Alice. 2005. Metaphor and Corpus Linguistics. Amsterdam/Philadelphia: John Benjamins. De Vega, Manuel (2002) “Del significado simbólico al significado corpóreo”. Estudios de Psicología, 23, 153-174. Dirven, René y Marjolijn Verspoor (1998). Cognitive Exploration of Language and Linguistics. Ámsterdam/Philadelphia: John Benjamins. Ducrot, O. & Todorov, T. (1972). ‘Énonciation’. In Dictionnaire encyclopédique des sciences du langage. Ed. du Seuil, Paris. Duranti, Alessandro y Charles Goodwin, eds. (1992). Rethinking context: language as an interactive phenomenon. Cambridge: Cambridge University Press. (1999) Linguistic anthropology. Cambridge: Cambridge University Press. Dantzer, R (1988). Les Emotions. Press Universitaire du France. Paris. Davis, S.W (1968). Rebels in Rif: Abd el Krim and the Rif rebellion. Stanford Junior University Press. De Jong, E.S. (2003). A Distributed Learning Algorithm for Communication Development: Complex Systems 14 (4-5), 315-334. Damasio, A (1995). Descartes Error: Emotion, Reason and Human Brain. New York: Basic Books Damasio, A (2000). The Feeling of What Happens: Body and Emotion in the Making of Consciousness. San Diego: Harvard. De MEY, M (1992). The Cognitive Paradigm. 2nd ed. Chicago University Press. Dijk Van, T (1977). Text and Context: Exploration in the Semantic and Pragmatics of Discourse. London: Longman. Dirven,R and Verspoor, M (2004). Cognitive Exploration of Language and Linguistics. John Benjamins B.V. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "'!! ! Edelman, G (1992). Bright Air, Brilliant Fire: On the Matter of the Mind. Published by the penguin group Edelman, G and Tononi, G (2000). A Universe of Consciousness, How Matter becomes Imagination. Traduccion de Joan LLuis Riera (2002). Emmott, C (2004). Narrative Comprehension: A Discourse Perspective. Oxford University Press. Ehrlich, P (2002). Human Nature, Genes, Culture and the Human Prospect: Penguin Books. Evans, Vyvyan; Bergen, B and Zinken, J (2006). The Cognitive Linguistic Enterprise: an Overview. To be published in the Cognitive Linguistic reader´s, by Equinox Publishing. Evans, Vyvyan and Green, M (2005). Cognitive Linguistics: An Introduction. Edinburgh University Press. Evans, Vyvyan (2007). A Glossary of Cognitive Linguistics. Edimburgh: Edimburgh University Press. Frawley, W (1997). Vygotsky and Cognitive Science: Language and the Unification of the Social and Computational Mind. Harvard University Press Freeman, M (1998). Metaphors of Mind: Analogical Mapping in Teaching Poetry: Pedagogical quarterly of Cognitive Linguistics 1.1 http//pgcl.instate.edu/. Freeman, M (2002). Cognitive mapping in Literary Analysis: Style36,3 (466-483) Freeman, M (1995). Metaphor Making Meaning: Dickenson´s Conceptual Universe. Journal of Pragmatics 24,6 (643-666). Freeman, W. A Neurobiological Interpretation of Semiotics: Meaning, Representation and Information-in [email protected] http://sukus.berkeley.edu. Fodor, J (1983). The Modularity of Mind. Cambridge, Mass, MIT Press. Fauconnier, G. (1997). Mappings in Thought and Language. Cambridge: Cambridge University Press. (1996). Analogical counterfactuals. In G. Fauconnier & E. Sweetser (eds.), Spaces, Worlds, and Grammar (57-90). Chicago: University of Chicago Press. [1985] (1994). Mental Spaces: Aspects of Meaning Construction in Natural Language. Cambridge: Cambridge University Press. Fauconnier, G., & Sweetser, E. (eds.) (1996). Spaces, Worlds, and Grammar. Chicago: University of Chicago Press. Fauconnier, G. & Turner, M. (2008). Rethinking Metaphor. In Ray Gibbs (ed.), Cambridge Handbook of Metaphor and Thought. New York: Cambridge University Press. (2003) Polysemy and Conceptual Blending. In B. Nerlich, V. Herman, Z. Todd & D. Clarke (eds.), Polysemy: Flexible Patterns of Meaning in Mind and Language (7994). Berlin & New York: Mouton de Gruyter. Books. (2002). The Way We Think. Conceptual Blending and the Mind’s Hidden Complexities. New York: Basic (2000). Compression and global insight. Cognitive Linguistics, 11-3/4, 283-304. (1999). Analysis Versus Global Insight: How and Why Do We Blend Cause and Effect? University of California, Berkeley, 2005. Notes from: The Way We Think: "'"# !"!#$%&!#'!()*$+%&()&*$ ! Conceptual Blending and the Mind’s Hidden Complexities. New York: Basic Books. www.wam.umb.edu/~mturn/www/blending.html (1998). Conceptual Integration Networks. Cognitive Science, 22 (2), 133-187. (1997) Mappings in Thought and Language. Cambridge: Cambridge University Press. (1996). Blending as a Central Process of Grammar. In A. Goldberg (ed.), Conceptual Structure, Discourse and Language (113-129). Stanford, CA: CSLI publications. (1995). Conceptual Integration and Formal Expression. Journal of Metaphor and Symbolic Activity, Vol. 10, No. 3, 183-203. 499 (1994). Conceptual Projection and Middle Spaces. Report 9401, April 1994, Department of Cognitive Science. La Jolla: University of California, San Diego. (1994[1985]) Mental spaces. Aspects of Meaning Construction in Natural Languages. Cambridge: Cambridge University Press. Fauconnier, Gilles & Mark Turner, (2002). The Way We Think. NuevaYork: Basic Books. Field, T. (2000). Point and Line. New Directions Books. Finke, Ronald (1989). Principles of mental imagery. Cambridge, Massachusetts: MIT Press. Fischer, O. & Nänny, M. (eds.) (2001). The Motivated Sign: Iconicity in language and literature. Amsterdam & Philadelphia: John Benjamins Publishing Company. Fludernik, Monika. (2003) Natural Narratology and Cognitive Parameters. In D. Herman (ed.) Narrative Thoery and the Cognitive Sciences (243-267) CSL Publications. Chicago: Chicago University Press. (1993a). Second person fiction. Narrative You as addressee and/or protagonist. Arbeiten aus Anglistik und Amerikanistik, Band 18, Heft 2. Gunter Narr Verlag Tubingen. (1993b). The fictions of language and the languages of fiction: the linguistic representation of speech and consciousness. Londres/Nueva York: Routledge. Fludernik, M., Freeman D. & Freeman M. (eds.). (1999). Poetics Today, Vol. 20, No. 3: Metaphor and Beyond: New Cognitive Developments. Freeman, M. (2009). Minding: Feeling, form, and meaning in the creation of poetic iconicity. In G. Brône & J. Vandaele (eds.), Cognitive Poetics. Goals, Gains and Gaps (169-196), Series on Applications of Cognitive Linguistics. Berlin: Mouton de Gruyter. (2005). The Poem as Complex Blend: Conceptual Mappings of Metaphor in Sylvia Plath’s ‘The Applicant’. Language and Literature 14(1), 25-44. (2002). The body in the word: A cognitive approach to the shape of a poetic text. In E. Semino & J. Culpeper (eds.), Cognitive Stylistics: Language and cognition in text analysis (23-47). Amsterdam & Philadelphia: John Benjamins Publishing Company. (1997). Grounded Spaces: Deictic-Self Anaphors in the Poetry of Emily Dickinson. Language and Literature 6(1), 7-28. Gallagher, S. (2009). Philosophical antecedents to situated cognition. In P. Robbins & M. Aydede (eds.), Cambridge Handbook of Situated Cognition (35-51). Cambridge, New York: Cambridge University Press. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "'$! ! (2005). How the Body Shapes the Mind. Oxford: Oxford University Press. Gallese, Vittorio y Giacomo Rizzolatti (2002) “Hearing sounds, understanding actions: Action representation in mirror neurons”. En: Science 297: 846—848. Gallese, V. (2007). Mirror neurons and the social nature of language: The neural exploitation hypothesis. Social Neuroscience 3:3, 317-333, Taylor & Francis Group: Psychology Press. Gärdenfors, Peter (1997) Meaning as Conceptual Structures. Lund University Cognitive Studies – LUCS 40. (1999) “Some Tenets of Cognitive Semantics.” En: Allwood, Jeans and Gärdenfors, Peter (eds). Cognitive Semantics. Meaning and Cognition. Ámsterdam/Philadelphia: John Benjamins Publishing Company. Gavins, J. (2007). Text World Theory: An Introduction. Edinburgh: Edinburgh University Press. Gavins, J. & Steen, G. (eds.) (2003). Cognitive Poetics in Practice. London: Routledge. Geeraerts, Dirk y Stefan Grondelaers (1995) “Cultural traditions and metaphorical patterns” En: Taylor, Mac Laury (eds.): Language and the Cognitive Construal of the World. Berlín/Nueva York: Mouton de Gruyter 1995 (153-179). Gentner, Dendre, Keith Holyoak, Boicho kokinov (2001, eds.) The Analogical Mind. Massachusetts: The MIT Press. Gentzler, Edwin (1993) Contemporary Translation Theories. Londres: Routledge. Gibbs, R. W. (1994). The Poetics of Mind. Nueva York: Cambridge University Press. (1996) “What’s cognitive about cognitive linguistics?” En Casad (ed.): Cognitive Linguistics in the Redwoods. Berlín: Mouton. (2000). Making good psychology out of blending theory. Cognitive Linguistics 11-3/4, 347-358. (2003). Prototypes in dynamic meaning construal. In J. Gavins & G. Steen (eds.), Cognitive Poetics in Practice (27–40). London: Routledge. Giora, Rachel (1997). “Understanding figurative and literal language: The graded salience hypothesis”. En: Cognitive Linguistics 7: 183–206. (1999) “On the priority of salient meanings: Studies of literal and figurative language” En: Journal of Pragmatics 31, 919–929. (2007) “Is metaphor special?” En: Brain & Language. 100 :2, 111-114. Glenberg, A. M. (1997). What memory is for. Behavioral & Brain Sciences 20 (1), 155. Glucksberg, S. (2001). Understanding Figurative Language: from Metaphors to Idioms. Oxford: Oxford University Press. (1998). Understanding metaphor. Current Directions in Psychological Science, 7(2), 39-43. Goddard, Cliff (2003) “Whorf meets Wierzbicka: variation and universals in language and thinking” En: Language Sciences, 25, 393-432. Goldman, A. & de Vignemont, F. (2009). Is social cognition embodied? Trends in Cognitive Sciences, Vol. 13, No. 4, 154-159. Grady, J. (2000). Cognitive Mechanisms of conceptual integration. Cognitive Linguistics 11-3/4, 335-345. Grady, J., Oakley, T. & Coulson, S. (1999). Conceptual Blending and Metaphor. In G. Steen & R. Gibbs (eds.), Metaphor in cognitive linguistics: selected papers from the "'%# !"!#$%&!#'!()*$+%&()&*$ ! fifth International Cognitive Linguistics Conference, Amsterdam, July 1997 (101–124). Amsterdam & Philadelphia: John Benjamins Publishing Company. Grush, R. & Mandelblit, N. (1997). Blending in Language, Conceptual Structure, and the Cerebral Cortex. In P. Aa. Brandt, F. Gregersen, F. Stjernfelt & M. Skov (eds.), Acta Linguistica Hafniensia, Vol. 29, 221-237. Copenhagen: C.A. Reitzel. Grygiel, M. (2004). Semantic change as a process of conceptual blending, In F. J. Ruiz de Mendoza (ed.), Annual Review of Cognitive Linguistics 2, 285-304, Amsterdam & Philadelphia: John Benjamins Publishing Company. Guerra, J. (1992). La naturaleza creativa del tiempo en el Nuevo paradigma del caos: una relectura de T.S. Eliot (Tesis Doctoral). Microficha. Madrid: S.P.U.C.M. (1998) “Virginia Wolf: Mareas de identidades disipativas” / “Virginia Wolf: Tides of Dissipative Identities” Atlántica Internacional. Revista de la artes. N.20, pp. 112-116. (2001) “Simplixity and Complexity. The Topology of the Short Story and the Novel”, in Short Story Journal V.9, N.I, Spring. Texas, CELJ. (2009a) “Cognitive Informalism. The Art House of Fiction and Henry James´s Poethics”. In Bravo Utrera, S & R. Garcia Lopez (eds.), Estudios de traduccion: Perspectivas. Studien zur romanishen Sprachwissenschaft und interkulturellen kommunikation.Frankfurt am Main, Berlin, New York, Peter Lang. (2009b) What cognitive sciences as an interdisciplinary framework can contribute to the study of literature in general and of edgar allan poe’s literary texts in particular. In Genius and Psychosis in Edgar Allan Poe: New Interdisciplinary Perspectives. 13-22. SPU Valencia: Valencia (2010a) Cognition And Sociocultural Situatedness: Crossculture-Specific Caribbean Self-Celebration Of Imagination In José Lezama Lima & Wilson Harris.In Journal of Caribbean Literatures. Vol. 6 N. 2 Publications of the U.C. Arkansas: Arkansas, EEUU (2010b). Poética Cognitiva: (Con)figurandonos lo real, in M.A.Hermosilla & M. L. Calero, eds., Poetica y Lingüística Cognitiva. Berlin, Peter Lang. (2011) Cognitive Poetics and biocultural (con)figurations of life, cognition and language. Towards a theory of socially integrative science. Pensamiento. Revista de Investigación e Información Filosófica. Vol. 67, num. 254, 843-850. Genette, G (1980). Narrative Discourse: An Essay in Method. Cornell University Press Giora, R (2003). On Our Mind: Salience, Context and Figurative Language. Oxford University Press. Geereart, D; Grondelaers, S and Bakema, P (1994). The Structure of Lexical Variation: Meaning, Naming and Context. Mouton De Gruyter: BerlinNew York Guennouf, F (2004). Jar asfad du sennan (Between Fire and Prickles).Berkane Maroc. Depot Legal 1285 Givon, T (1989). Mind, Code and Context. Hillsdale (NJ), Erlbaum. Gentner, D and Goldin, S.M. (eds.) (2003). Language In Mind: Advances in the Study of Language and Thought. (pp: 157-192) Goodwin, C and Duranti, A (1992). Rethinking Context. Cambridge University Press. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "'&! ! Grady, J.E; Oakley, T and Coulson, S (1989). Blending and Metaphor: in Metaphor in Cognitive Linguistics, G.Steen & R. Gibbs (eds.). Philadelphia. J. Benjamins. Goldberg, A. E (1996). Conceptual Structure, Discourse and Language. GSLI Publications: Stanford California. Gavin, J & Steen, G (2003). Cognitive Poetics In Practice. Routledge: LondonNew York. Goossens, L (1990). Metaphtonymy: The Interaction of Metaphor and Metonymy in Expressions for Linguistic Action. Cognitive Linguistica 1,3, pp: 323-340 Greenberg, J.H (1948). The Classification of African Languages. American Anthropologist 50: 24-30. Publg: English.cat: Dialect Geography. Hampe, B & Grady, E.J (2005). From Perception to Meaning: Image Schemas in Cognitive Linguistics: Introduction. Mouton de Gruyter. Berlin.(pp: 1-11). Hart, D.M (1960). Tribal and Place Names among the AraboBerber of North-Western Morocco. Hispens Tamuda 1/3: pp: 457-511.Publg English name Morocco Toponymy. Haser, V (1973). Metaphor, Metonymy and Experientialist Philosophy. Mouton De Gruyter Hill, J (1988). Language, Culture and World View Linguistics. The Cambridge survey VOL.4. Language: The Sociocultural Context, (pp: 14-36). Cambridge University Press. Holqvist, M (1983). The Politic of Representation. Quarterly newsletter of the laboratory of Comparative Human Cognition, 5 (1): pp: 2-9. Hacker, P.M.S (1997). Wittgenstein: On Human Nature. Orion Publishing Group Ltd. Harder, P. (2003). Mental spaces: Exactly when do we need them? Cognitive Linguistics 14-1, 91-96. Hiraga, M. (1999). Blending and an interpretation of Haiku. Poetics Today, 20:3, 461482. Hirschfeld, L. A., & Gelman, S. A. (eds.) (1994). Mapping the Mind. Domain Specificity in Cognition and Culture. Cambridge: Cambridge University Press. Hosfstadter, Douglas (2001) “Epilogue: Analogy as the Core of Cognition”. In: Gentner, Holyoak, Kokinov (eds.): The Analogical Mind. Massachusetts: MIT Press, 499-536. Houdé, Olivier et al. (2003). Diccionario de ciencias cognitivas: neurociencia, psicología, inteligencia artificial, lingüística y filosofía. Buenos Aires: Amorrortu Humboldt, Wilhelm von (1990). Sobre la diversidad de la estructura del lenguaje humano y su influencia sobre el desarrollo espiritual de la humanidad. Barcelona: Anthropos, Editorial del Hombre. Hutchins, Edwin (1994). Cognition in the Wild. Cambridge, Masachussetts: MIT Press. (2005). Material anchors for conceptual blends. Journal of Pragmatics, Vol. 37, No. 10, 1555-1577. (2068-2072). Oxford: Elsevier. (2001). Distributed cognition. In: The International Encyclopedia of the Social and Behavioral Sciences (1995). Cognition in the Wild. Cambridge, MA: MIT Press. Itkonen, Esa (1991). Universal History of Linguistics. India, China, Arabia, Europe. Amsterdam/Philadelphia:John Benjamins. Jackendoff, R. (1983). Semantics and cognition. Cambridge, MA: MIT Press. Jackson, T. E. (2005). Explanation, Interpretation, and Close Reading: The Progress of Cognitive Poetics. Poetics Today 26 (3), 519-533. "("# !"!#$%&!#'!()*$+%&()&*$ ! (2003). Possible worlds and mental spaces in Hemingway's “A Very Short Story”. In J. Gavins & G. Steen (eds.), Cognitive Poetics in Practice (83–98). London: Routledge. Searl, J (1993). Metaphor. In Ortony (ed). Metaphor and Thought, 2nd ed. Pp: 93-111. Cambridge University Press. Semino, E. (2009). Text worlds. In G. Brône & J. Vandaele (eds.), Cognitive Poetics. Goals, Gains and Gaps (33-71), Series on Applications of Cognitive Linguistics. Berlin: Mouton de Gruyter. (2003). Possible worlds and mental spaces in Hemingway's “A Very Short Story”. In J. Gavins & G. Steen (eds.), Cognitive Poetics in Practice (83–98). London: Routledge. Semino, E. & Culpeper, J. (eds.) (2002). Cognitive Stylistics: Language and cognition in text analysis. Amsterdam & Philadelphia: John Benjamins Publishing Company. Sinding, M. (2002). Assembling Spaces: the Conceptual Structure of Allegory. Style 36(3) (Special Issue on Cognitive Approaches to Figurative Language), 503-523. Sternberg, M. (ed.). (2003). Poetics Today, Vol. 24, No. 2: The Cognitive Turn? A Debate on Interdisciplinarity. Seiler, Hansjakob (2000) Language Universals Research: A Synthesis. Tübingen: Narr. Shank, R and Abelson, P (1977). Scripts, Plans, Goals and Understanding. Hillsdale.(UJ) Erlbaum Sinha, Chris y Kristine Jensen De López (2000) “Language, culture and the embodiment of spatial cognition”. En: Cognitive Linguistics 11 (1-2): 17—41. Sinha, Chris, Vera da Silva Sinha, Jörg Zinken & Wany Sampaio (2011) When time is not space: The social and linguistic construction of time intervals and temporal event relations in an Amazonian culture. Language and Cognition 3–1 (2011), 137–169 Sharifian, Farzad (2003) “On cultural conceptualisations”. En: Journal of Cognition & Culture 2003, Vol. 3:3, 187-207. (2009) “On collective cognition and language”, in Hanna Pishwa, ed. Language and social cognition: expression of the social mind. Berlin: Mouton de Gruyter Sharoff, Serge (2006) “Meaning as use: exploitation of aligned corpora for the contrastive study of lexical semantics”. Shore, Bradd (1991) “Twice-born, once conceived: Meaning construction and cultural cognition”. En: American Anthropologist, 93:9-27. (1996) Culture in mind: Meaning construction and cultural cognition. Nueva York: Oxford University Press. Slobin, Dan (2003). “Language and thought online: cognitive consequences of linguistic relativity” (157-192). En: Gentner, D. & S. Goldin-Meadow (Eds.), (2003). Language in mind: Advances in the study of language and thought. Cambridge, Masachussetts: MIT Press. (1996). From “Thought and Language” to “Thinking for Speaking”. In Rethinking Linguistic Relativity, J.J. Gumperz and S.C. Levinson (eds), 70-90. Cambridge University Press (1985) “Crosslinguistic evidence for the language-making capacity”. En: Slobin (ed.): The crosslinguistic study of language acquisition, vol. 2. Hillsdale: Lawrence Earlbaum Associates; 1157-1249. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "($! ! Smith Churchland, Patricia (2002) Brain-Wise Cambridge, Massachussets: The MIT Press. Snell-Hornby, Mary (2007) “What’s in a name?” En: Target, 2007. Vol.19 (2), 313 – 325. (2005) “Linguistic Representations of Motion Events: What Is Signifier and What Is Signified?” En: Maeder, Fischer, Herlofsky (eds.) Outside-In-Inside-Out: Iconicity in Language and Literature, 4. Ámsterdam: Benjamins, 307-322. Steen, G (1999). From Linguistic to Conceptual Metaphor in Five steps. In Gibbs, J.R and G. Steen (eds.), op. cit.,pp.57-77 Stockwell, P. (2005). Texture and Identification. European Journal of English Studies, Vol. 9, No. 2, August 2005, (eds.) M. Toolan & J. J. Weber. Taylor & Francis Group Ltd. (2002). Cognitive Poetics: an Introduction. London and New York: Routledge. Strauss, Claudia y Noemi Quinn (1997) A cognitive theory of cultural meaning. Cambridge: Cambridge University Press. Strawson, P. F. (1950). On referring. Mind, 59, 320-344. Reprinted (1963) in C.C. Caton (ed.), Philosophy and ordinary language. Urbana: University of Illinois Press. Sweetser, E (2000). Blended Spaces and Performativity. Cognitive Linguistics11, !, pp. 305-333. Sweetser, Eve (1990) From etymology to pragmatics. . Metaphorical and Cultural Aspects of Semantic Structure. Nueva York: Cambridge University Press. (2006). Whose rhyme is whose reason? Sound and sense in Cyrano de Bergerac. Language and Literature 15(1), 29-54. (2000). Blended spaces and performativity. Cognitive Linguistics 11-3/4, 305333. (1996). Reasoning, Mappings, and Meta-metaphorical Conditionals. In M. Shibatani & S. Thompson (eds.), Grammatical constructions: Their form and meaning (221-233). Oxford: Clarendon Press. Sweetser, E. & Fauconnier, G. (1996). Cognitive Links and Domains: Basic Aspects of Mental Space Theory. In E. Sweetser & G. Fauconnier (eds.), Spaces, Worlds, and Grammar (1-28). Chicago: University of Chicago Press. Talmy, L (2000). Toward a Cognitive Semantics. The MIT Press. Cambridge Massachussetts Talmy, L. (2007). Foreword. In M. Gonzalez-Marquez, I. Mittelberg, S. Coulson & M. Spivey (eds.), Methods in Cognitive Linguistics (xi-xxi). Amsterdam & Philadelphia: John Benjamins Publishing Company. Taylor, John (1995) Introduction: On construing the world En: Taylor y Mac Laury (eds.): Language and the Cognitive Construal of the World. Berlín/Nueva York: Mouton de Gruyter. Tollefsen, Deborah Perron (2006) From extended mind to collective mind. En: Cognitive Systems Research 7 (2006) 140–150. Tomasello, Michael (1999) The Cultural Origins of Human Cognition. Harvard: Harvard University Press. (2003) Constructing a Language: A Usage-Based Theory of Language Acquisition. Harvard: Harvard University Press. "(%# !"!#$%&!#'!()*$+%&()&*$ ! (2008) Origins of Human Communication. Harvard: Harvard University Press. Thompson, E., & Varela, F. (2001). Radical embodiment: Neural dynamics and consciousness. Trends in Cognitive Sciences, 5(10): 418-425. Todorov, T. (1970). Langages, No. 17 (special issue on enunciation). Paris. Tomasello, M. (2006). The social-cognitive bases of language development. In K. Brown (ed.), Encyclopedia of Language & Linguistics (2nd ed.). Elsevier. Tsur, R. (2003). On the Shore of Nothingness: A Study in Cognitive Poetics. Exeter: Imprint Academic. (2002). Aspects of Cognitive Poetics. In E. Semino & J. Culpeper (eds.), Cognitive Stylistics – Language and Cognition in Text Analysis (279-318). Amsterdam & Philadelphia: John Benjamins Publishing Company. (2001). ‘Onomatopoeia: Cuckoo-Language and Tick-Tocking – The Constraints of Semiotic Systems’, Iconicity in Language. Available at: http://www.trismegistos.com/IconicityInLanguage/Articles/Tsur/default.html (1997). Picture Poems: Some Cognitive and Aesthetic Principles. Psyart – A Hyperlink Journal for the Psychological Study of the Arts 1, 1-10. Available at: http://www.clas.ufl.edu/ipsa/journal/1997_tsur01.shtml (1998). Poetic Rhythm: Structure and Performance – An Empirical Study in Cognitive Poetics. Bern: Peter Lang. Turner, M. (2008). Frame Blending. In R. R. Favretti (ed.), Frames, Corpora, and Knowledge Representation (13-32). Bologna: Bononia University Press. (2007). Conceptual Integration. In D. Geeraerts & H. Cuyckens (eds.), The Oxford Handbook of Cognitive Linguistics (377-393). Oxford: Oxford University Press. (2006). Compression and representation. Language and Literature, 15(1), 17-27. (2003). Double-scope Stories. In D. Herman (ed.), Narrative Theory and the Cognitive Sciences (117142). Chicago: University of Chicago Press, CSLI Publications. (2001). Cognitive Dimensions of Social Science: The Way We Think About Politics, Economics, Law, and Society. Oxford: Oxford University Press. (1996). The Literary Mind: The Origins of Thought and Language. Oxford: Oxford University Press. (1994). Design for a Theory of Meaning. In W. F. Overton & D. S. Palermo (eds.), The nature and ontogenesis of meaning (91-107). Hillsdale, NJ: Erlbaum. (1991). Reading Minds – The Study of English in the Age of Cognitive Science. Princeton University Press. (1994). Infant semiosis. In W. Noth (ed.), Origins of Semiosis (219-252). Berlin: Mouton de (1979). Communication and cooperation in early infancy. In M. Bullowa (ed.), Before speech: The Turner, M. & Fauconnier, G. [2000] (2003). Metaphor, metonymy, and binding. In A. Barcelona (ed.), Metaphor and metonymy at the crossroads: a cognitive perspective (133-145), Berlin & New York: Mouton de Gruyter. Manuscript available [1998]. Also printed in R. Dirven & R. Pörings (eds.), (2002). Metaphor and Metonymy in Comparison and Contrast (469-487). Berlin & New York: Mouton de Gruyter. (1999). A Mechanism of Creativity. Poetics Today, vol. 20, no. 3, 397-418. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "(&! ! (1995a). Conceptual Integration and Formal Expression. Journal of Metaphor and Symbolic Activity, Vol. 10, No. 3, 183-204. (1995b). Blending and metaphor. In: Y. Shen & A. Kasher (eds.), Cognitive aspects of metaphor. London: Routledge. Varela, Francisco, Thompson, E. & Rosch, E. (1991) The Embodied Mind. Cognitive Science and Human Experience. Massachusetts: MIT Press Verhagen, Arie (2005) Constructions of Intersubjectivity. Discourse, Syntax and Cognition. Oxford/Londres: Oxford University Press. Ullmann, S (1973). Meaning and Style. Basil Blackwell. Oxford Wallace, C (1994). Discourse, Consciousness and Time. Chicago University Press Wierzbicka, A (1991). Cross Cultural Pragmatics. The Semantic of Human Interaction. Berlin, New York, Mouton De Gruyter Wierzbicka, A (1995). Emotional Universals. In Language Design,2. (33-69). Wierzbicka, Anna (1991) Cross-cultural pragmatics: the semantics of human interaction. Berlín: Mouton. (1992) Semantics, culture and cognition: Universal human concepts in culturespecific configurations. Nueva York: Oxford University Press. (1994). Cognitive domains and the structure of the lexicon: The case of emotions. In L. A. Hirschfeld & Susan A. Gelman (eds.), Mapping the Mind. Domain Specificity in Cognition and Culture (431452). New York, NY: Cambridge University Press. (1997) Understanding cultures through their key words: English, Russian, Polish, German, and Japanese. Nueva York/Oxford: Oxford University Press. Williams, R. (2008). Guided conceptualization: Mental spaces in instructional discourse. In T. Oakley & A. Hougaard (eds.), Mental Spaces Approaches to Discourse and Interaction (209-234). Amsterdam & Philadelphia: John Benjamins Publishing Company. (2005) Material anchors and conceptual blends in time-telling. Doctoral dissertation. University of California, San Diego, Department of Cognitive Science. Yeh, W y Barsalou, Lawrence (2006). The situated nature of concepts. American Journal of Psychology, 119, 349-384. Winograd, T (1983). Language as a Cognitive Process-Syntax, By Adison Wesley Publishing CompanyIC. Wittgenstein, L (1968). The Blue and Brown Books. Oxford: Basic Blackwell and Mot Ltd. William, F.R (2004). Making Meaning from a Clock, for the undergraduate course Introduction to Cognitive Science, University of California, San Diego, 26 Nov 2003 and 27 April 2004 Zeki, S. (2004). The neurology of ambiguity. Consciousness and Cognition, Vol. 13, No. 1. (2002). Neural concept formation and art: Dante, Michaelangelo, Wagner. Journal of Consciousness Studies, Vol. 9, No. 3, 53-76. Zeki, S. & Kawabata, H. (2004). The neural correlates of beauty. Journal of Neurophysiology 91, 16991705. Ziemke, Tom (2003) ‘What's that Thing Called Embodiment?’ En: Proceedings of the 25th Annual Meeting of the Cognitive Science Society. Mahwah: Lawrence Erlbaum. "('# !"!#$%&!#'!()*$+%&()&*$ ! Zinken, Jörg (2004a) “Metaphor Practices in the German Wende Discourse” En: Journal of multilingual and multicultural development, 25: 5-6, 424 -36. —(2004b) “Metaphors, stereotypes, and the linguistic picture of the world: Impulses from the Ethnolinguistic School of Lublin” En: Metaphorik.de, 7, 115-136. [http://www.metaphorik.de/07/zinken.pdf] —(2007) “Discourse metaphors: The link between figurative language and habitual analogies”. En: Cognitive Linguistics 18–3 (2007), 445–466. —(2008a) The metaphor of ‘linguistic relativity’. En: History & Philosophy of Psychology, 10 (2), 1-10. —(2008b) “Linguistic pictures of the world or language in the world? Metaphors and methods in ethnolinguistic research”. En: Etnolingwistyka, 20, 51-62. Zlatev, J. (2010). Phenomenology and Cognitive Linguistics. In S. Gallagher & D. Schmicking (eds.), Handbook of Phenomenology and Cognitive Science (415-443). Dordrecht & New York: Springer. (2008). From proto-mimesis to language: Evidence from primatology and social neuroscience. Journal of Physiology, Paris 102, 137-151. (2005) “Embodiment, Language, and Mimesis”. En: Tom Ziemke, J. y Rosslyn Frank. Body, Language and Mind. Vol 1: Embodiment. Berlín: Mouton. (1998) “Situated Embodied Semantics and Connectionist Modeling: Cognitive Semantics: Meaning and Cognition”. En: Allwood, Gärdenfors (eds): Cognitive Semantics: Meaning and Cognition. Ámsterdam, Benjamins, 173-94. (1997). Situated Embodiment: Studies in the Emergence of Spatial Meaning. Stockholm: Gotab Press. Zlatev, J., Racine, T., Sinha, C., & Itkonen, E. (eds.) (2008). The Shared Mind: Perspectives on Intersubjectivity. (Foreword by C. Trevarthen). Amsterdam & Philadelphia: John Benjamins Publishing Company. Vygotsky, L.S (1978). Mind in Society. Cambridge. MA: Harvard University Press Ungerer, F and Schmid, H.D (1996). Conceptual Metaphors and Metonymies: An Introduction to Cognitive Linguistics. London Longman !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "((! ! 12. APPENDIX. Collected Izran. Tarifit originals and Translations into English and Spanish In the following pages we present the corpus of Izran scrutinized and selected for the purposes of this study. Every Izri has been collected, transcribed and translated by the author of this Thesis during the summers of 2008 and 2010 in the Rif Mountains of Kelaia (Marocco). The order in which each Izri will appear is the following: Original Tarifit / Phonetics / Spanish literal translation / English literal translation / Spanish translation / English translation. "()# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 1 ORIGINAL TARIFIT UYUR ABRID NEM WA XAZZAR AWANAM MARA TNAJMAD SWAS DJIRT TAGWAD GAM [Uyur abrid nem wa khazzar awanam Mara thnajmath swas djirth thaqward gham] SPANISH LITERAL TRANSLATION Camina camino tuyo, no mirar atrás de ti Si salvas tu día, noche camina a ti ENGLISH LITERAL TRANSLATION Walk path yours, look not behind you If saved you day, night walks to you SPANISH TRANSLATION Camina tu camino no mires hacia atrás Si del día te salvaste la noche hacia ti camina. ENGLISH TRANSLATION Go your way do not look back If from the day you are saved The night towards you will come. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "(*! ! IZRI 2 ORIGINAL TARIFIT Stiw stiw mana l hassu barra Taziri ycathan di la hyud mbarra [Stiw stiw mana lhassu barra Taziri yashathan di rahyud mbarra] SPANISH LITERAL TRANSLATION Silencio, silencio, qué ruido afuera La luna golpea las paredes fuera. ENGLISH LITERAL TRANSLATION Silence, silence, what noise outside The moon hits the walls outside. SPANISH TRANSLATION Silencio, silencio qué ruido es este afuera Es la luz de luna que golpea las paredes por fuera ENGLISH TRANSLATION Silence, silence what´s this noise outside It is the moonlight that hits the outside walls. ")+# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 3 ORIGINAL TARIFIT Stiw stiw mana l hassu barra Taziri ycathan di la hyud mbarra [Nsigh lil lil t´hallalagh gha yathran Trajigh thaziri masha thug atban] SPANISH LITERAL TRANSLATION Dormí noche noche mirando a estrellas Esperar yo luna pero no quiere aparecer ENGLISH LITERAL TRANSLATION I slept, night night looking at stars Wait me moon but no wants appear SPANISH TRANSLATION Pasé toda la noche mirando las estrellas Esperando por la luna pero esta no aparece. ENGLISH TRANSLATION I spent the whole night watching the stars Waiting for the moon but it did not show up. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" ")!! ! IZRI 4 ORIGINAL TARIFIT Lalla Spanya Cem Idyajjin Sus Had Iruhas Udar Had Iruhas U Fu [Lalla spanya sham ityajjin sus Had iruhas u dar had iruhas u fus] SPANISH LITERAL TRANSLATION Doña España tu dejar dolor Alguno le fue pié alguno le fue la mano. ENGLISH LITERAL TRANSLATION Ms Spain, you left pains Some lost foot, some lost hand SPANISH TRANSLATION Oh ¡España tú que has producido mucho dolor Unos perdieron sus pies y otros las manos. ENGLISH TRANSLATION Oh¡ Spain you that produced so much pains Some lost their feet and others their hands. "))# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 11 ORIGINAL TARIFIT UCAYD FUSS NEM ANGAAD GHA UDRAR ANASHASS GHA THUDARTH GHA YADJA THIZAMMAR [Ushayd fuss nam angaad gha wadrar Ans´hass gha thutharth gha yadja thizammar] SPANISH LITERAL TRANSLATION Dame mano tuya subir nos a montaña Allí nosotros escuchar vivo que tiene poderes ENGLISH LITERAL TRANSLATION Give hand yours go we up mountain There we listen alive that got powers SPANISH TRANSLATION Dame tus manos para subir a lo alto de la montaña Allí donde podemos escuchar a las vidas que tienen el poder ENGLISH TRANSLATION Give me your hands we climb up the top of the mountain There we can listen to the lives that got power !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" ")*! ! IZRI 12 ORIGINAL TARIFIT SATHAR LAAYUN NAM WITHEND THAYI KASSI QA XAMMI DAYI IKASSI YASSARGHA DAYI THIMASSI [Sathar layun nam withend dayi kassi Khammi dayi ikassi yassargha day thimassi] SPANISH LITERAL TRANSLATION Agacha ojos tuyos no los coges en mí Cuando los coges en mí, encender fuego ENGLISH LITERAL TRANSLATION Bend eyes yours not take them en mi When you take in me, set fire SPANISH TRANSLATION Agacha tus ojos hacia mí no los levantes Porque cuando lo haces en mí enciendes el fuego de la pasión ENGLISH TRANSLATION Bend your eyes; towards me do not raise them Because when you do, in me you set the fire of passion. "*+# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 13 ORIGINAL TARIFIT THAKKAD XAFI THAADU SA DFIN DA ZIZA AWAR WA THASSIWIR RAAQAR INU YADWA [Thakkad khafi thaadu sádfin thaziza Awar wa thassiwir raaqar inu yadwa] SPANISH LITERAL TRANSLATION Pasar ella sobre mí, adelantar con vestido azul Habla no hablar ella, mente mía volar ENGLISH LITERAL TRANSLATION Walk she over me, pass with dress blue Talk no talk she, mind of me fly SPANISH TRANSLATION Pasó a mi lado con su vestido azul Palabra no dijo y mi mente voló ENGLISH TRANSLATION She walked past me with her blue dress She didn´t say a word and my mind flew !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "*!! ! IZRI 14 ORIGINAL TARIFIT AWID THJUJA ADCARZAGH THIMURA ADAZZUGH IMANDI ATAMGHAR FARINA [Awid thjuja athshrzagh thimura Athazzugh imandi atamghar farina] SPANISH LITERAL TRANSLATION Traer para arar yo tierras Plantar yo cebada crecer trigo ENGLISH LITERAL TRANSLATION Bring couple plough me lands Plant me barley grows wheat SPANISH TRANSLATION Traer un par para arar las tierras Sembraré cebadas y crecerá trigo ENGLISH TRANSLATION Bring in a pair to plough the lands I will sow barley and wheat will grow "*"# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 15 ORIGINAL TARIFIT LHAMDULILLAH YA RABBI XA SAJJARTH NTIYNI SAJJARTH NAL HURRIYA IDARQAN ITHIRI [Hamdu lillah ya rabbi khashajjarth n´tayni Shajjarth nal´hurriya itharqan ithiri] SPANISH LITERAL TRANSLATION Gracias oh Dios por árbol de dátil Árbol libertad extender ella sombra ENGLISH LITERAL TRANSLATION Thanks oh god for tree date palm Tree freedom extend she shade SPANISH TRANSLATION Gracias a Dios por el árbol del dátil Árbol de libertad que extiende la sombra ENGLISH TRANSLATION Thanks God for the date palm tree Tree of freedom that extends shade !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "*$! ! IZRI 16 ORIGINAL TARIFIT AYAQAT AYAQAT THLULLUCT MANI THAGHMI AKTAR THI LUIZ NEC MA TAWYATH SU XAMMI [Ayaqat ayaqat thlullusht mani thaghmi Kattar thi Louis nesh ma tawyath su khammi] SPANISH LITERAL TRANSLATION Ahí está, ahí está, flor donde florecer Aumentar “Louis” tuyo, te la llevas con mirar ENGLISH LITERAL TRANSLATION There she is, there she is, flower where flourish Increase “Louis” yours, you she take with look. SPANISH TRANSLATION Ahí la tienes, ahí la tienes ¡como ha brotado la florecilla! Aumenta tu caudal, no creas que con sólo mirarla va a ser tuya ENGLISH TRANSLATION There you have her, there you have her, how the flower is sprouting Increase your fortune and do not think that just looking at her she will be yours. "*%# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 17 ORIGINAL TARIFIT QAM ATAY QAM ATAY AG NAANAA DRUS AY NAS I SUS NI AQAYI TUTHA GFUS [Qam atay qam atay ag naanaa thruss Inas issus ni aqayi tuthith qwfuss] SPANISH LITERAL TRANSLATION Mover te, mover te pon yerbabuena poco Decir a carcoma esa, caer tú en manos mías. ENGLISH LITERAL TRANSLATION Shake tea, shake tea, and put mint little Say to insect that you fell hands of mine SPANISH TRANSLATION Prepara el té, prepara el té, ponle poquita yerbabuena Dile a esa carcoma que pronto se hallará bajo el influjo de mis hechizos ENGLISH TRANSLATION Prepare the tea, prepare the tea and put little mint Tell that insect that soon he will be under the influence of my magic spell. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "*&! ! IZRI 18 ORIGINAL TARIFIT ARAHRIR A DAMMI A TASBIH AHASBI A MOHAMMAD I HAMMU IGHAB WADA YADJI [A rahrir a d ámmi a tasbih ahasbi Mohammad a hammu ighab wada yadji] SPANISH LITERAL TRANSLATION Seda es mi hijo, el rosario suave Mohamed de Hamu, ausentar aquí no estar ENGLISH LITERAL TRANSLATION Silk is my son, the rosary smooth Mohamed Hamu, absent here no is SPANISH TRANSLATION ¡Oh la fina seda es mi hijo!, oh el delicado rosario ¡Oh Mohamed de Hamu! Se ha ausentado aquí ya no está ENGLISH TRANSLATION Oh, the delicate and tender silk is my son, oh the delicate rosary Oh, Mohamed Hamu, he is absent, he is no more here "*'# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 19 ORIGINAL TARIFIT THKAHHAR ATHSAWWAC THAGA THIMMI NARGAZ IFATHHIT ARABBI THMUN AK UMEDIAZ [Thkahhar athsawwash, thagga thimmi nargaz Ifadhit arabbi thmun ak umadiaz] SPANISH LITERAL TRANSLATION Acicalar ella ojos, boca, cejas ennegrecer Humillar Dios a ella juntar con amediaz ENGLISH LITERAL TRANSLATION Smartened she eyes, mouth, blackened eyebrows Humiliate God she, together with amediaz SPANISH TRANSLATION Se acicaló ojos y boca, sus cejas agrandó y ennegreció; Dios la humillo más y así fue como se juntó con un amediaz ENGLISH TRANSLATION She smartened he eyes and mouth and blackened her eyebrows God humiliated her and so she got together with an amediaz. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" "*(! ! IZRI 20 ORIGINAL TARIFIT ADUYAGH ADUYAGH HUMA YUHRAY UDAR SIDI LIF INU UMI GIGH RXADAR [Athuyagh athuyagh huma yuhray uthar A sidi lif inu umi gigh rkhathar] SPANISH LITERAL TRANSLATION Caminar yo, caminar yo, hasta cansar mío pié Querido amor mío a quien yo complacer ENGLISH LITERAL TRANSLATION Walk me, walk me, till tired mine foot Dear beloved mine, whom I pleased SPANISH TRANSLATION Voy a caminar, caminar hasta la extenuación de mis pies, Ay de mi amante, ay a quién he complacido. ENGLISH TRANSLATION I am going to walk, walk till my feet are exhausted Oh my beloved, oh, to whom I pleased $+%# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 25 ORIGINAL TARIFIT UCAYD FUSS NEM ATHAM INIGH mayammi Ur inu th wanni nem thargha thays thimassi [Ushayd fuss nem am inigh mayammi Ur inu d wanni nem thargha thays thimassi] SPANISH LITERAL TRANSLATION Dame mano tuya decir yo a ti por qué Corazón mío y el tuyo enciende en el fuego ENGLISH LITERAL TRANSLATION Give me hands yours tell I you why Heart mine and that yours set in it fire SPANISH TRANSLATION Dejame ver tus manos para poderte decir Cómo se incendian tu corazón y el mío ENGLISH TRANSLATION Give me your hands so I can tell you how Your heart and mine are set on fire. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $+&! ! IZRI 26 ORIGINAL TARIFIT THAN YAXSAN ATAWI THIWI BURAHWA RXATHMATH WAR IXADDAM ISFURUJ ABAATHA [Than yakhsan atawi thiwi burhawa Rkhathmath war ikhaddam isfuruj abatha] SPANISH LITERAL TRANSLATION Quien quiere ellas llevar, llevar trovador Trabajo no trabajar, entretiene por lo menos ENGLISH LITERAL TRANSLATION Who want they take, take a troubadour Work, work he not, entertain at least SPANISH TRANSLATION Quien desea casarse, cásese con un trovador Trabajar no trabaja pero al menos entretiene ENGLISH TRANSLATION She who wants to marry, marry a troubadour Work he likes not, but at least he amuses. $+'# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 27 ORIGINAL TARIFIT Ayadrar nyisan aya sus nyaxsan Uthfant irumien adjabthan si firan Ayathrar nyisan aya sus nyaxsan Uthfant irumien adjabthan si firane SPANISH LITERAL TRANSLATION Oh montaña de caballo oh carcoma de huesos Entrar en él españoles extraer con hilos ENGLISH LITERAL TRANSLATION Oh mountain of horse oh worm of bones Enter in it Spanish extract with thread. SPANISH TRANSLATION Oh, Monte Caballos, oh carcoma de los huesos Lo han penetrado los españoles para con hilos hacer las extracciones ENGLISH TRANSLATION Oh, Horse Mountain. Oh, worm of the bones The Spanish enter in it to mining with linen cloth. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $+(! ! IZRI 28 ORIGINAL TARIFIT Sidi sahib bumeftah yamuthan thaazri Wa yaggi urar wa yaggi arhanni Sidi shayb bumeftah yamuthan tha azri Wayaggi urar wayaggi arhanni SPANISH LITERAL TRANSLATION Santo Shayb de la Llave murió soltero No hizo boda, no hizo la henna ENGLISH LITERAL TRANSLATION Saint Shayb of the key died bachelor No make wedding, no make henna SPANISH TRANSLATION Sidi Shayb Bumeftah, murió soltero Ni se casó ni lo disfrutó ENGLISH TRANSLATION Sidi Shayb Bumeftah, bachelor he passed away He neither married nor enjoyed it. $+)# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 29 ORIGINAL TARIFIT SIDI SHAYB BUMEFTAH HANCAGHAC THAZAQQA ATTARAGHAC ATHAWYAGH BUTHIMMI THAMSARQA [Sidi Shaib bumeftah hanshaghash thazaqqa Attaraghash athawyagh bu timmi thamsarqa] SPANISH LITERAL TRANSLATION Santo Shaib de la Llave, pinté a ti azotea Pedir a ti llevar yo el de cejas juntas ENGLISH LITERAL TRANSLATION Saint Shaib of the Key, painted me for you roof Asked me you to take he with eyebrow joint SPANISH TRANSLATION Sidi Shaib Bumeftah, te pinté la azotea Te pido que me case con el de las cejas juntas ENGLISH TRANSLATION Sidi Shaib bumeftah, I painted the roof for you I beg you I marry the one with the joint eyebrow !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $+*! ! IZRI 30 ORIGINAL TARIFIT MAALIK WAR GWIDAGH SIDI BAB ADIRU ADAQNAGH THITTAWIN ATHAWTHIG GWANU [Maalik war gwithagh sidi baba athiru Athaqnagh thittawin athawthigh gwanu] SPANISH LITERAL TRANSLATION Si no tuviera miedo querido papá llora Cerraré ojos caeré en pozo ENGLISH LITERAL TRANSLATION If not were afraid I dear father cry Close I eyes, fell I in in pit SPANISH TRANSLATION Si no temiera el llanto de mi querido padre Los ojos cerraría y me tiraría al pozo ENGLISH TRANSLATION If I were not afraid of my dear father’s tears My eyes I would close and would jump into the pit $!+# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 31 ORIGINAL TARIFIT MAALIK WAR GWITHAGH ISM INU ATHI WADDAR ATHAQNAGH THI TTAWIN ATHAWTHIGH THI RABHAR [Maalik wa gwithagh ism inu a thiwaddar Athaqnagh thittawin athawthigh thi rabhar] SPANISH LITERAL TRANSLATION Si no tuviera miedo nombre mío perderse Cerrar yo ojos caer yo en mar ENGLISH LITERAL TRANSLATION If not have fear name mine lose Close I eyes fell I in sea SPANISH TRANSLATION Si no tuviera miedo de perder mi nombre Cerraría los ojos y mi tiraría al mar ENGLISH TRANSLATION If I were not afraid to lose my name I would close my eyes and jump into the sea !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $!!! ! IZRI 32 ORIGINAL TARIFIT UMA RAMI YUYUR WA THAY YANNI WALU IAMMAR THITTAWIN SIMATTAWAN ADIRU [Uma rami yuyur wathay yanni walu Iammar thittawin si mattawn athiru] SPANISH LITERAL TRANSLATION Hermano cuando camino no a mí decir nada Llenar ojos de lágrimas a llorar ENGLISH LITERAL TRANSLATION Brother when walk no for me say nothing Fill eyes with tears to cry SPANISH TRANSLATION Mi hermano cuando se marchó no me dijo nada Se emocionó y se le llenaron los ojos de lágrimas ENGLISH TRANSLATION My brother said nothing when he left His eyes filled up with tears to cry $!"# !"!#$%&!#'!()*$+%&()&*$ ! IZRI 33 ORIGINAL TARIFIT MAALIK THAYI THANNITH AMMU ZAGMAZWAR UR WASH IACAQ RXATHAR WASH ITHAFFAR [Maalik thay thannith ammu zag mazwar Ur wash iashaq rkhathar wash ithaffar] SPANISH LITERAL TRANSLATION Si a mí tú decir así desde principio Corazón no amar a ti alma no a ti seguir ENGLISH LITERAL TRANSLATION If for me you say so from beginning Heart not love you, my soul not you follow SPANISH TRANSLATION Si tú me hubieras dicho ésto desde el principio Mi corazón no te hubiera jamás amado ENGLISH TRANSLATION If you had told me this from the beginning My heart would have never loved you !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $!$! ! IZRI 34 ORIGINAL TARIFIT LALLA THASRITH NAGH THAMMANT NRAHRU GHAM IDDA NUSA GHAM IDDA NAATHU [Lalla thasrith nagh thammant nrahru Gham idda nusa gham idda naathu] SPANISH LITERAL TRANSLATION Nuestra novia, miel dulce Por ti aquí venir por ti reunir ENGLISH LITERAL TRANSLATION Our bride, honey sweet For you here come, for you here meeting SPANISH TRANSLATION Nuestra novia tan pura como la miel natural Hacia ti hemos venido, por ti nos hemos reunido ENGLISH TRANSLATION Our bride so pure like natural honey For you we have come, for you we have this meeting $"+# !"!#$%&!#'!()*$+%&()&*$ ! 3.7. Rasgos comunes entre dominio fuente y dominio meta 77 BIBLIOGRAFÍA 85 !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $"!! ! 0. PREFACIO 0.1. RED SOCIOCULTURAL BEREBER Debido a la complejidad de las sinergias culturales y lingüísticas que han configurado su evolución durante milenios, el mundo conocido en Occidente como “bereber” está configurado de modo extraordinariamente heterogéneo. “Bereber” en nuestro contexto es un término relativamente reciente creado por otra cultura con otra historia filológica y ontológica muy distinta, la árabe, desde construcciones paralelas anteriores del griego. El término árabe a su vez es un préstamo que significa “bárbaro”. De modo realista, y por primera vez en la historia de los estudios sobre esta comunidad tan significativa en la historia de África, circunscribiremos aquí este sistema sociocultural en un marco biológico de evolución cognitiva humana. La razón fundamental es que en esta Tesis se parte de la necesidad sociocultural de abrir nuevos espacios de investigación interdisciplinaria dirigidos cuantitativa y cualitativamente a la intrincada tarea de entender “bereber” de modo realista biocultural; técnicamente partimos aquí de una consideración de ésta categoría, que construye comunicativamente la identidad de un grupo humano de más de 30 millones de personas, como un concepto de alto nivel (Turner y Fauconnier 2002), un constructo cognitivo que organiza conocimiento enactivado a diario por este macrogrupo humano en un conjunto de variedades lingüísticas habladas en África. La siguiente figura muestra estas variantes: $""# !"!#$%&!#'!()*$+%&()&*$ ! (Sitio: http://en.wikipedia.org/wiki/Berber_languages#Ethnologue, Mayo, 21. 2012) Ésta razón ética social que nos guía en este proyecto a medio plazo es fundamental. No tratamos de seguir interpretando y concluyendo a partir de nuestra experiencia lingüística y cultural visible, aquella que nos es dada superficialmente al pensamiento sin necesidad de unos principios, unos métodos y unos modelos. Por ello hemos optado por empezar a aplicar, por primera vez en la historia de los estudios del bereber, los desarrollados por las recientes Ciencias Cognitivas. Estamos convencidos de que necesitamos urgentemente un espacio teórico internacional avanzado e innovador para acceder a una descripción pragmática de la delicada diversidad humana del bereber. En este sentido lo que nos proponemos en este primer trabajo es la activación de una plataforma académica de estudios cognitivos esencialmente empíricos y descriptivos en conjunto, destinados a sentar unas bases constructivistas sobre las que edificar progreso social en las comunidades bereberes. Ésta primera contribución por parte de D. Amar El-Arbaoui Jelouli, filólogo originario de la región bereber de Kelaia, se presenta aquí con la esperanza de estimular una investigación global innovadora de la realidad intercultural bereber para que a medio o largo plazo redunde en beneficio de esta !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $"$! ! cultura/lengua milenaria, de esta extensa comunidad que hoy no está viviendo sus mejores días. La plataforma sociocognitiva de este proyecto concibe toda evolución cultural como evolución biológica en una parte muy importante. Desde la aproximación teórica y metodológica que proponemos aquí a partir de las Ciencias Cognitivas, y que podríamos entender antropológica y bioéticamente como estudio de procesos de biogénesis cultural, describir el constructo conceptual “bereber” sería como clasificar de forma científica una nueva especie de ser vivo para su posterior estudio más empírico y descriptivo por parte de otras disciplinas. Para ello es condición básica situar al bereber taxonómicamente en la familia biocultural apropiada, tarea que llevará aún años de investigación desde el nuevo paradigma cognitivo. Con este objetivo global enmarcando una red innovadora de estudios cognitivos africanos de ámbito internacional iniciamos en esta primera tipificación de los Izaran, poemas improvisados orales en lengua Tarifit, de la cultura Tamazight, una búsqueda realista de abajo a arriba (bottom-up) de una de las numerosas morfodinámicas locales de la compleja red sociocultural de construcción cognitiva de significado vivo en el acto comunicativo bereber. Consideramos el izri como una microestructura que paulatinamente nos dará acceso a la realidad global del bereber desde una consideración dinamicista de los textos como la que en estos momentos se trabaja en el Centro de Semiótica Cognitiva de la Universidad de Aarhus, Dinamarca, en el que el autor de esta Tesis ha realizado una estancia de investigación tres meses. Para ello, en este trabajo se presenta un corpus limitado de expresiones metafóricas en los izran a partir de una selección de un extenso corpus de datos lingüísticos originales obtenidos en trabajo de campo llevado a cabo por el autor en el $"%# !"!#$%&!#'!()*$+%&()&*$ ! Rif de Marruecos. A continuación desarrollamos un estudio de caso de los mecanismos cognitivos que activan proyecciones metafóricas diferentes del español o el inglés que podrían estructurar formas culturalmente específicas de significado relativo a dos conceptos abstractos que recurren en estas coplas improvisadas por las mujeres Tamazight: tiempo y vida. Teórica y metodológicamente, este estudio de caso se enmarca de forma predominantemente interdisciplinaria en los últimos progresos de las Ciencias Cognitivas (Cogan 2003) que desde una u otra perspectiva integradora han desarrollado principios, métodos y modelos de análisis de distintas lenguas/culturas humanas. En este ámbito tríadico nos beneficiaremos de la continua interacción actual entre las Ciencias Humanas, las Ciencias Naturales y la Tecnología. Es esta una dinámica internacional muy activa de nuevo conocimiento teórico que está haciendo realidad social la feliz realización de la tan necesaria nueva alianza entre las Ciencias y las Humanidades, de la que ya hablaban sabiamente Ilya Prigogine e Isabelle Stengers en 1978 (Citado en Guerra 1992). Este trabajo proyecta por primera vez todo este conocimiento avanzado al estudio de las dinámicas socioculturales complejas de las comunidades humanas del Rif. 0.2. LA COMPLEJA DIVERSIDAD DEL BEREBER Las actuales regiones bereberes constituyen una singular variedad de marcos geográficos y socioculturales localizados en diferentes países del norte de África y la !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $"&! ! zona subsahariana.1 Variedades lingüísticas del bereber se hablan en las fronteras sur del Mediterráneo y en amplias extensiones del gran Sáhara. Estas variedades son numerosas y poseen muchos rasgos en común, lo que si bien es verdad que dificulta y ralentiza la tarea de la investigación real, no la hace imposible. En este sentido, y teniendo en cuenta que no existen aún trabajos de este tipo en la investigación cognitiva internacional actual, sólo podría ser ventajoso como contribución a los enormes avances actuales en los estudios de procesos y mecanismos biológicos y culturales que evolucionan en forma de lenguajes para la vital comunicación humana. Uno de los motivos principales de esta diversidad biocultural, reflejada en sus realizaciones lingüísticas, es el contexto geofísico desfavorecedor. Por diversas razones de supervivencia como por ejemplo los traslados nómadas de base agrícola o los abandonos territoriales de fuerza mayor para huir de invasores, los bereberes habitan sobre todo zonas desérticas, tanto planicies como montañas. Su lengua mayoritaria, llamada Tamazight y no bereber, sólo se conoce en su diversidad, término que entendemos en el sentido que le da Bernárdez (2003). El Tamazight integra Tarifit, Tashelhit, Tashawit, Mzab, Gourara, Zenaga, Tasiwit, Tuareg, y otras variedades que conviven con el Hausa en Nigeria, Mali y otras áreas. En este trabajo inicial centramos nuestra atención en la variante Tarifit hablada en el Rif . 0.3. COMPLEJIDAD, COGNICIÓN Y COMUNIDADES DE PRÁCTICA BEREBER Más arriba exponíamos una motivación principal de este estudio, la de contrarrestar la insuficiente atención que se ha prestado a estas zonas en la investigación internacional, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Ver figura del mapa lingüístico bereber más arriba. $"'# !"!#$%&!#'!()*$+%&()&*$ ! lo mismo en Ciencias Naturales que en Ciencias Humanas, hasta nuestros días. A ello añadimos ahora que los escasísimos estudios que se han realizado sobre esta red cultural de lo que concebiremos aquí sociocognitivamente como “comunidades de práctica” (Bordieu 1980 y 1994; Bernárdez 2005, 2008a, 2008b) son de carácter descriptivo, humanista tradicional, y en nada atienden a los avances en la investigación interdisciplinaria que hoy hacen progresar de manera realista el conocimiento sobre las sociedades y, en dinámicas de retroalimentación (Turing 1951, Luhmann 1984, Hayles 1991), a las sociedades mismas. De forma muy general, la base sociológica de nuestra visión de los sistemas sociales como sistemas complejos adaptativos es la elaborada originalmente por Luhman (1984). A principios del siglo XXI las culturas locales específicas de los bereberes de las diferentes zonas geográficas del Rif, tal y como aparecen materialmente reflejadas en sus ricas variedades expresivas, en este caso en sus variedades lingüísticas, representan una red de combinaciones específicas de categorías conceptuales (Lakoff 1987), de emociones (Damasio 2002, 2004, 2007) y de valores humanos (Tomasello 2003, 2008) en constante evolución desde estados corporeizados de conciencia preconceptual y prelingüística (Lakoff & Johnson 1987; Varela, Thompson & Rosch 1991). La forma de dinamizar estos estados sociales de conciencia individual/colectiva en curso, on-line, se refleja al final de un proceso a la vez biológico y cultural de construcción ontogenética, filogenética y cultural (Rohrer 2007) en el sistema lingüístico expresivo resultante que revela la morfología y la funcionalidad del uso instrumental de la lengua en cuestión (Bernárdez 2002). En esta evolución filogenética, ontogenética y cultural tradicionalmente generada y alineada en torno a los distintos componentes epistemológicos y fenomenológicos del Islam y del !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $"(! ! texto del Corán, y adoptada a todos los niveles neurobiológicos y culturales que configuran la cognición como acción en el individuo (Dennet, Damasio, Bernárdez) que habita en el desierto del Rif, las mallas sociales bereberes interactúan hoy con fuerza paradigmática con los productos internacionales y la orientación cultural progresista de Occidente. Y ello a pesar de la escasez de medios tecnológicos y económicos en general. Actualmente, la complejidad expansiva del espacio abierto de conocimiento bereber (complejidad entendida aquí en términos técnicos como riqueza de información y posibilidades de evolución biocultural coherente) hace que las representaciones lingüísticas resultantes de sus constructos conceptuales específicos se conviertan en un terreno muy fértil para un progreso sociohumano muy necesitado en un entorno más hostil que favorecedor. La llamada “Primavera Árabe” intensifica esta situación de complejidad creativa de modo muy singular en el caso de la macrocultura bereber y, en este sentido, habrá que esperar para conocer la verdadera dimensión sociológica de sus acciones colectivas. De nuevo, una de las pruebas más objetivas será la forma en que los conceptos emergentes y los nuevos significados se afiancen, se lexicalicen, en los distintos sistemas cognitivos. Esta prueba no contrarresta necesariamente enfoques humanistas tradicionales de corte hermenéutico (sin método científico); nuestra visión es que son complementarios. Si bien los trabajos realizados hasta hoy sobre cómo piensan las comunidades bereberes se centran únicamente en qué piensan a partir de un enfoque tradicional hermenéutico basado en una respuesta introspectiva a la pregunta “¿Qué significa este texto?”, nosotros abrimos aquí un estudio dentro del nuevo paradigma de la Poética y la Lingüística Cognitiva que parte de la pregunta: “¿Qué mecanismos cognitivos en los niveles preconceptual y prelingüístico, y qué entornos $")# !"!#$%&!#'!()*$+%&()&*$ ! interactivos naturales y artificiosos, hacen posible que este texto pueda construir significado Tamazight culturalmente específico evidenciado en la lengua Tarifit resultante?” !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $"*! ! 1. INTRODUCCIÓN AL ESTUDIO DE LOS IZRAN Este proyecto surgió a raíz de la sugerencia de mi supervisora de tratar algún tema relacionado con la literatura oral bereber. En seguida pensé en los izran y, desde entonces, he tratado de desarrollar la idea y de darle forma. Al principio no tenía claro a dónde me iba a conducir esta investigación. Además, la escasez de material escrito añadía algunas dificultades. Pero encontré alivio en la ayuda que me ofrecían los informantes, que en la mayoría de los casos fue óptima aunque no exenta de algunas dificultades. Ellos me proporcionaron los más valiosos recursos para entender el fenómeno izran y la forma de adaptar cada izri a un contexto particular. Esta información hizo mi tarea menos ardua de lo que esperaba. Aunque ahora me doy cuenta de que ya desde mi más tierna infancia había tenido en varias ocasiones contacto directo con los izran, nunca me había interesado en ellos como hasta ahora. Aprecio mucho mejor su lenguaje y sus riquezas conceptuales e, incluso, me he llegado a aprender un gran número de ellos de memoria. Los izran (en plural) o izri (en singular) son composiciones poéticas cortas que se caracterizan, precisamente, por su brevedad. Normalmente están formados por dos versos de doce sílabas. Esta brevedad opera en dos niveles diferenciados: en la forma y en el contenido. Desde el punto de vista formal, la brevedad se manifiesta en el reducido número de palabras que se usa para transmitir contenidos que, con frecuencia, hacen referencia a un gran número de aspectos de la realidad. Sin embargo, a través de esta información adquirida mediante tan pocas palabras brota un nuevo significado que emerge de la totalidad del izri. De este significado global, resultado de una compleja red $$'# !"!#$%&!#'!()*$+%&()&*$ ! necesita aprender artificios vanguardistas sobre cómo organizar las palabras para que produzcan musicalidad; podríamos decir que es un proceso vanguardista natural aún no valorado institucionalmente. Las construcciones lingüísticas y su organización prototípica, independientemente del tema tratado, dotan a las construcciones poéticas de una estética que puede explicarse en el nivel de la forma por medio de alguna rigurosa disciplina artística. Aquí analizaremos alguno de los izran selectos en un intento de describir cómo el pareado tarifit utiliza los recursos de la imaginación, de la libertad y de la personalidad; no sólo la personalidad de una única mujer, sino la de un grupo sociocultural concreto. En este tipo de poemas populares cortos, la realidad se representa a través de la imaginación del poeta y su afectividad. El estatus general de la Literatura con mayúsculas entra aquí en juego. Como se verá más adelante, la literatura es libre, goza de libertad total para tratar y expresar cualquier tema. El poeta en principio no está limitado por la verdad histórica, ya que la literatura como muestra de procesos narrativos humanos y formas poiéticas, es la institucionalización de la imaginación relativa (Guerra 2012). El poeta expresa, a través de estas producciones poéticas, su visión del mundo, sus valores, creencias y sueños. Y, dado que se trata de un producto sociocultural de la imaginación, las composiciones poéticas expresan también cierta ideología. Ésta se encuentra difuminada en la dinámica conceptual del texto poético. Teniendo en cuenta el hecho de que en este trabajo se van a tratar los izran desde una perspectiva cognitiva, me gustaría remarcar el hecho de que cada izri tarifit de la cultura !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $$(! ! bereber-tamazight del Rif marroquí es un texto en sí mismo que necesita ser explorado con principios, métodos y modelos avanzados para poder descubrir lo que de conceptual se esconde detrás de las combinaciones de palabras y enunciados que lo conforman. Queremos descubrir cómo una vez producido el izri deja de ser autónomo y hablante y oyente son responsables de su interpretación. La interpretación más frecuente sería la pragmática, puesto que los mismos fenómenos que operan en el nivel semántico están presentes también en el pragmático (Teun Van Dijk, 1977). Cada izri es un mundo. Nos habla sobre la mente y la cultura humanas desde el punto de vista de una mujer bereber. Nos proporciona información específica sobre algún tema. Puede entretener, preocupar o hacer llorar. Un izri puede producir una atmósfera alegre o lúgubre. Puede decepcionar o ilusionar. Además puede crear en los oyentes sentimientos de resentimiento, enfado, miedo, desilusión, rechazo o indiferencia. La comprensión del izri y sus reacciones ante él provocan en el oyente estos sentimientos y emociones. La pregunta que surge de este sistema complejo es la siguiente: ¿Hace referencia el izri a algo externo a sí mismo? Algunos investigadores como Bloom (1999) defienden la idea de que toda forma de arte describe el mundo interno de las emociones y aspiraciones humanas, donde ninguna videocámara puede penetrar. Otros como Abrams (1953) piensan que el texto puede hacer referencia tanto al mundo físico como al de los objetos mentales del lenguaje (citado en G. Steen, 2003:163). G. Steen (2003), por su parte, considera el arte como una lámpara que ilumina y no como un espejo que únicamente muestra un reflejo. Del mismo modo que una lámpara tiene su propia luz, el oyente/intérprete asimila lo que oye a través de lo que conoce. Uno de los tratado que más profundizan desde los avances cognitivos en la $$)# !"!#$%&!#'!()*$+%&()&*$ ! mente artística es Turner, ed. (2008). En este compendio se muestran las distintas dinámicas de elevada complejidad que activa la enacción (Varela 1992) de lo que llamamos arte. Hoy en día, la poética cognitiva (Guerra 2010) ofrece una gran variedad de metodologías que pueden usarse para dar sentido compartido a nuestro mundo en general y aquí al mundo del izri en particular. Muchos y diversos fenómenos lingüísticos se mezclan entre ellos y con gran variedad de otros fenómenos cognitivos de distintas modalidades; y todos ellos están impulsados por la misma fuerza: dar sentido común al mundo. Como humanos, las experiencias adquiridas en nuestro entorno las expresamos mediante un lenguaje comprensible. Este conocimiento lingüístico se basa en datos provenientes de los sentidos y está condicionado por parámetros de experiencia humana corpórea (Janda 2008). Entender nuestras experiencias nos otorga la capacidad de expresar lingüísticamente aquello que hemos entendido. Además de estas experiencias corpóreas, adquirimos otro tipo de experiencias a través del pensamiento abstracto, la imaginación o las emociones. La compresión de conceptos abstractos se realiza principalmente mediante la metáfora, por ejemplo: amor es fuego, el amor es un viaje, la vida es un viaje, el tiempo es dinero, etc. Esta herramienta cognitiva nos proporciona la capacidad de asimilar un sistema completo de relaciones a la vez. Como se ha dicho anteriormente, vamos a tratar los izran desde la perspectiva de la lingüística cognitiva, concretamente desde la semántica cognitiva, de tal manera que podamos extraer de ellos los significados conceptuales o conceptos. Como bien es sabido, el significado se extrae de expresiones lingüísticas tales como frases, palabras o !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $$*! ! morfemas. Al término lingüístico se le inyecta vida y esa vida es considerada como la energía que impulsa el motor del lenguaje (Janda, 2008:7), pero el significado no está en el termino lingüístico sino que surge de un cumulo de experiencias culturales además (Bernárdez 2002). $%+# !"!#$%&!#'!()*$+%&()&*$ ! 1.1. OBJETIVO DEL ESTUDIO. El presente estudio se concentra en un área delimitada, conocida como Kelaia, en la zona del Rif Marroquí. Investiga el papel social de los izran en la transmisión de la cultura, el conocimiento, los valores y organización de la tribu y la familia. Como ya hemos apuntado, sólo los izran permiten a la mujer Rifeña, que vive en una sociedad dominada por el género masculino, criticar a la sociedad, influir en los hombres, hacerse conocer por otra tribu, anunciar un compromiso o rechazar un pretendiente sin ser castigada. Con los izran, la mujer rifeña encontró, puede que haga ahora milenios, un medio igualitario a través del cual puede defender su honor y decir en voz alta aquello que la inquieta. Éste hecho nos indujo a pensar que podrían revelar conceptualizaciones específicas de conceptos altamente abstractos. Por ello, además de buscar posibles expresiones que han existido en el pasado y que pueden estar fosilizadas en estos pareados orales, nos hemos propuesto estudiarlos desde la perspectiva de la Poética y la Lingüística Cognitiva como enunciados activados en un entorno popular. Aplicamos los avances realizados en estas disciplinas para entender y describir los motivos emotivos y mentales básicos que subyacen al hecho de ocuparse de la construcción de la ficción como parte fundamental de la evolución humana. Los desarrollos de las ciencias cognitivas nos proveen de suficiente material y técnicas para estudiar estas versiones poéticas desde la perspectivas biológicas y socioculturales de las ciencias cognitivas que contribuirán sin duda conocimiento esencial a otras perspectivas que están muy !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $%!! ! establecidas como la psicolingüística o neo-historicismo. Aunque aún no se haya realizado ningún estudio de ningún producto de la cultura Tamazight en ninguna de sus variantes lingüísticas desde ninguno de estos enfoques, nuestro objetivo es tratar de demostrar que los izran pueden aportar datos conceptuales importantes no tanto a la poesía universal como a la organización biocultural del ser humano. Esta hipótesis metodológica viene avalado por el hecho de que el paradigma cognitivo nos provee desde los 1990s de suficiente material y técnicas para comprender los mecanismos cognitivos implicados en los procesos bioculturales de conceptualización. Nuestra intención es aportar datos prácticos desde el estudio del tarifit y su cultura berebertamazight. Intentamos demostrar la urgente necesidad de discutir nuevas aproximaciones y percepciones que nos puedan guiar hacia una comprensión mejor de la construcción triádica de categorías conceptuales (significado, emoción y valor) que desde los niveles preconceptual y prelingüístico se revela finalmente enunciada y expresada en los izran. Nos mueve académicamente y nos conmueve culturalmente la idea de poder descubrir en los izran un verdadero potencial generador de progreso de la rica aunque abatida sociedad bereber en todas sus variantes socioculturales. 1.2. METODOLOGIA. Para aquellas personas que no están familiarizadas con los izran, hemos proporcionado una descripción muy detallada de estas versiones poéticas, para posibilitarles aunque brevemente, entender algunos puntos de orientación teórica. Los izran encapsulan una serie de elementos relacionados con el lenguaje y el pensamiento (esquemas de $%"# !"!#$%&!#'!()*$+%&()&*$ ! imágenes, metáforas o marcos) en un modelo del pensamiento cultural. Este tipo de análisis resalta la relación entre lo cognitivo y lo cultural. La metodología esta anclada en varias disciplinas cognitivas. El problema puede ser tratado desde el punto de vista de varias disciplinas cognitivas, pero debido a este gran bagaje en juego, lo más productivo es no menospreciar otras teorías. Seguramente ciertos puntos de vista recibirán menos atención que otros. Nuestra estrategia consiste en presentar las principales teorías que proporcionan una información útil de base en nuestro objetivo de crear un espacio nuevo de conocimiento del bereber y sus posibilidades de desarrollo social. 1.3. POR QUÉ IZRAN Cuando terminé mis cursos de doctorado sobre estudios cognitivos del lenguaje y la cultura, pensé que ésta era una oportunidad única de rehabilitar y dar a conocer la historia perdida del Rif tal y como aparece hoy por hoy conceptualmente organizada y lingüísticamente evidenciada en los izran. Ya entonces recibí consejos de mi profesora y supervisora la Doctora Guerra para tratar algunos aspectos relacionados con la cultura oral del Rif Bereber. Enseguida nos percatamos de la singularidad de los izran y desde entonces no hemos dejado de realizar algún tipo de investigación sobre ellos tratando de buscar datos - fósiles bioculturales en forma de lengua que en nuestro grupo de Poética Cognitiva de la ULPGC llamamos méntiles (Guerra 2009). En un principio estuve un poco indeciso sobre qué hacer, cómo hacerlo y hasta dónde podría contribuir este !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $%$! ! trabajo a mi intención de iniciar una tendencia realmente pragmática de estudio del bereber. La escasez de soporte escrito supuso desde el principio serias dificultades. Por ello empezamos a recolectar un corpus en trabajo de campo realizado en Kelaia. Aparte de las grabaciones directas, la inestimable ayuda que encontré en mis informantes hizo que la tarea resultara mucho menos ardua de lo esperado. Mis informantes han sido variados: Mujeres de avanzada edad me informaron de formas antiguas y sobre el contexto de producción de los izran; algunas muchachas del entorno familiar, las más imaginativas y con buen conocimiento del tema me contaron sus experiencias. Sus visiones y artificios expresivos resultaron de gran valor para mí en particular cuando me mostraron el truco de cambiar una palabra en la estructura del izri para así cambiar su significado y poder adecuarlo a sus intereses y propósitos. Ahora me doy cuenta que siempre he estado en contacto con los izran sin advertir el interés humano real de los mismos y que desearía poner de manifiesto en este y en sucesivos trabajos. Su transcendencia antropológica y cultural será desvelada aquí analizando la construcción de su significado conceptual (corporeizado, situado, distribuido y sinérgico). Consideremos el siguiente izri: Preciosa paloma blanca que estás en lo alto de las rocas de la montaña No te aburras ni te entristezcas, pronto te crecerán las alas. La primera propiedad sociocultural a notar es que ya no importa tanto averiguar si la poeta es objetiva o subjetiva, lo importante es que la descripción que hace no es independiente de la realidad externa. Por un lado tenemos el marco de una paloma que no puede volar y por el otro lado tenemos el de la actual situación de la mujer Rifeña. La terminología utilizada en el izri nos guía a este tipo de proyección de la imaginación. Como dice Fauconnier (1997:187) “[W]hen language occurs, meaning $%%# !"!#$%&!#'!()*$+%&()&*$ ! directly ensues, and therefore that meaning is straightforwardly contained in language”. Estos poemas populares se producen de forma cantada acompañados de música y danza. Cuando se producen en una boda, un grupo de mujeres empieza cantando a coro un estribillo que se repite varias veces antes de que una de ellas empiece su izri. Este peculiar estribillo precede a la improvisación del pareado. Yarahlayara, yarah laboya Yarahlayara, yarah laboya Este estribillo está tan afianzado conceptualmente, tan automatizado en la memoria colectiva de la cultura Tamazight que existen muchas contradicciones sobre el significado de estos sonidos. Para algunos son insignificantes en el sentido literal, para otros se trata de un mito que habla de dos reinas Rifeñas llamadas Yara y Boya que fueron asesinadas por los primeros conquistadores. Sea cual sea la interpretación que aceptemos no cambia el hecho de que yara la yarayara laboya (como lamento de una desaparición ) se ha establecido como una medida rítmica para cualquier izri; si atendemos a las teorías poéticas cognitivas de Reuven Tsur (2000) esta propiedad fonética cognitivamente formaría parte de su construcción semántica. 1.4. POSICIÓN SOCIAL DE LA MUJER RIFEÑA La situación social y geográfica que caracteriza la sociedad rifeña es de suma importancia en la comprensión de la posición social de la mujer y su rol en la transmisión del lenguaje y la cultura. En esta sociedad dominada por el género masculino, cuando una persona nace, su sexo es la marca de su posición social. Las !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $%&! ! mujeres no sólo son distintas a los hombres fisiológicamente, sino que son consideradas inferiores. Hasta hace poco tiempo no se les permitía ir al colegio, introduciéndolas así en el mundo de la mujer adulta a una edad muy temprana. A partir de los 12 años, una niña tiene que aprender a lavar ropa, llevar el ganado al abrevadero, aprender a cocinar y a cuidar de los miembros más pequeños de la familia. Es precisamente a esta edad cuando las niñas empiezan a aprender izran como ejercicio mental para dominar el lenguaje, que más adelante utilizarán como un arma muy poderosa para expresar sus inquietudes, defender su honor y criticar a la sociedad. A cierta edad, entre la adolescencia y la madurez, a las niñas se las separa de los hombres. El contacto con los hombres sólo es posible con miembros de la familia. Históricamente esta segregación empezó como resultado de la doctrina islámica impuesta por los árabes a partir del siglo séptimo. La adopción de la nueva identidad es el resultado de un largo proceso en el cuál la construcción y la organización de la identidad de los géneros fueron reconstruidas como resultado de la introducción de una nueva forma de organizar el entorno familiar y social. La construcción de la identidad no será en los sucesivo la misma para los hombres y las mujeres porque las diferencias elaboradas por la sociedad árabe no otorgan la misma consideración a los dos sexos. Esta Tesis intenta ser plataforma de lanzamiento investigador de cómo con el paso del tiempo la gente bereber empieza a adaptar sus comportamientos y sus identidades a los modelos creados por la sociedad árabe para los hombres y las mujeres. Socioculturalmente, ser mujer significará una realidad totalmente distinta a la de ser hombre, lo que podría considerarse cognitivamente en términos de habitus (Bordieu 1994, Bernárdez 2008) de esta comunidad habitada por la cultura árabe; a su vez podría $&"# !"!#$%&!#'!()*$+%&()&*$ ! aprender lo mejor de la conducta humana. Sus versiones poéticas no solo representan su visión del mundo; también funcionan como un modo de propagar la cultura bereber y una manera de hablar de política, literatura, filosofía u otros temas cotidianos como el amor romántico, la brujería, o experiencias personales. Cuando están enfrascadas en la labor de producir izran, estas mujeres no suelen aburrir su audiencia con izran ya muy conocidos. De hecho estas producciones artísticas tienen un doble fin: (1) mantener este arte improvisador vivo para varias generaciones, (2) expresar sus deseos o sus acuerdos y desacuerdos con los asuntos que les afectan directa u indirectamente sin miedo alguno a represalias. Consideremos el siguiente izri: Original Tarifit: thakad khafi thaathu sadfine tha ziza Awar wa thassiwir raaqar inu yathwa “thakad khafi thaathu sadfin tha ziza Awar wa thassiwir, raaqar inu yathwa” Traducción literal al inglés: Walked she over me move away with dress blue Talk not she talks mind mine flew. Traducción literal al español: Pasar ella sobre mí mover lejos con azul vestido Hablar no ella hablar, mente mía voló. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $&$! ! Traducción al inglés: She walked past me with her blue dress She didn´t say a word and my mind flew. Traducción al español: Pasó a mi lado con su vestido azul Palabra no dijo, mi mente voló. El oyente instintivamente percibe la diferencia entre el lenguaje poético y el utilizado en otros géneros narrativos. En el izri, la escena de dos amantes que se cruzan en la calle se describe desde el punto de vista del varón. Para una mejor comprensión el oyente activa mentalmente una escena de amor. El uso de “yo” o “mi” es una indicación de un cambio de referencia personal. La poeta parece compartir el mundo de sus protagonistas y adopta provisionalmente la personalidad del protagonista. El pronombre reflexivo “mi” indica una integración del poeta con sus protagonistas mediante la voz poética. El impacto es psicológico y el oyente, como un observador independiente, da alas a su imaginación para imaginar y conceptualizar lo que esta pasando en la mente del protagonista. Aunque aquél no puede experimentar sus vivencias, cognitivamente se experimenta a sí mismo experimentando esa realidad de mujer bereber. En el izri que estamos considerando en este apartado, se produce un cambio abrupto desde una descripción externa (como la ropa de la amante) y sus actitudes a $&%# !"!#$%&!#'!()*$+%&()&*$ ! una descripción interna (mi mente voló). Este tipo de cambio pasa desapercibido en declaraciones descriptivas cortas. La emoción parece jugar un papel importante en los izran. Las emociones, como han demostrado neurobiólogos como Antonio Damasio y otros teóricos de la emoción como cognición, parecen poseer una influencia esencial sobre la conducta humana. Este poema, por ejemplo, puede producir alegría en algunos y pena en otros. La pregunta de partida aquí es: ¿Es el lenguaje lo que ejerce estos efecto o algún otro elemento escondido en el lenguaje de estos poemas populares del Rif? Para comprender el izri, el oyente evalúa la información recibida en el poema comparándola con sus experiencias previas. Su modelo del mundo emana de sus experiencias personales en un proceso cognitivo adaptativo y biocultural. El intérprete crea un mundo que se ajusta a sus experiencias personales. Pensamos que un izri consiste básicamente en un mensaje enunciado, la exposición de una idea, o la descripción de una situación capaz de generar una emoción en la audiencia. Su autenticidad radica en el hecho de que un izri tiene que tener algo de verdad y comunicarla con autenticidad. La verdad y la credibilidad son elementos substanciales de un buen izri. Así, la producción de un izri requiere la presencia de un oyente que va a relacionar la realidad del poema con la realidad actual. El lenguaje utilizado en su elaboración, los gestos del hablante y sus movimientos pueden reflejar la experiencia subjetiva del sujeto que en realidad determina su modelo general. Como en los poemas breves de las vanguardias europeas del s. XX, los izran pueden parecer muy simples pero cuando intentamos dilucidar su lenguaje (significado, emoción y valor) nos !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $&&! ! resultan más complejos de lo esperado. Un izri siempre se produce también con la intención de decir algo intenso sobre la condición humana, por lo que todo intento por describir su lenguaje es necesario. A continuación traemos a colación un ejemplo de que el lenguaje de un izri y su arquitectura son aparentemente muy simples pero muy complejos en la situación sociocultural en la que se enuncian: Original Tarifit: Khalinakum ala khir rahbab ya ithuran Kaniw thanuqarth nashin duro yasfa “khalinakum ala khir rahbab ya ithuran Kaniw tha nuqarth nashin duro ysfa” Traducción literal al español: Dejamos a vos sobre el bien queridos suegros Vosotros la plata nosotros moneda limpia Traducción literal al inglés: Let you over good dear fathers in law You are silver we the clean coin. Traducción al español: Sobre vosotros el bien, oh queridos parientes y suegros $&'# !"!#$%&!#'!()*$+%&()&*$ ! Vosotros sois la plata, nosotros la brillante moneda. Traducción al inglés: The good be on you, oh dears and fathers in law You’re the silver and we the shining coin. El lenguaje utilizado en este izri es muy simple; sus efectos, considerados aquí como significados emergentes, se basan en el uso de algunas palabras claves como “ plata, brillante moneda”. Esta descripción metafórica del estatus y la belleza produce efectos emocionales en los oyentes. Para la Poética Cognitiva actual en todas sus variantes teóricas (Freeman 2007), la literatura en sus diversas manifestaciones es una forma específica de conceptualización cognitiva adaptativa de las experiencias cotidianas de las personas. Este hecho nos permite comprender cómo las fuentes del intérprete se han modificado con el paso del tiempo y con ello nuestra percepción del mundo. La poética cognitiva ofrece abundante material para entender el fenómeno de los izran con referencia a procesos cognitivos. Hoy tenemos a nuestra disposición varias disciplinas científicas que unen esfuerzos para explicar el lenguaje, su función y los significados que emergen de su uso. Prácticamente todo lo que respecta a la realidad sociocultural de Rif es analizable desde el procesamiento de palabras a la activación de esquemas de imágenes, o todo lo relativo al hecho biocultural de que nuestra comprensión del mundo contiene imágenes, sentimientos, o actos sociales (Turner 1991). !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $&(! ! Como las mujeres Rifeñas son analfabetas funcionales en su inmensa mayoría, su lenguaje tan simple pero tan cargado de significados conceptuales se produce para unos consumidores de las mismas características. Cuando están inspiradas y producen un izri para inmortalizar un evento o expresar un sentimiento, comunican sus ideas a través de un lenguaje simple y eficiente para facilitar a los oyentes la comprensión de un izri, no solamente basándose sobre el lenguaje utilizado y que contiene algunas propiedades que van mas allá del nivel estructural de la oración (Emmott 2004), sino también sobre todas las inferencias que se pueden hacer y que son el producto de un conocimiento cultural compartido (Tomasello 2008) 1.8. HISTORIA EN IZRAN Aunque las mujeres Rifeñas se inspiran en hechos históricos, a la hora de inmortalizar un evento, utilizan un lenguaje donde mezclan sentimientos subjetivos con la realidad histórica. Simplemente no pueden librarse de su ego y ser objetivas; la subjetividad produce efectos emocionales, y este hecho es el principal asunto y el más universal de todos los poetas. Ver el siguiente izri: Original Tarifit. A thuyagh a thuyagh huma yuhray u thar A sithi lif inu umi guigh r khathar “a thuyagh a thuyagh huma yuhray uthar Sithi lif inu umi guigh r´khathar” $&)# !"!#$%&!#'!()*$+%&()&*$ ! Traducción literal al español: Caminar yo, caminar yo hasta cansar mío pie Querido amor mío a quien complacer yo. Traducción literal al inglés: Walk me, walk me till tired mine foot Dear love mine whom I pleased. Traducción al español: Voy a caminar caminar hasta la extenuación de mis pies, Ay de mi Amor. Ay, a quien he complacido. Traducción al inglés: I m going to walk, walk till my feet are tired Oh my beloved. Oh to whom I pleased. La emoción genera un ambiente psicológico muy intenso. El oyente es consciente de cierta inestabilidad emocional y mental. La intensidad de la emoción es lo primero que percibimos. Como en la Edad Media, en la zona del Rif la historia vivida en propia carne se sigue contando hoy en forma de poesía oral, porque es la mejor y más fácil de las maneras de transmitirla de una generación a otra, por su oralidad y sus efectos comunicativos. Como ha ocurrido siempre, en muchos izran no sabemos dónde termina !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $&*! ! la realidad fáctica, la tradicional objetividad, y dónde empieza la leyenda, la tradicional subjetividad. Esto los convierte en enunciados aún más interesantes para un estudio cognitivo. Las mujeres amazight a veces narran hechos inventados, o cuentan hechos distorsionados por la imaginación colectiva, pero creen o al menos quieren hacernos creer que son verídicos; de hecho lo son siempre en lo que tienen de construcción sociocultural del punto de vista de estas mujeres bereberes. Es difícil hacer una distinción entre hechos históricos y ficción. La frontera entre los dos es muy difusa. La simple comprensión de estos izran de una manera colaborativa hace de ellos una comunidad de práctica en el sentido de Bourdieu (1994, citado en Bernárdez 2008). 1.9. ASPECTOS COMPOSITIVOS GENERALES DEL IZRI A nivel cognitivo, cada izri, puede considerarse un mundo en si mismo, porque demuestra una representación de las mujeres rifeñas desde una producción comunicativa en tiempo real (online). De esta forma práctica, en la que semántica se equipara a pragmática, un izri puede contarnos algo nuevo sobre la mente humana en general, desde producciones locales de la vida y la cultura de esta comunidad. Emocionalmente, nos puede entretener, entristecer o hacernos llorar. Un izri puede tener un ambiente agradable o asfixiante. Un izri puede producir en nosotros un sentimiento de resentimiento, ira, miedo, desilusión, rechazo o indiferencia. Entender un izri y nuestras reacciones hacia éste es un proceso que evoca en nosotros estos sentimientos y emociones. Utilizando el paradigma cognitivo, nos sentimos capacitados $'+# !"!#$%&!#'!()*$+%&()&*$ ! para describir y explicar ese sentimiento interno que representa ese mundo escondido del ser humano. En resumen, partimos de la distinción que hace Steen (2003) respecto al arte como una antorcha que ilumina localidades y no como un espejo que muestra una reflexión global. 1.10. LITERATURA ORAL DEL RIF: POEMAS Y RELATOS Cuando hablamos de la literatura Rifeña, nos referimos a la literatura oral que se manifiesta en los izran y los cuentos contados por mujeres cuentacuentos. Recordamos que hasta el momento no ha habido mucho trabajo investigador sobre la variante del Tarifit su cultura y su gente y que los pocos trabajos realizados han sido hasta la fecha puramente descriptivos. Recientemente grupos de estudiantes en Europa cuya lengua madre es una de las variantes del Tamazight han empezado a publicar algunos trabajos de naturaleza práctica. Como nunca ha sido una lengua de soporte escrito este hecho no ha permitido su evolución académica. Ésta ausencia de un lenguaje científico deja un vacío que vienen a cubrir otras lenguas como el árabe o el español en forma de préstamos cada vez más cuantiosos. Esta realidad se puede percibir escuchando una conversación entre dos individuos bereberes. De cada diez palabras tres son de origen árabe o español. Los izran ocupan un lugar privilegiado en la cultura oral del Rif. Las jóvenes, que empiezan por memorizar el máximo número posible de izaran ya producidos, parecen cada vez más preparadas para introducir variantes espontáneas y crear su propio !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $'!! ! estilo como la famosa Mimunt N Selouan; esta poeta es famosa porque tuvo la valentía de criticar a “Dios” en un izri, lo que muchos consideraron una blasfemia. Original tarifit: Aya sidi rabi jma ithan nesh Tmanyath u liman khir swanzar nesh “Aya sidi rabi ajma itharn nesh Tmanyath u liman khir swanzar nesh.” Traducción literal al español: Oh señor! recógete pies tuyos Dinero de Alemania mejor que lluvia tuya Traducción literal al inglés: Oh lord! Move feet yours Money of Germany better tan rain yours Traducción al español: Oh Dios recógete tus pies El dinero de Alemania mejor que tu lluvia. Traducción al inglés: Oh Lord! Move out your feet $')# !"!#$%&!#'!()*$+%&()&*$ ! Traducción literal al español Quien quiere casarse, casarse, casarse con cantante Trabajo no trabaja, entretiene por lo menos. Traducción literal al inglés She that wants, marry marry, marry a Singer Work he works not, entertains at least. Traducción al español La que quiere casarse que se case con un trovador Trabajo no trabaja, pero por lo menos entretiene. Traducción al inglés She that wants to marry, marry a troubadour Work he likes not, but at least he entertains. 1.11.5. IZRI DE BRUJERÍA Original Tarifit Qam atay qam atay ag naanaa thrus Inas I sus ni qa thayd thuthith gwfus [Qam atay, qam atay ag na3na3 thrus Inas isus ni qa thayd thuthith gwfus] !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $'*! ! Traducción literal al español Mueve te mueve te pon yerba buena poco Dile carcoma esa, pronto caer en manos mios. Traducción literal al inglés Move tea, move tea put mint a little Tell worm that, soon fall in hands mine. Traducción al español Mueve la tetera, mueve la tetera y pon poquita yerba Buena Dile a esa carcoma que pronto caerá en mis manos. Traducción al inglés Shake the teapot, shake the teapot and put a Little of mint Tell that worm soon he will fall in my hands. 1.12. LOS IZRAN COMO CRITICA SOCIAL “The woman who performs her songs at wedding uses them not only as a social criticism, but as a strategy to defend herself, attack others, encourage suitors, announce $(+# !"!#$%&!#'!()*$+%&()&*$ ! an engagement, remind young men of the tribe she is in love, shame or ridicule an unwanted swain, or justify her decision to break an engagement” (Joseph, 1980:427). Los izran son percibidos como una comunicación que es a la vez interna e externa producida en forma de versos rítmicos. Esta actividad humana es muy importante porque nos permite definir quiénes somos, además de jugar un papel importante en crear un sentido de nuestro entorno y de los eventos experimentados. Nuestra presencia en una boda nos da la sensación de poder evaluar estos poemas como un fenómeno interactivo, un intercambio de significado a través del canto. Cuando un grupo de mujeres están ocupadas con los procesos de producir izran, nos da la sensación de que estos poemas están siendo producidos conjuntamente por todas ellas; además, el acto comunicativo de alguna manera incluye su audiencia. Al enunciar estos poemas, la mujer Rifeña tiende a ser más subjetiva que objetiva. Generalmente los izran que producen suelen estar situados en el pasado o en el presente pero raramente en el futuro. Como ya hemos observado, los izran implican una comunicación externa e interna. Implícitamente, una comunicación a través de un izri existe como un proceso con un sentido cultural; explícitamente existe como una estrategia de ataque y de defensa. Internamente, hasta los hombres utilizan izran en ciertas situaciones para transmitir ideas, reforzar la cultura, recordar a la tribu sus valores, aconsejarles sobre cómo permanecer unidos u organizar a la familia. Externamente, sirven para dar a conocer a la tribu, magnificar el honor de su tribu, su estatus social, sus virtudes, etc. Los izran implican comunicación en forma de declaración con rima. La poeta nos dice algo sobre unas experiencias vitales que son el ingrediente básico de un izri en !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $(!! ! el marco de una escena que inmortaliza un evento histórico. En los izran, la mujer rifeña expresa su opinión libremente, en particular sobre conceptos altamente abstractos como el tiempo o la vida, por ejemplo cómo el paso del tiempo les quita sus más preciosas posesiones, su juventud, su belleza y la vida misma; lo hacen con una voz y un tono que contribuye a definir el significado conceptual. Por otra parte, los significados que los oyentes asignan a los izran, están basados en la activación cognitiva de las formas lingüísticas utilizadas, por la cultura del hablante y oyente, y por el contexto de producción. Los izran incluyen un punto de vista y un mensaje con referencia a declaraciones morales que sirven como tema del izri y suscitar una emoción y un juicio de valor en los oyentes. En cada izri, suele haber un cambio abrupto de una descripción externa a otra interna en cuestión de una línea. El conflicto entre lo externo y lo interno es progresivo y al final resulta en una evaluación negativa o positiva de la situación. De la audiencia, se espera que codifiquen el mensaje del hablante. En este sentido, la existencia del contexto social, el lenguaje utilizado, y la relación entre la poeta y su audiencia y sus experiencias tiene que tomarse en consideración. Ningún elemento que participa en la composición puede ser excluido, como lo lingüístico, lo contextual, lo cultural, la subjetividad, la empatía, etc. Comprender un izri no implica que el oyente sea experto en la materia para revelar percepciones interesantes y saber cómo elaborarlos. Todas las mujeres productoras de Izaran los producen creando una escena a la cuál atraen a su audiencia. La audiencia experimenta ciertas emociones. Esto quiere decir que los elementos del izri focalizan un $("# !"!#$%&!#'!()*$+%&()&*$ ! argumento racional y emocional, para que cumpla el propósito inicial de apelación a la mente y al corazón. 2. SELECCIÓN Y APLICACIÓN DEL CORPUS La elección de estos izran como objeto de estudio ha sido realizada con el objeto de analizar cognitivamente algunas posibles expresiones que pudieran revelar conceptualizaciones específicas de esta lengua y cultura. Junto con mi supervisora hemos decidido que el corpus, recogido en las montañas del norte de Marruecos y traducido por el autor de este trabajo, constituye un conjunto de datos científicamente válidos como el anunciado por Fauconnier (1994: xxvii). Hemos traducido estas versiones poéticas al español e inglés y las hemos presentado en su versión original en la variante bereber tifina con una versión de sonido en caracteres latinos mas una traducción literal al español y al inglés. La recogida de los izran no ha sido una tarea fácil ya que el contacto del autor con estas mujeres ha sido posible sólo a través de algunos familiares. Sus contactos directos han sido siempre con miembros del ámbito familiar. Además la escasez de soporte escrito ha añadido considerables dificultades. La única ventaja ha sido el tamaño de esta gran biblioteca al aire libre y la colaboración de muchos informantes. Estas mujeres nos informaron de los contextos de cada izri, y nos enseñaron cómo cambiar una palabra en un izri para adaptarla a los intereses del hablante. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $($! ! 2.1. FUNDAMENTOS TEÓRICOS Lakoff (1987) expuso la base filosófica de la Lingüística Cognitiva situando esta disciplina innovadora en el marco general del experiencialismo. Desde un principio se desvió del generativismo Chomskiano con propuestas más cerca de una visión integradora de las culturas. Para los generativistas el significado es algo periférico al estudio del lenguaje. Su objetivo central en el estudio del lenguaje ha sido la sintaxis (la forma). Las estructuras del lenguaje están gobernadas por principios independientes del significado. Esta tendencia fue rechazada por los padres fundadores de la lingüística cognitiva (Lakoff, Langacker, Talmy, Johnson, Fillmore). A partir de los 1970s una amplísima búsqueda a nivel internacional ha evolucionado bajo la etiqueta de Lingüística Cognitiva, Poética Cognitiva, Sociología Cognitiva, Psicología Cognitiva, Neurociencia Cognitiva, etc. Todas ellas bajo el sol común de las Ciencias Cognitivas. La lingüística cognitiva se caracteriza por su principio innovador, desarrollando modelos y métodos para tratar el lenguaje desde una dinámica compleja del pensamiento. Esta novedad esta lúcidamente descrita hoy en muchos tratados sobre la misma unos más teóricos y otros más prácticos. En español destacan por su realismo cultural las contribuciones de Bernárdez (2002, 2008). El punto de partida común es que el lenguaje refleja ciertas propiedades biofísicas (corporeizadas, situadas, distribuidas, sinérgicas, etc.) de la creatividad de la mente humana. Para aquellos que adoptaron la tendencia experiencial, pensar es más que manipular símbolos abstractos. El procesamiento cognitivo depende de la estructura global del sistema conceptual y no de operaciones muy simples entre símbolos aislados. Este trabajo se desliga de la tendencia $(%# !"!#$%&!#'!()*$+%&()&*$ ! objetivista que ve el pensamiento como una manipulación mecánica de símbolos abstractos que adquieren significado por correspondencia directa con el mundo exterior. Según este punto de vista el pensamiento abstracto es independiente del cuerpo humano y su sistema nervioso y perceptual (Hilferty 1999). El movimiento experiencial propone que las estructuras que constituyen nuestro sistema conceptual emergen de nuestra experiencia corpórea y adquieren sentido según dicha experiencia. La peculiar naturaleza de nuestros cuerpos y cerebros, especialmente nuestro sistema sensorimotor trazan nuestras posibilidades para la conceptualización y la categorización (Lakoff& Johnson 1999). El estudio del lenguaje no es un simple estudio de la sintaxis, la fonología u la morfología sino es un asunto que implica pautas de conceptualización. En el paradigma cognitivo una serie de disciplinas científicas forman una alianza para explicar el lenguaje, su función, cómo se produce y su relación con la mente. El estudio del lenguaje se ha convertido en un terreno fértil para la neurociencia, la lingüística, la biología, la sociología, la filosofía u la psicología entre otras disciplina científicas. Cualquier punto de partida que tomemos siempre llegamos a la misma conclusión. Si empezamos por estudiar el lenguaje llegamos a la mente y si empezamos por estudiar la mente llegamos al lenguaje. Esta es la característica que distingue la lingüística cognitiva de otras tendencias lingüísticas. Para clarificar esta idea, básicamente el lenguaje representa el pensamiento y este se localiza en la mente. La mente es el resultado de la función de la materia cerebral y las millones de interconexiones neuronales. Desde el punto de vista teórico, necesitamos la intervención de la biología para explicar de qué está compuesta la materia cerebral, la neurociencia para explicar cómo suceden las interconexiones neuronales, y la sociología para explicar la relación !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $(&! ! entre lenguaje, mente y cultura (Bernárdez, 2004). El pensamiento que está representado en el mundo exterior por el lenguaje necesita una explicación lingüística y psicológica. Es este estudio interdisciplinar el que dio lugar a las ciencias cognitivas. Esta ciencia, en términos de Oatley, se define de la siguiente manera: “Cognitive science is about knowledge, conscious and unconscious, about how it is represented, how it is used by the human mind and artificial mind and how it may be organized for particular purposes. It is interdisciplinary and multimethodological … it derives from psychology, linguistics and literary theory. Its field is literature, including texts that are read, movies that are seen, poetry that is heard.”(Citado en Steen, 2003: 161-163) 2.2. CONSTRUCCIÓN DEL SIGNIFICADO De acuerdo con la semántica cognitiva el significado es intencional. El significado, según Williams (2004), se construye en la experiencia mental del conceptualizador con un cerebro en un cuerpo que interactúa con otros conceptualizadores. Nuestras interacciones con el mundo y con estos otros juegan un papel crucial en los significados que construimos. El mundo en sí mismo tiene estructura y proceso pero no significados. El significado emerge cuando el cerebro entra en contacto con el mundo. Aquí hablamos del significado como conceptualización, como experiencia corpórea del conceptualizador mientras está construyendo, conectando e integrando espacios mentales estructurados por modelos conceptuales y anclados en la experiencia perceptual. La conceptualización es un proceso biocultural. Las estructuras conceptuales inicialmente se derivan de nuestra temprana experiencia sensorial-motora al interactuar $('# !"!#$%&!#'!()*$+%&()&*$ ! con el mundo (Mandler 1991). En general, nuevas estructuras conceptuales pueden emerger vía operaciones conceptuales como la analogía, la metáfora conceptual, la integración conceptual, y la elaboración de simulaciones mentales. Para la semántica cognitiva el lenguaje no representa un sistema aislado con un estatus cognitivo separado; el lenguaje es considerado como habilidad cognitiva que interactúa con otras habilidades cognitivas dentro de un sistema de conocimiento común u compartido. Esto implica que cualquier estructura de conocimiento que se asocia a una palabra en particular, potencialmente pertenece a la estructura semántica del término léxico en el cual el concepto está simbolizado. El significado es una estructura cognitiva que adquiere su valor sólo en relación a un contexto más amplio de conocimiento y creencias. En la semántica cognitiva se hace muy difícil trazar una línea entre el conocimiento general del individuo y sus conocimientos lingüísticos. Esta idea es muy clara en la siguiente cita: “Expressions do not mean they are a prompt for us to construct meaning, by working with processes we already know. In no sense is the meaning of [an]… utterance, “right there in the word”, when we understand an utterance, we in no sense understand “just what the words say”; the words themselves say nothing independently of the rich, detailed knowledge and powerful cognitive processes we bring to bear.” (Turner, 1991:206) 2.3. SIGNIFICADO DE DICCIONARIO VERSUS SIGNIFICADO ENCICLOPÉDICO !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $((! ! La función de los componentes del diccionario se estudia en la semántica léxica mientras que los componentes enciclopédicos encajan dentro del terreno de la pragmática. La diferencia radica en la división entre el significado léxico-semántico y el significado que emerge del texto como estructura global. Desde el punto de vista de la semántica cognitiva la existencia del conocimiento enciclopédico supone el conocimiento del diccionario (Evans, Bergen y Zinken 2007). El significado que conllevan las palabras y nuestro conocimiento y uso de ellas no es un caos desorganizado sino al contrario, profundamente organizado. Algunas teorías han sido desarrolladas por estudiosos como Fillmore (1977) en su “Frame Semantics” (o Teoría del Marco Semántico), en la cuál describe la organización de significados en forma de marcos. Lakoff (1987) habló de Modelos Cognitivos Idealizados (Idealized Cognitive Models ICMs), un tipo de modelo de conceptualización establecido. Describió cuatro modelos establecidos: 1. Modelos proposicionales (conocimiento relacionado con una forma lingüística) 2. Esquema de Imágenes (conocimiento a partir de una localización espacial) 3. Modelos metafóricos (conocimiento analógico basado en la semejanza) 4. Modelos metonímicos (conocimiento analógico basado en la contigüidad) Otros cognitivistas precursores desarrollaron modelos similares; nos interesan aquí sobre todo los Dominios Cognitivos de Langacker (1987), los Marcos Semánticos de Fillmore o nociones más locales como guiones, esquemas, escenas o escenarios. Estos modelos se conocen también con otro elenco de términos teóricos que han ido variando a medida que evolucionaban las teorías cognitivas del lenguaje y otros sistemas $)%# !"!#$%&!#'!()*$+%&()&*$ ! Según Freeman (2000), desde una interpretación neurobiológica de los signos, el significado sólo existe en la mente. Por ejemplo, cuando contemplamos las inscripciones líbico-bereberes encontradas en muchas zonas del mundo amazigh y no entendemos el significado, sólo sabremos lo que pasaba en la mente de esta gente mediante mapeos de los procesos (pre)conceptuales. En general los significados están en la mente; para este fin los científicos han desarrollado las teorías de del lenguaje y la cultura de índole cognitiva cuya preocupación central es la naturaleza del significado y su construcción. 2.7. CON/FIGURANDO EL LENGUAJE LITERAL Y FIGURADO ¿Qué componentes y qué propiedades tanto internas como externas facilitan la comprensión del lenguaje literal y más tarde figurado en los procesos conceptualizadores? Aunque la frontera entre lo literal y lo figurado es ambigua, los individuos procesan los dos tipos de lenguaje casi con la misma facilidad. La diferencia fundamental parece radicar en el hecho de que el procesamiento del lenguaje figurativo se realiza utilizando más tiempo, lo que tiene relación directa con ciertas propiedades dinamicistas de los sistemas complejos que observamos en este trabajo. 2.8. LA BASE SOCIAL DE LA VIDA CULTURAL DEL TAMAZIGHT: COGNICION INDIVIDUAL Y COGNICIÓN COLECTIVA !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $)&! ! Según Edelman (1992), nacemos en un mundo que es previo a nuestra existencia y todo lo que sabemos lo hemos adquirido en este mundo. El conocimiento adquirido es utilizado para entender mejor este mismo mundo. Razón suficiente para pensar que las personas que hablan la misma lengua y pertenecen a la misma cultura piensan aproximadamente en términos similares aunque podamos hablar de la cognición individual como única para cada persona. En realidad existe una fuerza oculta que traza el pensamiento de cada persona y caracteriza sus acciones. Esto es lo que hace que cada persona sea distinta a otra. Según Bernárdez (2004:5-10) “ If thinking is an individual affair, activity is necessarily interactive (…) the cognition of the individual participating in similar collective activities will develop in similar directions.” Según Tomasello (2000a: 357), “ …all artifacts that enable and empower human cognition (…) are the joint product of many people working over many years, combining and accumulating skills and knowledge” (citado en Bernárdez 2004:10). Esta idea demuestra claramente el énfasis en la importancia de la colectividad en el desarrollo de la cognición individual que se hace en este trabajo sobre el izri como estructura enunciativa reveladora de la realidad sociocultural del bereber-tamazight en lengua tarifit. $)'# !"!#$%&!#'!()*$+%&()&*$ ! 3. MÉTODOS Y MODELIZACIÓN COGNITIVA 3.1. MODELOS COGNITIVOS IDEALIZADOS: LA METÁFORA, LA METONIMIA Y LA IMAGEN ESQUEMÁTICA COMO MECANISMOS COGNITIVO BÁSICO DE CONCEPTUALIZACIÓN Nuestra primera hipótesis en este trabajo es que la conceptualización de los izran improvisados está activada en una dinámica que es específicamente metafórica en dominios centrales para la vida diaria en el desierto montañoso, particularmente aquellos del TIEMPO y LUZ como categorías prototípicas; es algo que aquí entendemos y analizamos como una extensión de significado que se manifiesta en condiciones desérticas específicas del entorno biofísico del Rif. Hemos seleccionado a modo de ejemplo un izri que evidencia lingüísticamente una categorización específica en el marco conceptual de luz y tiempo. Nuestro objetivo es investigar qué es lo que lo convierte en un ejemplo de un tipo de fenómeno cognitivo diferenciado que aún no se ha descrito socioculturalmente en teorías cognitivas. Para responder a esta pregunta hemos concentrado nuestra atención en un sólo izri en uso para dar sentido a los componentes básicos de la especificidad de la conceptualización de día y noche en la lengua tarifit de la cultura tamazight. Para ello hemos comenzado centrando nuestra atención en la siguiente pregunta: ¿Qué es lo que nos hace identificar el uso de una expresión como literal o metafórica? La selección de las expresiones parece estar regulada por algún sistema tradicional. Este mismo sistema define la manera en que !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $)(! ! vamos a interpretar las expresiones lingüísticas. Este tipo de interacción nos permite reconocer e identificar cuándo una expresión es metafórica o cuándo un dominio se entiende en términos de otro. Los elementos que componen los dos dominios mantienen cierta relación. Esta relación no esta ahí al azar sino que tiene su base en las experiencias de los habitantes de la zona en el entorno, a partir de la que se construye significado corporeizado (Lakoff 1987), situado (Zlatev 2002), distribuido (Hutchins 2003) y sinérgico (Bernárdez 2007). Por lo tanto, lo que necesitamos es saber qué funciones cognitivas participan en la comprensión de una metáfora. Cómo están relacionadas con los esquemas culturales. La teoría general que nos ocupa sobre cognición humana dice que existen diferentes tipos de metáforas en diferentes culturas y que éstas no son una simple decoración del lenguaje. Investigar la organización biocultural de los componentes naturales que hacen significar las expresiones es una labor muy arriesgada y contra intuitiva. Una pregunta coherente de la que se puede partir es cuál es el denominador común de todas estas metáforas. En este trabajo mencionamos cuatro tipos de metáforas conceptuales que pueden ayudarnos a clarificar este fenómeno cognitivo. 1. Metáforas estructurales 2. Metáforas ontológicas 3. Metáforas de orientaciones 4. Metáforas de esquema de imagen $))# !"!#$%&!#'!()*$+%&()&*$ ! Otro mecanismo cognitivo que hemos considerado es la metonimia. Al igual que la metáfora, la metonimia también se clasifica en varios grupos como: 1. El producto por el productor 2. El lugar por el evento 3. El lugar por la institución 4. El controlador por el controlado 3.2. INTERACCIÓN ENTRE METÁFORA Y METONIMIA Muchas metáforas conceptuales se derivan de metonimias conceptuales. La interacción entre metáfora e metonimia ha sido estudiada por investigadores como Barcelona (1997, 2000c), Goossen (1990) o Ruiz De Mendoza (1997, 1999, 2000). Goossen consideró cuatro posibilidades de interacción entre metáfora e metonimia: 1. Metáfora procedente de una metonimia 2. Metonimia en la metáfora 3. Metáfora en la metonimia 4. Demetonimización en una metáfora Barcelona (2000c) habló de dos tipos de interacciones: 1. Motivación metonímica de una metáfora 2. Motivación metafórica de una metonimia Ruiz de Mendoza (1999c) distingue entre cuatro posibilidades de interacción: !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $)*! ! 1. Expansión metonímica del dominio fuente 2. Expansión metonímica del dominio meta 3. Reducción metonímica de uno de los mapeos del dominio fuente 4. Reducción metonímica de uno de los mapeos del dominio meta. Todos estos tipos de interacción han sido considerados en el análisis de nuestro izri ejemplar. 3.3. COMPRENSIÓN DEL LENGUAJE FIGURADO DE LOS IZRAN En la interpretación del lenguaje figurativo el significado no se extrae de las unidades léxicas individualmente (Bergen 2008:1). En este tipo de enunciados, el significado del todo difiere del significado de las unidades léxicas individualmente. Como reitera Bergen (2008:2) “figurative meanings are not encoded in words, but rather generated by inferential and pragmatic processes.” La pregunta que nos hemos hecho aquí es cuál es el mecanismo cognitivo básico utilizado en el proceso online de conceptualización de tiempo en este izri? La respuesta sólo se encuentra examinando los trabajos que se han hecho en forma colaborativa entre varios estudiosos en diferente disciplina científicas como la Neurociencia, la Lingüística, la Psicología, la Neurobiología, u la Sociología, tal y como se reflejan en los Modelos Cognitivos Idealizados desde la metáfora conceptual a los más avanzados de integración conceptual. Hasta donde hemos podido llegar, hemos $*+# !"!#$%&!#'!()*$+%&()&*$ ! recorrido todas estas disciplinas bajo el sol abrasador de las nuevas Ciencias Cognitivas. Sabemos que la complejidad de este trabajo hace de él una tarea a largo plazo, aunque creemos que segura. 3.4. LOS IZRAN COMO EXPRESIONES EMOCIONALES El rasgo más distintivo de la poesía es la comunicación emocional. Tradicionalmente ésta ha sido expresada a través de la rima. La musicalidad que emerge de la construcción poética rimada ha ejercido tradicionalmente ciertos efectos sobre el oyente y además es importante para la memoria en el proceso de composición. Esta musicalidad no es simplemente un ornamento sino que forma parte de ciertos procesos cognitivos (Tsur 2007). Consideremos algunos izran: Oh Monte Wixan, ay¡ la carcoma de los huesos Lo penetraron los cristianos para de el extraer con hilos. Mokhatar de Mimun te voy a poner entre el corazón y el hígado Así no te alcance el viento ni la lluvia si esta golpeara. Primo del alma qué quieres que te diga La juventud se me fue y la belleza me abandonó. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $*!! ! La emoción expuesta en estos pareados es de naturaleza sociocognitiva. En realidad emerge como resultado de una interacción entre un individuo y un objeto o una situación, o un grupo de individuos que pertenecen al mismo grupo social. La emoción es un evento independiente del individuo. Las emociones en general tienen una característica común y es que no son puramente cerebrales sino que tienen que estar acompañadas de ciertas modificaciones fisiológicas. Nos han interesado en este trabajo de forma especial porque es especialmente en el mundo de las emociones donde la relación entre el cuerpo y la mente es evidente. Las reacciones emotivas que son psicofisiológicas demuestran un claro sincronismo cuando se producen estas reacciones. 3.5. APLICACIÓN DE MODELOS COGNITIVOS A LA COMPLEJIDAD CONCEPTUAL DE LOS IZRAN Debido a ciertos elementos sociológicos, históricos, lingüísticos, geográficos y culturales que caracterizan la vida de las mujeres Rifeñas, es común encontrar ciertas expresiones en izran que conceptualmente pueden considerarse como méntiles Guerra (2009), fósiles semánticos de una lengua/especie milenaria como la bereber. Nuestra hipótesis es que estas expresiones que están fosilizadas en el habla tifina cotidiana pueden contribuir, con evidencias de estructuras conceptuales aún no descritas, a las teorías más avanzadas en el terreno de las ciencias cognitivas del lenguaje y la cultura. Hemos querido mostrar una puerta abierta a un nuevo antiguo mundo bereber a disciplinas como la Psicología Cognitiva, Antropología Cognitiva, la Poética Cognitiva, la Lingüística Cognitiva, la Semiótica Cognitiva, o la Filosofía Cognitiva entre muchas $*"# !"!#$%&!#'!()*$+%&()&*$ ! otras que hoy vemos crecer con rapidez debido a los avances humanistas, biológicos y tecnológicos sobre la evolución del conocimiento humano. Pensamos que a su vez estas teorías podrían beneficiar un progreso social muy necesitado por las culturas bereberes que hoy hablan alrededor de 30 millones de personas. Para determinar la riqueza sociocultural de un izri, hemos desarrollado un análisis sociocognitivo utilizando los modelos conceptuales mas avanzados desarrollados por la Lingüística y Poética Cognitiva. Hemos utilizado modelos básicos de las dos metodologías más desarrolladas que son finalmente integradas en un punto de vista sociocognitivo de la Poética como construcción dinámica y compleja del significado (Guerra 2011). Estos métodos son: 1) la teoría de la metáfora conceptual, el modelo cognitivo originalmente propuesto por Lakoff y Johnson (1980) e inicialmente desarrollado en Lakoff y Turner (1989); y 2) la teoría de la Integración Conceptual, el llamado “Blending” detallado en Fauconnier y Turner (1995, 2002), y su evolución semiótica en términos de un crecimiento interactivo muy complejo entre concepto y tiempo real de la enunciación en el modelo de Brandt & Brandt (2005). El objetivo principal ha sido identificar significados diferenciados que emergen como resultado de algún tipo de especificidad sociocultural, haciendo evolucionar así el camino iniciado por Wierzbicka (1991) y examinado en muchos trabajos de expertos como Kovecses (2005); Sinha (2007); Bernárdez (2008) o Sharifian (2011). Esto nos permite avanzar en una búsqueda internacional sobre relaciones más complejas entre cognición, lenguaje y cultura en las diferentes comunidades lingüísticas y culturales del mundo. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" $*$! ! Hemos centrado nuestro análisis en un izri ejemplar, lo que nos ha permitido ir paso a paso utilizando los modelos cognitivos expuestos. Éstos han sido aplicados en busca de la forma en que el tarifit pudiera proyectar estructuras conceptuales de organización del tiempo con características socioculturales diferenciadas. Como cualquier género literario o cualquier modo de comunicación, los izran son considerados aquí bajo el prisma cognitivo general de “ficción”; en éste caso, siguiendo a Brandt (2002), ficcióncomo-poema-oral que proyecta estructuras del significado desde unas dinámicas especificas de tiempo, lugar, vida, costumbres, hablante, oyente y otros componentes contextuales que delimitan el lenguaje utilizado y que capacita a los oyentes para conectar la realidad interna de estas mujeres Rifeñas con la realidad externa. En una evolución desde lo general a lo particular hemos centrado finalmente la investigación en el escrutinio de una singularidad, percibida desde lenguas como las anglosajonas o las románicas, en la arquitectura conceptual de día/noche en Tarifit. Desde esta diferencia poética, situada semióticamente en un izri y biodiscursivamente en la mujer tamazight hemos rastreado las posibles especificidades en la conceptualización de tiempo, a una mayor escala de abstracción y por tanto de complejidad, en un entorno desértico. Creemos haber encontrado una partición diferenciada coherente con la experiencia de la luz y la temperatura, del sol y sus efectos en las personas. Coherentemente, hemos descrito mecanismos cognitivos que pudieran desencadenar la proyección conceptual diferenciada en la metáfora DÍA ES MUERTE. Nuestra hipótesis básica es que una conceptualización única de la vida como muerte es posiblemente específica de la cultura Tamazight del Rif. Nuestra segunda hipótesis es que probablemente esté relacionada vitalmente con la luz experimentada %++# !"!#$%&!#'!()*$+%&()&*$ ! sol) y de fatiga (del calor del sol) funcionan como condición inicial para todos los sistemas vivos de los nativos, como causa de no-equilibrio, como fuente de la creatividad. 3.7. RASGOS COMUNES ENTRE DOMINIO FUENTE Y DOMINIO META En el izri objeto de estudio, cuando intentamos buscar la relación entre los elementos del dominio fuente y el dominio meta en relación al termino “día”, nuestra conceptualización proyecta un objeto peligroso que se contradice con su marco natural que es la luz. Por un lado el “día” se estructura en el dominio de la luz natural y por otro nuestro conocimiento rentabiliza el peligro como un efecto que emerge de lo desconocido y lo no visto, dos categorías que no se pueden conectar. En este sentido el “día” adquiere las mismas propiedades de la “noche”. Poner los dos ejemplos juntos resultaría en principio en una violación semántica. Pero es probable que los rasgos que distinguen “día” y “noche” sean desviados y equiparados en el marco de la sugerencia de identidad en un proceso de significación que hace que esta distinción fracase. El uso del término “día” en este contexto con significado de peligro obedece a ciertas situaciones contextuales y comunicativas. Estas situaciones permiten la construcción de estas estructuras diferenciadas como parte de la organización léxico-semántica del Tarifit. Su uso hasta cierto grado es problemático para personas de otras culturas y lenguas, porque este hecho no sólo da lugar a un problema lingüístico sino a otro comunicativo más profundo por sus implicaciones socioculturales. El problema es que el término lingüístico “día” adquiere un significado que pertenece a otra categoría. O !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" %+!! ! sea el significado nuevo viola el orden de la literalidad. Aún así los Rifeños entienden el significado adverso que emerge como resultado del uso del término “día”. La complejidad de este izri emerge y crece desde el hecho de que el uso del término “día” (swass) parece tener las mismas propiedades categorizadoras, de significado, valor y emoción que el término “noche”. El “día” (swass) representa un peligro similar a aquel representado por la “noche”. Para su comprensión hemos activado y aplicado la teoría de los espacios mentales de Fauconnier (1994, 1997) y sus desarrollos en la llamada Blending theory en colaboración con Turner (2002). Esta teoría nos dice que el lenguaje no se interpreta en relación a modelos y situaciones, sino que se dinamiza adaptativamente en el acto interactivo de modelar escenas de eventos e entidades que están mezcladas y que crean estructuras emergentes. Cuando la poeta del izri enuncia “Si del día te salvaste / la noche hacia ti camina”, en realidad está rentabilizando un paralelismo entre las propiedades del “día” (swass) y las propiedades de la “noche” (djirth). Estos dos espacios son integrados para crear un nuevo espacio mental en el que la luz no es algo deseable. Este uso específico puede contribuir a describir cómo la cultura bereber-tamazight provee de un espacio genérico, de marcos y de estructuras de conocimiento propios. Todos estos elementos estarían organizados en el nivel del espacio genérico y ejercerían un impacto sobre la dinámica de integración de los dos espacios de entrada (inputs). La percepción y conceptualización del día” (swass) como algo negativo por individuos de una cultura que ha sido sometida a un proceso de aculturación durante trece siglos, hace de esta estructura fósil un dato muy atractivo para iniciar una descripción sistemática de la misma que ayude a su protección como patrimonio humano. El estudio cognitivo de %+"# !"!#$%&!#'!()*$+%&()&*$ ! esta cultura sería fascinante si se centrara en el estudio de sus espacios genéricos, la dinámica de marcos, y las connotaciones culturales. Afortunadamente para nuestra la supervivencia de nuestra especie, lo que los humanos hacen sociocognitivamente con los espacios mentales difiere en contenido y creatividad cultural. ¿Qué puede significar “ si del día te salvaste” para un inglés? Para un Rifeño la oración tiene sentido. Ahora que estamos dotados de diferentes teorías cognitivas, desde la teoría original de la metáfora conceptual podemos clasificar los términos usados en el izri para organizarlos en base a una distinción inicial literal/figurado. La mayoría de los elementos lingüísticos son utilizados de una manera figurada. Se pueden leer en dos niveles diferentes; el primero abre una vía a discutir cómo podemos tratar una escena. En el segundo nivel el poema en su totalidad es una metáfora con la que los Rifeños son advertidos de un efecto singular relacionado con fases temporales y sus consecuencias sobre la vida de las personas. En este caso se produce una proyección en forma de oxímoron en la que día, luz y vida no se integran, en la que se produce una colocación entre día y muerte. Hemos analizado ésta proyección de forma detallada y detectado también varias metáforas conceptuales que coinciden con usos lingüísticos del español o el inglés, tales como: TIEMPO ES CAMBIO, basada en el desplazamiento del sujeto sobre el camino; TIEMPO ES DESTRUCTOR, basada en el efecto que ejerce el paso del tiempo sobre la integridad física de los sujetos; LA VIDA ES UN DIA, basada sobre el miedo de la llegada de la noche; OSCURIDAD ES MUERTE, basada sobre la llegada de la noche y el miedo que representa. !"#$%&'(')*"!++,$!#-"($".*,.*,/(!0!1'%-("2$#'$#34(3,!4",*!4'(56"" """"""""""""""""""""""""""""(-*".'$#$&#*+(3!4"$,%!&'1!('$&"$7"'1,'"+$*('#2".5",'77'!&"8$0*&" %+$! ! En este trabajo hemos invertido mucho tiempo en evitar una falsa transferencia de estas lenguas a una conceptualización que es posiblemente diferente en Tarifit. La hipótesis que hemos desarrollado se ha centrado en los mecanismos bioculturales y cognitivos que desencadenan la proyección conceptual de “día” (swass) como peligro. La tesis es que es posible que sea una construcción cultural específica del constructo conceptual tiempo en su integración diferenciada de luz y calor en un entorno desértico. Mientras no asumamos y relacionemos “día” (swass) con la dimensión temporal que representa y sus efectos sobre la vida de los sujetos in situ, es decir, con un realismo experiencial, su comprensión permanecerá ambigua, contraintuitiva y anómala; por ejemplo para un oído extranjero que no haya rentabilizado el término “día” (swass) como una expresión con connotaciones negativas. Vemos cómo el izri enunciado progresivamente integra el sentimiento y la categoría de miedo mientras el tiempo pasa. Debido a que el tiempo es percibido como una entidad que está corporeizada en la alternancia de “día” (swass) y “noche” (djirth), construimos los diferentes espacios mentales que hemos descrito en mayor detalle en la versión amplia de esta Tesis en lengua inglesa, unos relacionados al concepto “día” y otros al concepto “noche”. Es así como los habitantes de habla tarifit del desierto del Rif organizan los eventos y particionan las fases del día y de la noche. Esperamos haber contribuido con datos y conocimiento descriptivo efectivos al inicio de un nuevo espacio académico en el que la cultura y la sociedad bereber se vean beneficiadas, y sus gentes favorecidas. Este ha sido un trabajo con conciencia de “largo plazo” desde el comienzo, por lo que nuestra intención fundamental ha sido abrir una puerta real a este nuevo espacio. %+%# !"!#$%&!#'!()*$+%&()&*$ ! BIBLIOGRAFÍA * Ver el apartado BIBLIOGRAPHY en el texto original en lengua inglesa de esta Tesis.