GENRE-SPECIFIC DISTRIBUTION OF SOMATIC PHRASEOLOGISMS IN GERMAN LITERARY WORKS

Аннотация

This article explores the genre-specific distribution of somatic phraseologisms in German literary works, focusing on how idioms built around body-part lexemes such as Kopf, Herz, Hand and Auge are used differently in poetry, prose, and drama. Drawing on corpus stylistics and conceptual- metaphor theory, the discussion shows that emotional somatisms cluster in lyric poetry, cognitive and agency-related ones in narrative prose, and action- oriented expressions in drama. These patterns reflect the interplay between cognitive embodiment, genre conventions, and cultural norms in the German literary tradition. Keywords: somatic phraseologisms; German literature; corpus stylistics; conceptual metaphors; genre analysis In German literary discourse, somatic phraseologisms — idiomatic expressions containing a body-part term — occupy a unique position. They encapsulate layers of meaning that range from the concrete and sensory to the metaphorical and symbolic. Because genres channel both communicative purpose and stylistic choices, it is not surprising that these bodily idioms manifest differently in poetry, prose, and drama. The genre acts as a selective filter, foregrounding some cognitive and affective mappings while marginalising others. A survey of corpus data from the Deutsches Referenzkorpus (DeReKo) indicates that a small set of body-part lexemes dominate idiomatic usage: Kopf, Herz, Hand and Auge consistently appear at the top of frequency lists. Yet, their distribution is far from uniform. In lyric poetry, for instance, the prevalence of Herz-based idioms is striking. Phrases such as jemandem das Herz brechen or sein Herz verschenken are not merely emotional shorthand; they align with poetry’s conventional focus on inner feeling, intimacy, and personal address. These expressions function as crystallisations of the HEART IS EMOTION metaphor, serving to condense complex states into resonant, culturally familiar images [2]. By contrast, narrative prose — particularly realist novels and modern short stories — leans heavily on Kopf and Hand phraseologisms. In the case of Kopf, idioms like einen klaren Kopf behalten or sich den Kopf zerbrechen articulate 170 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference processes of thought, calculation, and decision-making. They are well-suited to prose’s narrative techniques, which often require representation of internal deliberation or intellectual struggle. Hand idioms, such as etwas in die Hand nehmen or freie Hand haben, align with agency and practical control, complementing the action and causality that drive plot progression in narrative fiction. Drama presents a different picture altogether. Here, the stage’s reliance on visible, physical action encourages idioms grounded in limbs and movement. Hand and Fuß are especially prominent, with expressions like Hand anlegen or auf eigenen Füßen stehen providing both metaphorical meaning and immediate physical resonance for performance. In many plays, these idioms serve a double function: they advance the plot while offering visual cues that can be physically embodied by actors, reinforcing the genre’s multimodal nature. The degree of conventionalisation also varies with genre. While many somatic idioms appear in their fixed forms in lyric and drama, narrative prose — particularly in modernist and postmodernist writing — frequently manipulates them for stylistic effect. Authors may subvert expectations by altering lexical components or embedding the idiom in an unexpected context, thereby drawing attention to the phrase itself as a crafted object. This kind of play disrupts the automatic processing of idioms, prompting readers to reflect on both literal and figurative meanings [4]. These genre-specific tendencies can be explained by the interaction of cognitive embodiment and literary convention. Conceptual-metaphor theory predicts that the HEAD IS REASON mapping will dominate in contexts concerned with thought and planning, the HEART IS EMOTION mapping in contexts centring on affect, and the HAND IS AGENCY mapping where control and action are foregrounded. German literature’s long-standing traditions — from Romantic lyricism to 19th-century realism to 20th-century experimental prose — have reinforced these associations, embedding them in the cultural lexicon. For literary interpretation, recognising these patterns enriches genre- sensitive readings. A critic attuned to somatic phraseologisms can trace how authors exploit or resist established mappings, how they adapt idioms to character voice, and how they manipulate bodily imagery to guide reader response. For translation studies, the implications are equally significant: preserving the idiom’s cultural resonance may require replacing it with a target- language equivalent that fits both the genre and the intended conceptual metaphor, rather than relying on literal transfer. 171 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-onlin