Die Metapher als Scharnierelement zwischen den semiotischen Systemen, dargestellt am Beispiel der barocken Gleichnisarie in Antonio Vivaldis frühem Opernschaffen

Abstract

In polysemiotic (or multimodal) communication, metaphor is often a central element that connects the various forms of expression. This is true not only for current polysemiotic artifacts (such as commercials), but also for older polysemiotic genres. This study takes a closer look at the simile aria as a form of aria composition within the operatic practice of the early 18th century. Here the function of metaphor as a ‘hinge element’ between language and musical setting becomes very clear. The starting point of the investigation is Antonio Vivaldi’s first opera Ottone in villa (1713, RV 729), based on a libretto by Domenico Lalli.