the domains and use them to relate shared perceptual experiences to more complex thoughts. Another important distinction made by Pinker is that between literary, or poetic metaphors, and conceptual, or generative metaphors. Poetic metaphors are used for a variety of reasons but ultimately highlight similarities or incongruencies in an expressive manner. Pinker's example of this being the classic Shakespearian line "Juliet is the sun". These metaphors can often appear convoluted or unclear without deeper context. Conceptual metaphors result from some inherent relation between two domains. These metaphors, so innate they are considered cliche, are interestingly able to generate infinite new metaphors. For example, thinking back on the conceptual metaphor , one can build many new metaphors such as "I shot him down" or "he blew my argument to pieces". Pinker himself settles on a moderate view that falls in between the messianic and killjoy theories on metaphor. Perhaps most interestingly, while Pinker concedes that metaphor is a useful way to combat the limited ability of language to express thought, he postulates that a higher level of abstract thought must still be present. Otherwise, Pinker points out, how could we engage in critique of metaphors or employ metaphors for comedic effect? Major criticisms of work done on conceptual metaphor stem from the way many researchers conduct their research. Many study metaphors in a "top-down" direction, looking first at a few examples to suggest conceptual metaphors, then examining the structure of those metaphors. Researchers would look at their own lexicon, dictionaries, thesauri, and other corpora to study metaphors in language. Critics say this ignored the way language was actually used and focused too much on the hypothetical metaphors, so many irregularities were overlooked in favor of postulating universal conceptual metaphors. In 2007, Pragglejaz Group came up with a methodology for identifying metaphorical expressions as a response to these criticisms. Mappings There are two main roles for the conceptual domains posited in conceptual metaphors: Source domain: the conceptual domain from which we draw metaphorical expressions (e.g., love is a journey). Target domain: the conceptual domain that we try to understand (e.g., love is a journey). A mapping is the way in which a source domain tracks onto and describes aspects of the target domain. Mappings describe the mental organization of information in domains, the underlying phenomenon that drives metaphorical usage in language. This conceptualization relates closely to image schemas, mental representations used in