Word: metaphors
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Dates: during 1950-1959
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...wouldn't be supported in this town." Says Joseph Baker, professor of English at the State University of Iowa: "Even the intellectuals do not read as much as they did a generation ago, and those who make literature their specialty tend to be Alexandrian-they talk of form, metaphor, style, leaving the important matters to sociology and psychology...
Most obviously, the resources of literary style and expression utilizing metaphor analogy--which may evoke not the form but the essence of a person, mood, or thing--must be abandoned; the most significant loss in the transfer from novel to film, however, is the fact that thought cannot be directly expressed. Dialogue and music, Bluestone claims, are peripheral elements; the picture dominates. Even if dialogue is accepted as an external expression of thought, once spoken it is no longer a thought. The film must compensate for this by having a very graphic plot and by nuances of acting, particularly "microphysiognomy...
...penny. As he slowly goes mad from hunger while a rainstorm unmercifully keeps him from death by thirst, he imagines that he is Atlas and Prometheus. By the time the gulls have become flying lizards to him, he imagines-in the fictional season's most unpleasant metaphor for the condition of man-the last huge master-maggot of a box previously full of smaller maggots which, he has heard, are cultivated by Chinese gourmets...
...death in 1946 of Henry Handel Richardson, has filled his most ambitious book to date ostensibly with the adventure story of an explorer. But beneath the surface, it is really a self-examining essay in which the continent's odd geography, zoology and climate serve as a metaphor for White's real theme-the uncharted journey into the dry, unblazed interior of the Australian mind. Landscape is the protagonist. It is said of one character: "His failures took shape, but in flowers and mountains." Another character speaks of "the grey of mediocrity" (the color of the Australian earth...
Such distortions dramatically extended the range of metaphor in Picasso's own work. The walls abound with pictures of women treated as moon goddesses, as concrete skeletons on a beach or as interlocking arabesques with strange, brooding masks. They reveal little about the outward appearance of the numerous women who have responded to Picasso's own vitality, but they clearly record Picasso's own often savage counter-response. With children (he has four) Picasso has almost invariably used distortion sympathetically to reinforce rather than mock childhood's peculiar and perilous excitement...