Word: metaphors
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
Both authors contributed distinctively to their public images. Decades past his prime, Hemingway could still glisten with the confidence of the writing world's heavyweight champion. Norman Mailer nailed the truth with brutal accuracy and a looping mixed metaphor when he boldly announced his own self-aggrandizing shot at the title in Advertisements for Myself'(1959). Hemingway, he wrote, "knew in advance, with a fine sense of timing, that he would have to campaign for himself, that the best tactic to hide the lockjaw of his shrinking genius was to become the personality of our time." Fitzgerald...
...description evokes a real enemy, distinct from Turow yet dealing within him. And while he talks of confronting ethical issues and accepting responsibility for his actions, his enemy metaphor almost seems to excuse ugly behavior...
...images, Herzog has made one film in which the actors were hypnotized, another in which all the actors were dwarfs, and a third in which the leading character, an old woman, was both deaf and blind. His best work, Aguirre, the Wrath of God (1972), might serve as a metaphor for the whole German school. Aguirre, a Spanish conquistador played by Klaus Kinski, revolts against the crown and attempts to build a new empire in the jungles of Peru. The film, a kaleidoscope of the fabulous and the bizarre, would be noteworthy even if it stopped after the first riveting...
...secret must be disclosed. John Wood is stupendous. He can crack a syllable like kindling across his tongue and start a bonfire of hilarity coursing through the house. He walks as if his legs were malingering splints. The theater as a metaphor for murder is the ironic undertheme of the play. It stands out in bold relief on Wood's face. Well, in popular U.S. mythology, are not the playwrights the victims and the critics the assassins? If you care to assassinate yourself with laughter, try Deathtrap...
This is exactly what happens in "Squaregame," one of seven dances offered by avant-garde master Merce Cunningham and his company in performances at Boston English High School last week. The four bunches of sacks which initially define the peripheries of movement become tongue-in-cheek metaphors for the dancers' own bodies. The sacks are whirled or swung or tossed through space; Cunningham himself falls dead-weight on a group of dancers and is dragged across the floor like a sack; later, he is tossed up and down between two dancers the way two children would flip an unwieldy pillow...