ellauri014.html on line 1772: It seems to me that Montgomery selects out the best bit of the poem, but again you see my bias. I am that “blossom,” I hope–but if all four verses are included it becomes rather silly to press the metaphor. Still, I think Montgomery was on the right track with her idea of “The Alpine Path.” It is a peculiar provenance that brings us this poem, but it has been an interesting journey. Once I found the names of Ella Rodman Church and August De Bubna I found that others have followed my path of curiosity. The Confederation Centre of the Arts in Charlottetown has some of L.M. Montgomery’s scrapbooks, including her copy of the poem. But the search has been interesting, nonetheless.
ellauri038.html on line 85: Nietzsches Schwester Elisabeth erkennt sich später selbst in der Figur des "alten Weibleins" karikiert, weil sie ihrem Bruder auch einmal den Rat gab, strenger gegen "in Trieben und Charakteren ungebändigte Frauen" zu sein und metaphorisch von der "Peitsche" sprach, die "nicht tugendhafte" Frauen nötig hätten.
ellauri042.html on line 937: John Donne is most commonly known for being part of the ‘metaphysical poets’, a group of poets who wrote about love and religion using complex metaphors called conceits. These poets didn’t know each other, and this name was given by literary critics some years later. Nevertheless, John Donne is considered to be one of the best metaphysical poets. John Donne converted to Anglicanism later in his life. By 1615 he became a priest because King James I ordered him to do so. Donne was a member of Parliament in 1601 and in 1614. He also spent a short time in prison because he married his wife, Anne More, without permission. They had twelve children and Anne died while extruding the XIIth.
ellauri069.html on line 768: Historian Quentin Taylor sees additional metaphors, including:
ellauri069.html on line 774: The Cowardly Lion as a metaphor for William Jennings Bryan.
ellauri070.html on line 340: In Jewish Kabbalistic cosmology of Isaac Luria, the qlippot are metaphorical "shells" surrounding holiness. They are spiritual obstacles receiving their existence from God only in an external, rather than internal manner. Divinity in Judaism connotes revelation of God's true unity, while the shells conceal holiness, as a peel conceals the fruit within. They are therefore synonymous with idolatry, the root of impurity through ascribing false dualism in the Divine, and with the Sitra Achra (סטרא אחרא "Other Side"), the perceived realm opposite to holiness. They emerge in the descending seder hishtalshelus (Chain of Being) through Tzimtzum (contraction of the Divine Ohr), as part of the purpose of Creation. In this they also have beneficial properties, as peel protects the fruit, restraining the Divine flow from being dissipated. Kabbalah distinguishes between two realms in qlippot, the completely impure and the intermediate.
ellauri073.html on line 206: A big reason why so many young Independents and Democrats are excited about McCain is that the campaign media focus so much attention on McCain’s piss-and-vinegar candor and so little attention on the sometimes extremely scary right-wing stuff this candor drives him to say. John McCain´s morning speech several times invoked a “moral poverty” in America, a “loss of shame” that he blamed on “the ceaseless assault of violence-driven entertainment that has lost its moral compass to greed” (McCain’s metaphors tend to mix a bit when he gets excited), and made noises that sounded rather a lot like proposing possible federal regulation of all US entertainment. No siinä olis kyllä ollut järkeä.
ellauri077.html on line 816: - Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
ellauri094.html on line 237: In Rabbinic literature, Babylon was one of a number of metaphors for the Jewish diaspora. Most frequently the term "Babylon" meant the diaspora prior to the destruction of the Second Temple. The post-destruction term for the Jewish Diaspora was "Rome", or "Edom".
ellauri095.html on line 141: "Thou Art Indeed Just, Lord" (1889) echoes Jeremiah 12:1 in asking why the wicked prosper. It reflects the exasperation of a faithful servant who feels he has been neglected, and is addressed to a divine person ("Sir") capable of hearing the complaint, but seemingly unwilling to listen. Hopkins uses parched roots as a metaphor for despair.
ellauri101.html on line 38: We don’t find the meaning of the hero’s journey in slaying the dragon or saving the princess—these are colorful metaphors and symbols for a more significant purpose.
ellauri106.html on line 507: Roth’s plots are masked by a fundamentally conservative denial of ideology. They metaphorize the particular crises of these particular men into transcendent markers of the human condition and, in doing so, once again reinforce the “romance” of "modernization." (Whazat? Lue alempaa. Se tarkottaa talousliberalismia.)
ellauri107.html on line 104: An American Dream is a 1965 novel by American author Norman Mailer. It was published by Dial Press. Mailer wrote it in serialized form for Esquire, consciously attempting to resurrect the methodology used by Charles Dickens and other earlier novelists, with Mailer writing each chapter against monthly deadlines. The book is written in a poetic style heavy with metaphor that creates unique and hypnotising narrative and dialogue. The novel's action takes place over 32 hours in the life of its protagonist Stephen Rojack. Rojack is a decorated war-hero, former congressman, talk-show host, and university professor. He is depicted as the metaphorical embodiment of the American Dream.
ellauri107.html on line 173: Much of Hawthorne's writing centers on New England, many works featuring moral metaphors with an anti-Puritan inspiration. His fiction works are considered part of the Romantic movement and, more specifically, dark romanticism. His themes often center on the inherent evil and sin of humanity, and his works often have moral messages and deep psychological complexity. His published works include novels, short stories, and a biography of his college friend Franklin Pierce, the 14th President of the United States.
ellauri107.html on line 510: In the living-room, in a corner of the davenport, Ted settled down to his Home Study; plain geometry, Cicero, and the agonizing metaphors of Comus.
ellauri108.html on line 123: By the movement's fourth decade, the desire for physical repatriation to Africa had declined among Rastas, a change influenced by observation of the 1983–1985 famine in Ethiopia. Rather, many Rastas saw the idea of returning to Africa in a metaphorical sense, entailing the restoration of their pride and self-confidence as people of black African descent. The term "liberation before repatriation" began to be used within the movement. Some Rastas seek to transform Western society so that they may more comfortably live within it rather than seeking to move to Africa. There are nevertheless many Rastas who continue to emphasise the need for physical resettlement of the African diaspora in Africa.
ellauri108.html on line 481: By the movement's fourth decade, the desire for physical repatriation to Africa had declined among Rastas, a change influenced by observation of the 1983–1985 famine in Ethiopia. Rather, many Rastas saw the idea of returning to Africa in a metaphorical sense, entailing the restoration of their pride and self-confidence as people of black African descent.
ellauri118.html on line 528: Metalepsis (from Greek: μετάληψις, lat. transsumption) is a figure of speech in which a metaphor is used as a metonym. Metalambanein on ottaa messiin. Examples:
ellauri119.html on line 407: "The death of God is a metaphor," the retired theologian told the Oregonian in 2007. "We needed to redefine Christianity as a possibility without the presence of God." Hamilton had been troubled by such questions since his teens when two friends—a Catholic and an Episcopalian—died while a third friend, the son of an atheist, survived without injury when a pipe bomb the three were making exploded. Talk about theodicy! No fair!
ellauri133.html on line 466: I think the whole story is a bit of a— approaches the theme of growing up, and the group sex episode in the book is a bit of a metaphor of the end of childhood and into adulthood. And I don’t think it was really needed in the movie, apart that it was very hard to allow us to shoot an orgy in the movie so, I didn’t think it was necessary because the story itself is a bit of a journey, and it illustrates that. And in the end, the replacement for it is the scene with the blood oath, where everyone sort of says goodbye. Spoiler. The blood oath scene is there and it’s the last time they see each other as a group. It’s unspoken. And they don’t know it, but it’s a bit of a foreboding that this is the last time, and being together was a bit of a necessity to beat the monster. Now that the monster recedes, they don’t need to be together. And also because their childhood is ending, and their adulthood is starting. And that’s the bittersweet moment of that sequence. Blood oath, bloody sheath, they even sound the same.
ellauri153.html on line 554: Now that the problem of evil has been exposed as a conceptual confusion, the way is clear for a Jamesian science of religions and worldviews. The methods of grammatical description can be extended to the practices and ways of sense-making in different worldviews: how they give meaning to moral practices and how do they approach the intelligibility of the world? What practical responses do they have for coping with evil? For example, the grammar of seeing-as for models and metaphors can be applied to the metaphors in the Hebrew Bible for God’s activity to understand what it is to see the world as God’s creation. The grammar of virtues can be used to describe Buddhist practices and explore, how these approaches contribute to the human good. Similar approaches can be taken to secular worldviews as well. These descriptions can then be used to assess the worldviews through dialogical encounters between them. However, one thing should be clear. There is no point in devaluing the world by arguing for the meaninglessness of life or atheism on the basis of evil, or in giving justifications for evils that can stand in the way of divine or human meliorist projects of fighting for justice. To paraphrase the judgment of the Divine Judge in the Book of Job, such approaches are not even wrong. They are as meaningless as life itself.
ellauri159.html on line 1223: Strive for elegance in language. You can never polish the work too soon. You tend to write long, meandering first drafts, so you’ll likely need to synthesize and cut material later. Save the search for that perfect metaphor until the revision stage.
ellauri161.html on line 487: I understand why some people hate this film. It feels real in its entirety, it shows you how stupid and insignificant we are and it is extremely apropos today. Also, it was marketed as a comedy, when in fact is a dramatic film that is humorous only in its accurate portrayal of humanity. Then again some people try to "tell you" what it is about and, while it is certainly metaphoric, it isn't about anything more specific than ourselves. It is a mirror. Some people don't like what they see in it.
ellauri161.html on line 590: Don’t Look Up wants to paint our inaction with regard to climate change as the result of denialism and being distracted by silly things like, say, a movie streaming on Netflix. But climate change isn’t a comet headed our way in less than a year — a lousy, faulty metaphor for where we’re at right now. Except that IT IS! It's probably too late already. Now get a big mouth fuck goddam Allison Willmore,
ellauri161.html on line 631: I’ve seen some people criticise Don’t Look Up for lacking subtlety. I’m not bothered by this. I don’t necessarily need or want the communications about climate change to be subtle. The issue itself certainly is not subtle. We are heading towards—and, again, already are in the midst of—unprecedented death and destruction. Our systems and rulers are not just woefully ill-equipped to deal with this or to prevent the worst of it, they are actively complicit in bringing it about. Those communities around the world that are the most vulnerable and that have had the least part to play in causing the crisis will be the ones to suffer the first and the worst. This isn’t subtle sh*t! This is horrifying, grotesque, psychologically debilitating stuff to ponder—if you even have the privilege to ponder in the first place! I don’t necessarily need subtlety here. Sometimes, to fight propaganda, you need to go loud and bold. But you still have to be effective. We are fighting an almightily powerful enemy. Competence is a necessary minimum. Regrettably, Don’t Look Up does not meet those standards. Its central metaphor doesn’t even make sense! Yes, capitalism is responding as dreadfully to climate change in real life as it does to the comet in the film—the key difference is that capitalism didn’t cause that comet to come hurtling out of the sky in the first place.
ellauri184.html on line 640: We do not know whether Jesus routinely called himself the Messiah, Son of Man, or King of the Jews (though the evangelists sure make it appear so). Nevertheless, these logos were ascribed to him, and he did not sufficiently distance himself from them. Even worse, he presented himself as an outsider by caring for outcasts and thus broke social taboos. What is more, through healings, exorcisms, and commensality with the disdained, he deliberately distanced himself from societal norms, added to his image as an outsider in a performative way, and thereby metaphorically conveyed a message that his opponents understood very well.
ellauri192.html on line 892: America is primarily a one-and two-story country. The majority of the American population lives in small towns of three thousand, maybe five, nine, or fifteen thousand inhabitants. The "single story" was also interpreted as a metaphor for the one-dimensionality of the country: In America everything revolves around money and wealth, while the country has neither soul nor spirit. Nekulturnyj, in a word.
ellauri198.html on line 708: The Dark Tower is a series of eight novels and one short story written by American author Stephen King. Incorporating themes from multiple genres, including dark fantasy, science fantasy, horror, and Western, it describes a "gunslinger" and his quest toward a tower, the nature of which is both physical and metaphorical. The series, and its use of the Dark Tower, expands upon Stephen King's multiverse and in doing so, links together many of his other novels.
ellauri198.html on line 749: Minkä eteen seisoo musta torni Haroldin mielestä, sieltä pakaroiden välistä? Usko tai älä: "Shall we, tentatively, call both the Dark Tower and the mocking elf the Oedipal necessities of self-betrayal in the practice of art? (Mistä nuo Freudin turbojalat tähän tulivat? Selittäkääpä tarkemmin!) Or, more narrowly, the Tower and the Elf are metaphors for misprision, for the overdetermined and inescapable meanings that belated creators impose upon poetic tradition."
ellauri210.html on line 361: Arthur Cravan, the Dadaist poet-boxer, was neither a good poet nor a good boxer, but he was a legendary provocateur. Hemingway, Mailer, and Scorsese: much great American art has been inspired by boxing. How bout Irving? No he was a wrestler. Between 1907 and 1909, Saul Bellow created three paintings—Club Night, Stag at Sharkey’s, Both Members of This Club—that captured boxing’s glories and indignities. The sport provided a powerfully visceral metaphor for the American experience of the twentieth century. Amerikan nyrkki on sittemmin kumauttanut päähän useampia kansoja kuin kehtaa muistella.
ellauri210.html on line 1115: Between 1937–1938 Carrington painted a Self-Portrait, where she is perched on the edge of a chair in this curious, dreamlike scene, her hand outstretched toward a prancing hyena and her back to a tailless rocking horse flying behind her. The hyena depicted in Self-Portrait (1937–38) joins both male and female into a whole, metaphoric of the worlds of the night and the dream. The symbol of the hyena is present in many of Carrington's later works, including "La Debutante" in her book of short stories The Oval Lady.
ellauri220.html on line 102: He admits that sometimes, evil thoughts cross his mind. The "old knot of contrariety" the poet has experienced refers to Satan and his evil influence on man, which creates the condition of contraries, of moral evil and good in human life. The poet suffered from these evil influences, as have all men. So, the poet implies, do not feel alone because you have been this way — one must accept both the pure and the impure elements of life. A young man's penis in your arse is just one of those eternal things. They come and go just like the Brooklyn ferry. The reference to fusion ("which fuses me into you now") is the basic ideal the poet sought in the beginning. He reiterates the eternal connection between all human beings. Fuck the rest. We must revel in our man-made surroundings, for our relationship with our environment is the ticket to achieving spirituality and fulfillment. He also uses the theater as a metaphor to represent the difference between public life and private life. He acknowledges that he has a sinful streak - but in society, everyone plays a role. The speaker's tone in the poem is honest but also grateful. By appreciating the small things in his life, he feels like a part of something bigger. Wiltin pikku veitikka oli ehkä ammoin wilttaantunut, mutta sen mustalla ystävällä oli something bigger. Veijarilla oli varsin vaikuttava heijari.
ellauri222.html on line 323: The Spanish word for eagle, as Augie learns, is águila, and the similarity between that word and Augie’s name invites a comparison between the eagle and the man. Both the eagle and Augie are adopted and trained by others for schemes they barely understand. And both the eagle and Augie prove to be sensitive creatures, not quite vicious enough to succeed in a Machiavellian world. The episode with the eagle can be read as a metaphor for one of the main themes of the book: nature as destiny. Ultimately, neither the eagle nor Augie does what others expect them to do, but follow their own nature. No tästähän me ollaan jo puhuttu.
ellauri222.html on line 761: Though in some ways separated from American society, Bellow's protagonists also strongly connect their identity with America. Augie begins his adventures by claiming, "I am an American, Chicago born—Chicago, that somber city." Almost all of Bellow's novels take place in an American city, most often Chicago or New York. Through his depiction of urban reality, Bellow anchors his novels in the actual world, and he uses the city as his central metaphor for contemporary materialism. Although recognizing the importance of history and memory, Bellow's novels maintain a constant engagement with the present moment. His characters move in the real world, confronting sensuous images of urban chaos and clutter that often threaten to overwhelm them. Looking down on the Hudson River, Tommy Wilhelm sees "tugs with matted beards of cordage" and "the red bones of new apartments rising on the bluffs." Sammler denounces contemporary New Yorkers for the "free ways of barbarism" that they practice beneath the guise of "civilized order, property rights [and] refined technological organization." In Humboldt's Gift, which is replete with images of cannibalism and vampirism, Charlie Citrone sees Von Trenck, the source of his material success, as "the blood-scent that attracted the sharks of Chicago." Acknowledging the influence of the city on his fiction, Bellow himself has remarked, "I don't know how I could possibly separate my knowledge of life such as it is, from the city. I could no more tell you how deeply it's gotten into my bones than the lady who paints radium dials in the clock factory can tell you." However, although the city serves to identify the deterministic social pressures that threaten to destroy civilization, Bellow's heroes refuse to become its victims and instead draw on their latent nondeterministic resources of vitality to reassert their uniquely American belief in individual freedom, as well as their faith in the possibility of community.
ellauri270.html on line 232: Jeffin runousoppi on ilmeisesti plagioitu sen Lontoon lehtorilta Winifred Nowottnyltä. "Current criticism often takes metaphor au grand sérieux, as a peephole on the nature of transcendental reality, a prime means by which the imagination can see into the life of things." --Language Poets Use (1962) by Winifred Nowottny. Winifred M.T.Nowottny, nee Dobbs, was educated at the University of London and later taught English Literature at University College London. She published the books, Language Poets Use in 1962 and Hopkins´ Language of Prayer of Praise in 1972. Jeff ois niikö Harry Potter ja Winifer Dobbs sen kotihaltija. Toinen keskeinen Jeffin lähde oli Penguin Dictionary of Quotations.
ellauri333.html on line 238: The earliest mention of a divine monkey, interpreted by some scholars as the proto-Hanuman, is in hymn 10.86 of the Rigveda, dated to between 1500 and 1200 BCE. The twenty-three verses of the hymn are a metaphorical and riddle-filled legend. It is presented as a dialogue between multiple characters: the god Indra, his wife Indrani and an energetic monkey it refers to as Virzakapi and his wife Kapi. Ngapa kapi kuyu. The hymn opens with Indrani complaining to Indra that some of the soma offerings for Indra have been allocated to the energetic and strong monkey, and the people are forgetting Indra. The king of the gods, Indra, responds by telling his wife that the living being (monkey) that bothers her is to be seen as a friend, and that they should make an effort to coexist peacefully. The hymn closes with all agreeing that they should come together in Indra's house and share the wealth of the offerings.
ellauri362.html on line 737: The poem vividly portrays the desolation of winter, with its barren landscapes, frozen streams, and harsh weather conditions. This imagery serves as a metaphor for the effects of alcohol on the human spirit. Just as winter chills and hardens the earth, alcohol numbs the senses, dulls the intellect, and stifles emotions.
ellauri386.html on line 383: The language of the poem is forceful and direct, with Raleigh using vivid imagery and metaphors to emphasize the destructive power of love. He compares love to a "poisoned serpent," a "siren song," and a "maze," suggesting that it is both alluring and deadly. He also uses personification to address love as a "false friend" and an "idle boy," highlighting its treacherous and immature nature.
ellauri386.html on line 400: Analysis (ai): This poem explores the transient nature of human life through a theatrical metaphor. It compares life to a play, with our passions as the driving force and our time on Earth as the brief performance. The poem suggests that Heaven observes our actions and judgments, drawing attention to the consequences of our deeds. It concludes that while life's performance may be playful, our ultimate demise is a serious reality, underscoring the fragility and brevity of existence.
xxx/ellauri027.html on line 970: Think about the participation in the Paphos seminar as an opportunity to play in in a band, like Eski´s heavy gentlemen. The conductor a true maestro, and the audience hopefully generous. The conductor leads the collection of offertory as well as the musicians, and facilitates the lucrative process. It would be naïve to assume that the concert is chiefly for the conductor’s recreation, or that anything but a straightforward cost-and-benefit logic applies. Buzzwords that go with this orchestra metaphor are presents, merchandise, prices, trust, pretext, merry tunes, procreation and contention. In god we trust, all others pay cash.
xxx/ellauri120.html on line 68: William James coined the term Cash Value to describe criteria to assess the merit and truth of an assertion or belief. Freud’s work is freighted with immense metaphorical— and literal— cash value.
xxx/ellauri122.html on line 807: O'Brien uses plenty of metaphors to weave together a profound study of men at war, inspired by his experiences in the Vietnam War from 1969 to 1970.
xxx/ellauri125.html on line 298: One of the many striking and often shocking metaphors within “Yeezus,” the new album from rapper Kanye West, arrives halfway into the 10-song release, during a song called “I’m in It.” It involves a quote by the Rev. Martin Luther King Jr.: “Thank God almighty, free at last,” raps West, referencing a phrase from 50 years ago that the civil-rights leader used in relation to the plight of African Americans.
xxx/ellauri125.html on line 311: Elsewhere, the raised-fist call of the Black Panther Party, one of the most potent symbols of black power, is employed as a cheap metaphor for sexual penetration.
xxx/ellauri149.html on line 366: Conversely, Howard Thompson of The New York Times wrote, "Broadway and Israel meet head on and disastrously in the movie version of the rock opera 'Jesus Christ Superstar,' produced in the Biblical locale. The mod-pop glitter, the musical frenzy and the neon tubing of this super-hot stage bonanza encasing the Greatest Story are now painfully magnified, laid bare and ultimately patched beneath the blue, majestic Israeli sky, as if by a natural judgment." Arthur D. Murphy of Variety wrote that the film "in a paradoxical way is both very good and very disappointing at the same time. The abstract film concept ... veers from elegantly simple through forced metaphor to outright synthetic in dramatic impact."
xxx/ellauri178.html on line 109: Snorrin mielestä niissä mentiin liian pitkälle. Snorri draws the line at mixed metaphor, which he terms nykrat "nykrätty, made monstrous" (Snorri Sturluson: Háttatal 6), and his nephew called the practice löstr "a fault" (Óláfr hvítaskáld: Third Grammatical Treatise 80). In spite of this, it seems that "many poets did not object to and some must have preferred baroque juxtapositions of unlike kennings and neutral or incongruous verbs in their verses" (Foote & Wilson (1970), p. 332). E.g. heyr jarl Kvasis dreyra "listen, earl, to Kvasir's blood (=poetry)" (Einarr skálaglamm: Vellekla 1). Niin aina.
xxx/ellauri186.html on line 771: The infancy stories do not bear resemblance to the Jesus of the gospels and were never thought to even be remotely historical. Rather, they existed much like Christian fiction does today, to create enjoyment in speculative discourse that is full of biblical metaphor, idioms, and themes.
xxx/ellauri187.html on line 211: Rilke loved metaphor unabashedly — even though some of his verses risk feeling
xxx/ellauri187.html on line 216: It’s clear how meticulously scrutinizing every part of the sculpted body became a metaphor for scrutinizing every part of our life, in the spirit of that adage of Socrates that the unexamined life is not worth living. Socrates was a keen exeaminer of Alcibiades' törsö too, in particular the dark star that cannot see you.
xxx/ellauri199.html on line 1026: "It’s a perfect metaphor for the child abuse that is providing gender-affirming care to confused children." - Western Journal
xxx/ellauri218.html on line 408: The northeast blackout of 1965 was a significant disruption in the supply of electricity on Tuesday, November 9, 1965, affecting parts of Ontario in Canada and Connecticut, Delaware, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island, and Vermont in the United States. In contrast to the wave of looting and other incidents that took place during the 1977 New York City blackout, only five reports of looting were made in New York City after the 1965 blackout. It was said to be the lowest amount of crime on any night in the city's history since records were first kept. Perhaps thanks to that more than 800,000 looters got trapped in the subway. The blackout that hit New York on July 13, 1977 was to many a metaphor for the gloom that had already settled on the city. An economic decline, coupled with rising crime rates and the panic-provoking (and paranoia-inducing) Son of Sam murders, had combined to make the late 1970s New York’s Dark Ages.
xxx/ellauri250.html on line 416: The endless train ride might be a metaphor for a liminal state where everything is up for grabs, but “Compartment No. 6” never makes the enigmas behind its characters’ actions and feelings matter much.
xxx/ellauri261.html on line 654: Some follow the tradition of "Christian non-realism", most famously expounded in the United Kingdom by Don Cupitt in the 1980s, which holds that God is a symbol or metaphor and that religious language is not matched by a transcendent reality. According to an investigation of 860 pastors in seven Dutch Protestant denominations, 1 in 6 clergy are either agnostic or atheist. A minister Klaas Hendrikse has described God as "a word for experience, or human experience" and said that Jesus may have never existed. Hendrikse gained attention with his book Believing in a God Who Does Not Exist: Manifesto of An Atheist Pastor published in November 2007 in which he said that it was not necessary to believe in God´s existence in order to believe in God.
xxx/ellauri298.html on line 218: transportable a metaphor, I further mused, to take to meetings Where the talk was
xxx/ellauri298.html on line 222: Organizational executives, managers, and consultants often use the metaphor of ‘constantly
xxx/ellauri298.html on line 303: people who are metaphoric ‘watch(wo)men’ of others: from widows to parents, to
xxx/ellauri298.html on line 641: As a strong believer in the psychic unity of mankind and its poetic expression through mythology, Campbell made use of the Brigitte Bardot (BB) concept to express the idea that the whole of the human race can be seen as engaged in the effort of making the world "transparent to transcendence" by showing that underneath the world of phenomena (like Carol's underwear) lies an eternal source of bliss which is constantly pouring its energies into this world of time, suffering, and ultimately death. To achieve this task one needs to speak about things that existed before and beyond words, a seemingly impossible task, the solution to which lies in the metaphors found in myths. Words, words, words.
xxx/ellauri298.html on line 646: God is a metaphor for a mystery that absolutely transcends all human categories of thought, even the categories of being and non-being. Those are categories of thought. I mean it's as simple as that. So it depends on how much you want to think about it. Whether it's doing you any good. Gets you closer to your bliss. Whether it is putting you in touch with the mystery that's the ground of your own being. If it isn't, well, it's a lie. So half the people in the world are religious people who think that their metaphors are facts. Those are what we call theists. The other half are people who know that the metaphors are not facts. And so, they're lies. Those are the atheists.
xxx/ellauri356.html on line 377: Wasf on arabien runogenre, alongside 'the boast (fakhr), the invective (hijaa’), and the elegy (marthiya)'. In waṣf love poems, each part of a lover's body is described and praised in turn, often using exotic, extravagant, or even far-fetched metaphors. The Song of Solomon is a prominent example of such a poem, and other examples can be found in Thousand and One Nights. The images given in this type of poetry are not literally descriptive. Instead, they convey the delight of the lover for the beloved, where the lover finds freshness and splendor in the body as a reflected image in the world. Hilvik ei perustanut metaforista, se käytti vertauxia mieluummin.
xxx/ellauri385.html on line 382: The language of the poem is forceful and direct, with Raleigh using vivid imagery and metaphors to emphasize the destructive power of love. He compares love to a "poisoned serpent," a "siren song," and a "maze," suggesting that it is both alluring and deadly. He also uses personification to address love as a "false friend" and an "idle boy," highlighting its treacherous and immature nature.
xxx/ellauri385.html on line 399: Analysis (ai): This poem explores the transient nature of human life through a theatrical metaphor. It compares life to a play, with our passions as the driving force and our time on Earth as the brief performance. Shakespeare did it just SOOOO much better, sorry Walt. The poem suggests that Heaven observes our actions and judgments, drawing attention to the consequences of our deeds. It concludes that while life's performance may be playful, our ultimate demise is a serious reality, underscoring the fragility and brevity of existence.
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