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| figurative language in the metamorphosis: Simile and Identity in Ovid's Metamorphoses Marie Louise von Glinski, 2012-02-09 Nulli sua forma manebat. The world of Ovid's Metamorphoses is marked by constant flux in which nothing keeps its original form. This book argues that Ovid uses the epic simile to capture states of unresolved identity - in the transition between human, animal and divine identity, as well as in the poem's textual ambivalence between genres and the negotiation of fiction and reality. In conjuring up a likeness, the mental image of the simile enters a dialectic of appearances in a visually complex and treacherous universe. Original and subtle close readings of episodes in the poem, from Narcissus to Adonis, from Diana's blush to the freeform dreams in the House of Sleep, trace the simile's potential for exploiting indeterminacy and immateriality. In its protean permutations the simile touches on the most profound issues of the poem - the nature of humanity and divinity and the essence of poetic creation. |
| figurative language in the metamorphosis: Metamorphosis Franz Kafka, 2021-03-19 Franz Kafka, the author has very nicely narrated the story of Gregou Samsa who wakes up one day to discover that he has metamorphosed into a bug. The book concerns itself with the themes of alienation and existentialism. The author has written many important stories, including The Judgement, and much of his novels Amerika, The Castle, The Hunger Artist. Many of his stories were published during his lifetime but many were not. Over the course of the 1920s and 30s Kafkas works were published and translated instantly becoming landmarks of twentieth-century literature. Ironically, the story ends on an optimistic note, as the family puts itself back together. The style of the book epitomizes Kafkas writing. Kafka very interestingly, used to present an impossible situation, such as a mans transformation into an insect, and develop the story from there with perfect realism and intense attention to detail. The Metamorphosis is an autobiographical piece of writing, and we find that parts of the story reflect Kafkas own life. |
| figurative language in the metamorphosis: A Hunger Artist Franz Kafka, 2022-09-23 In the days when hunger could be cultivated and practiced as an art form, the individuals who practiced it were often put on show for all to see. One man who was so devout in his pursuit of hunger pushed against the boundaries set by the circus that housed him and strived to go longer than forty days without food. As interest in his art began to fade, he pushed the boundaries even further. In this short story about one man's plight to prove his worth, Franz Kafka illustrates the themes of self-hatred, dedication, and spiritual yearning. As part of our mission to publish great works of literary fiction and nonfiction, Sheba Blake Publishing Corp. is extremely dedicated to bringing to the forefront the amazing works of long dead and truly talented authors. |
| figurative language in the metamorphosis: Figurative Language Leo Hartley Grindon, 1879 |
| figurative language in the metamorphosis: The Complete Stories Flannery O'Connor, 1971 Winner of the National Book Award The publication of this extraordinary volume firmly established Flannery O'Connor's monumental contribution to American fiction. There are thirty-one stories here in all, including twelve that do not appear in the only two story collections O'Connor put together in her short lifetime--Everything That Rises Must Converge and A Good Man Is Hard to Find. O'Connor published her first story, The Geranium, in 1946, while she was working on her master's degree at the University of Iowa. Arranged chronologically, this collection shows that her last story, Judgement Day--sent to her publisher shortly before her death—is a brilliantly rewritten and transfigured version of The Geranium. Taken together, these stories reveal a lively, penetrating talent that has given us some of the most powerful and disturbing fiction of the twentieth century. Also included is an introduction by O'Connor's longtime editor and friend, Robert Giroux. |
| figurative language in the metamorphosis: Yellow Woman Leslie Marmon Silko, 1993 Ambiguous and unsettling, Silko's Yellow Woman explores one woman's desires and changes--her need to open herself to a richer sensuality. Walking away from her everyday identity as daughter, wife and mother, she takes possession of transgressive feelings and desires by recognizing them in the stories she has heard, by blurring the boundaries between herself and the Yellow Woman of myth. |
| figurative language in the metamorphosis: My First Kafka Matthue Roth, 2020-04-24 Runaway children who meet up with monsters. A giant talking bug. A secret world of mouse-people. The stories of Franz Kafka are wondrous and nightmarish, miraculous and scary. In My First Kafka, storyteller Matthue Roth and artist Rohan Daniel Eason adapt three Kafka stories into startling, creepy, fun stories for all ages. With My First Kafka, the master storyteller takes his rightful place alongside Maurice Sendak, Edward Gorey, and Lemony Snicket as a literary giant for all ages. |
| figurative language in the metamorphosis: The Commentators' Despair Stanley Corngold, 1973 |
| figurative language in the metamorphosis: Simile and Identity in Ovid's Metamorphoses Marie Louise von Glinski, 2012-02-09 The first monograph on Ovid's epic simile, offering fresh perspectives on central episodes of this important work. |
| figurative language in the metamorphosis: The Things They Carried Tim O'Brien, 2009-10-13 A classic work of American literature that has not stopped changing minds and lives since it burst onto the literary scene, The Things They Carried is a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The Things They Carried depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of forty-three. Taught everywhere—from high school classrooms to graduate seminars in creative writing—it has become required reading for any American and continues to challenge readers in their perceptions of fact and fiction, war and peace, courage and fear and longing. The Things They Carried won France's prestigious Prix du Meilleur Livre Etranger and the Chicago Tribune Heartland Prize; it was also a finalist for the Pulitzer Prize and the National Book Critics Circle Award. |
| figurative language in the metamorphosis: Jackals and Arabs Franz Kafka, 2015-01-26 Jackals and Arabs (German: Schakale und Araber) is a short story by Franz Kafka, written and published in 1917. The story was first published by Martin Buber in the German monthly Der Jude. It appeared again in the collection Ein Landarzt (A Country Doctor) in 1919. |
| figurative language in the metamorphosis: Metaphor in Communication, Science and Education Francesca Ervas, Elisabetta Gola, Maria Grazia Rossi, 2017-08-07 This collection of papers presents some recent trends in metaphor studies that propose new directions of research on the embodied cognition perspective. The overall volume, in particular, shows how the embodied cognition still remains a relevant approach in a multidisciplinary research on the communicative side of metaphors, by focusing on both comprehension processes in science as well as learning processes in education. |
| figurative language in the metamorphosis: Kafka's Rhetoric Clayton Koelb, 2019-05-15 In the first book to study Franz Kafka from the perspective of modern rhetorical theory, Clayton Koelb explores such questions as how Kafka understood the reading process, how he thematized the problematic of reading, and how his highly distinctive style relates to what Koelb describes as the passion of reading. |
| figurative language in the metamorphosis: Metamorphosis Alison Keith, Stephen James Rupp, 2007 |
| figurative language in the metamorphosis: Figurative Language in Biblical Prose Narrative Andrea Weiss, 2006-03-01 This study applies several linguistic approaches to the book of Samuel in order to investigate the defining features of metaphor and the way metaphor and other forms of figurative language operate in biblical narrative. The book begins with an exploration of how to identify and interpret the metaphors in 1 Samuel 25. Next, the metaphors in 2 Samuel 16:16-17:14 are compared with other tropes, primarily metonymy and simile. Then the notion of “dead” metaphors is challenged while examining the figurative language in 1 Samuel 24. An in-depth analysis of the figurative language in these texts results in a better understanding of the mechanics of metaphor, and a richer, more nuanced reading of these stories, their characters, and language. |
| figurative language in the metamorphosis: Metamorphoses: Books I-VIII Ovid, 1960 |
| figurative language in the metamorphosis: Metamorphic Readings Alison Sharrock, Daniel Möller, Mats Malm, 2020 Metamorphic Readings presents a set of original interpretations of Ovid's seminal Metamorphoses and its reception in later literature, representing the state of the art of research on the poem and enhancing the suggestiveness of Ovid's masterpiece. |
| figurative language in the metamorphosis: Metaphors We Live By George Lakoff, Mark Johnson, 1980-11-01 The now-classic Metaphors We Live By changed our understanding of metaphor and its role in language and the mind. Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are metaphors we live by—metaphors that can shape our perceptions and actions without our ever noticing them. In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language. |
| figurative language in the metamorphosis: Franz Kafka Stanley Corngold, 2018-03-15 In Stanley Corngold’s view, the themes and strategies of Kafka’s fiction are generated by a tension between his concern for writing and his growing sense of its arbitrary character. Analyzing Kafka’s work in light of the necessity of form, which is also a merely formal necessity, Corngold uncovers the fundamental paradox of Kafka’s art and life. The first section of the book shows how Kafka’s rhetoric may be understood as the daring project of a man compelled to live his life as literature. In the central part of the book, Corngold reflects on the place of Kafka within the modern tradition, discussing such influential precursors of Cervantes, Flaubert, and Nietzsche, whose works display a comparable narrative disruption. Kafka’s distinctive narrative strategies, Corngold points out, demand interpretation at the same time they resist it. Critics of Kafka, he says, must be aware that their approaches are guided by the principles that Kafka’s fiction identifies, dramatizes, and rejects. |
| figurative language in the metamorphosis: Franz Kafka in Context Carolin Duttlinger, 2018 Accessible essays place Kafka in historical, political and cultural context, providing new and often unexpected perspectives on his works. |
| figurative language in the metamorphosis: Samskara U. R. Anantha Murthy, 1989 Made into a powerful, award-winning film in 1970, this important Kannada novel of the sixties has received widespread acclaim from both critics and general readers since its first publication in 1965. As a religious novel about a decaying brahmin colony in the south Indian village of Karnataka, Samskara serves as an allegory rich in realistic detail, a contemporary reworking of ancient Hindu themes and myths, and a serious, poetic study of a religious man living in a community of priests gone to seed. A death which stands as the central event in the plot brings in its wake a plague, many more deaths, live questions with only dead answers, moral chaos, and the rebirth of one man. The volume provides a useful glossary of Hindu myths, customs, Indian names, flora, and other terms. Notes and an afterword enhance the self-contained, faithful, and yet readable translation. |
| figurative language in the metamorphosis: Cartographic Strategies of Postmodernity Peta Mitchell, 2013-01-11 The last fifty years have witnessed the growing pervasiveness of the figure of the map in critical, theoretical, and fictional discourse. References to mapping and cartography are endemic in poststructuralist theory, and, similarly, geographically and culturally diverse authors of twentieth-century fiction seem fixated upon mapping. While the map metaphor has been employed for centuries to highlight issues of textual representation and epistemology, the map metaphor itself has undergone a transformation in the postmodern era. This metamorphosis draws together poststructuralist conceptualizations of epistemology, textuality, cartography, and metaphor, and signals a shift away from modernist preoccupations with temporality and objectivity to a postmodern pragmatics of spatiality and subjectivity. Cartographic Strategies of Postmodernity charts this metamorphosis of cartographic metaphor, and argues that the ongoing reworking of the map metaphor renders it a formative and performative metaphor of postmodernity. |
| figurative language in the metamorphosis: Music and Metamorphosis in Greco-Roman Thought Pauline A. LeVen, 2020-12-03 Examines questions raised, in antiquity and now, by mythical narratives about humans transforming into non-human musical beings. |
| figurative language in the metamorphosis: Journeys Through Bookland Charles Herbert Sylvester, 1909 |
| figurative language in the metamorphosis: The Skin of the System Benjamin Robinson, 2009 The Skin of the System objects to the idea that there is only one modernitythat of liberal capitalism. Starting from the simple conviction that whatever else East German socialism was, it was real, this book focuses on what made historical socialism different from social systems in the West. In this way, the study elicits the general question: what must we think in order to think an other system at all? To approach this question, Robinson turns to the remarkable writer Franz Fühmann, the East German who most single-mindedly dedicated himself to understanding what it means to transform from fascism to socialism. Fühmann's own serial loyalties to Hitler and Stalin inform his existential meditations on change and difference. By placing Fühmann's politically alert and intensely personal literary inventions in the context of an inquiry into radical social rupture, The Skin of the System wrests the brutal materiality of twentieth-century socialism from attempts to provincialize both its desires and its failures as antimodern ideological follies. |
| figurative language in the metamorphosis: The Metaphorical Brain Seana Coulson, Vicky T. Lai, 2016-03-09 Metaphor has been an issue of intense research and debate for decades (see, for example [1]). Researchers in various disciplines, including linguistics, psychology, computer science, education, and philosophy have developed a variety of theories, and much progress has been made [2]. For one, metaphor is no longer considered a rhetorical flourish that is found mainly in literary texts. Rather, linguists have shown that metaphor is a pervasive phenomenon in everyday language, a major force in the development of new word meanings, and the source of at least some grammatical function words [3]. Indeed, one of the most influential theories of metaphor involves the suggestion that the commonality of metaphoric language results because cross-domain mappings are a major determinant in the organization of semantic memory, as cognitive and neural resources for dealing with concrete domains are recruited for the conceptualization of more abstract ones [4]. Researchers in cognitive neuroscience have explored whether particular kinds of brain damage are associated with metaphor production and comprehension deficits, and whether similar brain regions are recruited when healthy adults understand the literal and metaphorical meanings of the same words (see [5] for a review) . Whereas early research on this topic focused on the issue of the role of hemispheric asymmetry in the comprehension and production of metaphors [6], in recent years cognitive neuroscientists have argued that metaphor is not a monolithic category, and that metaphor processing varies as a function of numerous factors, including the novelty or conventionality of a particular metaphoric expression, its part of speech, and the extent of contextual support for the metaphoric meaning (see, e.g., [7], [8], [9]). Moreover, recent developments in cognitive neuroscience point to a sensorimotor basis for many concrete concepts, and raise the issue of whether these mechanisms are ever recruited to process more abstract domains [10]. This Frontiers Research Topic brings together contributions from researchers in cognitive neuroscience whose work involves the study of metaphor in language and thought in order to promote the development of the neuroscientific investigation of metaphor. Adopting an interdisciplinary perspective, it synthesizes current findings on the cognitive neuroscience of metaphor, provides a forum for voicing novel perspectives, and promotes avenues for new research on the metaphorical brain. [1] Arbib, M. A. (1989). The metaphorical brain 2: Neural networks and beyond. John Wiley & Sons, Inc. [2] Gibbs Jr, R. W. (Ed.). (2008). The Cambridge handbook of metaphor and thought. Cambridge University Press. [3] Sweetser, Eve E. Grammaticalization and semantic bleaching. Annual Meeting of the Berkeley Linguistics Society. Vol. 14. 2011. [4] Lakoff, G., & Johnson, M. (1999). Philosophy in the flesh: The embodied mind and its challenge to western thought. Basic books. [5] Coulson, S. (2008). Metaphor comprehension and the brain. The Cambridge handbook of metaphor and thought, 177-194. [6] Winner, E., & Gardner, H. (1977). The comprehension of metaphor in brain-damaged patients. Brain, 100(4), 717-729. [7] Coulson, S., & Van Petten, C. (2007). A special role for the right hemisphere in metaphor comprehension?: ERP evidence from hemifield presentation. Brain Research, 1146, 128-145. [8] Lai, V. T., Curran, T., & Menn, L. (2009). Comprehending conventional and novel metaphors: An ERP study. Brain Research, 1284, 145-155. [9] Schmidt, G. L., Kranjec, A., Cardillo, E. R., & Chatterjee, A. (2010). Beyond laterality: a critical assessment of research on the neural basis of metaphor. Journal of the International Neuropsychological Society, 16(01), 1-5. [10] Desai, R. H., Binder, J. R., Conant, L. L., Mano, Q. R., & Seidenberg, M. S. (2011). The neural career of sensory-motor metaphors. Journal of Cognitive Neuroscience, 23(9), 2376-2386. |
| figurative language in the metamorphosis: Scylla Marianne Govers Hopman, 2013-01-03 What's in a name? Using the example of a famous monster from Greek myth, this book challenges the dominant view that a mythical symbol denotes a single, clear-cut 'figure' and proposes instead to define the name 'Scylla' as a combination of three concepts - sea, dog and woman - whose articulation changes over time. While archaic and classical Greek versions usually emphasize the metaphorical coherence of Scylla's components, the name is increasingly treated as a well-defined but also paradoxical construct from the late fourth century BCE onward. Proceeding through detailed analyses of Greek and Roman texts and images, Professor Hopman shows how the same name can variously express anxieties about the sea, dogs, aggressive women and shy maidens, thus offering an empirical response to the semiotic puzzle raised by non-referential proper names. |
| figurative language in the metamorphosis: Style in Theory Ivan Callus, James Corby, Gloria Lauri-Lucente, 2012-12-06 'What, in theory, is style? How has style been rethought in literary theory?' Drawing together leading academics working within and across the disciplines of English, philosophy, literary theory, and comparative literature, Style in Theory: Between Philosophy and Literature sets out to rethink the important but all-too-often-overlooked issue of style, exploring in particular how the theoretical humanities open conceptual spaces that afford and encourage reflection on the nature of style, the ways in which style is experienced and how style allows disciplinary boundaries to be both drawn and transgressed. Offering incisive reflections on style from a diverse and contemporary range of theoretical and methodological perspectives, the essays contained in this volume critically revisit and challenge accepted accounts of style, and provide fresh and compelling readings of the relevance in any rethinking of style of specific works by the likes of Shakespeare, Petrarch, Kant, Nietzsche, Heidegger, Deleuze, Blanchot, Derrida, Nancy, Cixous and Meillassoux. |
| figurative language in the metamorphosis: The Calvinist Roots of the Modern Era Aliki Barnstone, Michael Tomasek Manson, Carol J. Singley, 1997 This collection of essays traces Calvinism's presence in twentieth-century literature and demonstrates its impact as psychological construct, cultural institution, and socio-political model. |
| figurative language in the metamorphosis: Thinking of Others Ted Cohen, 2012-04-08 In Thinking of Others, Ted Cohen argues that the ability to imagine oneself as another person is an indispensable human capacity--as essential to moral awareness as it is to literary appreciation--and that this talent for identification is the same as the talent for metaphor. To be able to see oneself as someone else, whether the someone else is a real person or a fictional character, is to exercise the ability to deal with metaphor and other figurative language. The underlying faculty, Cohen argues, is the same--simply the ability to think of one thing as another when it plainly is not. In an engaging style, Cohen explores this idea by examining various occasions for identifying with others, including reading fiction, enjoying sports, making moral arguments, estimating one's future self, and imagining how one appears to others. Using many literary examples, Cohen argues that we can engage with fictional characters just as intensely as we do with real people, and he looks at some of the ways literature itself takes up the question of interpersonal identification and understanding. An original meditation on the necessity of imagination to moral and aesthetic life, Thinking of Others is an important contribution to philosophy and literary theory. |
| figurative language in the metamorphosis: Metalepsis in Animation Erwin Feyersinger, 2017 The narratological term metalepsis describes a seemingly paradoxical transgression of narrative or ontological levels that are perceived as mutually exclusive. While metalepsis can be found across a variety of media, it is a specifically important device in animated films and television series. Prominent examples are the hand of the animator reaching into the diegesis of her or his creations or characters escaping into the world of their creators. The book explores various functions and uses of metalepses throughout the history of animation and develops models of mental processes that govern their cognitive production and reception. |
| figurative language in the metamorphosis: The Victorian Woman Question in Contemporary Feminist Fiction J. King, 2005-06-01 The Victorian Woman Question in Contemporary Feminist Fiction explores the representation of Victorian womanhood in the work of some of today's most important British and North American novelists including A.S. Byatt, Sarah Waters, Margaret Atwood, Angela Carter and Toni Morrison. By analysing these novels in the context of the scientific, religious and literary discourses that shaped Victorian ideas about gender, it contributes to an important inter-disciplinary debate. For while showing the power of these discourses to shape women's roles, the novels also suggest how individual women might challenge that power through their own lives. |
| figurative language in the metamorphosis: Tree That Time Built Mary Ann Hoberman, Linda Winston, 2009-10 A poetry celebration of nature, science, the environment, and the wonder of it all, from the Children's Poet Laureate The Tree That Time Built is a moving anthology of more than 100 poems celebrating the wonders of the natural world and encouraging environmental awareness. With a focus on the outdoors, this collection taps into today's environmental movement and also presents wonders of nature and science, most especially Darwin's theory of evolution, from which this collection gains its name. Included is an exclusive audio CD of many of the poets reading their own work. Including dynamic introductions to nine sections of poems, plus brief introductions to many individual poems, this collection reaches out to young people and stimulates their innate curiosity and idealism. This rich collection showcases a wide range of poets, including: Theodore Roethke Dylan Thomas Carl Sandburg Douglas Florian Jeff Moss Jack Prelutsky Mary Ann Hoberman |
| figurative language in the metamorphosis: Writing the Classroom Stephen E. Neaderhiser, 2022-11-21 Writing the Classroom explores how faculty compose and use pedagogical documents to establish classroom expectations and teaching practices, as well as to articulate the professional identities they perform both inside and outside the classroom. The contributors to this unique collection employ a wide range of methodological frameworks to demonstrate how pedagogical genres—even ones as seemingly straightforward as the class syllabus—have lives extending well beyond the classroom as they become part of how college teachers represent their own academic identities, advocate for pedagogical values, and negotiate the many external forces that influence the act of teaching. Writing the Classroom shines a light on genres that are often treated as two-dimensional, with purely functional purposes, arguing instead that genres like assignment prompts, course proposals, teaching statements, and policy documents play a fundamental role in constructing the classroom and the broader pedagogical enterprise within academia. Writing the Classroom calls on experienced teachers and faculty administrators to critically consider their own engagement with pedagogical genres and offers graduate students and newer faculty insight into the genres that they may only now be learning to inhabit as they seek to establish their personal teacherly identities. It showcases the rhetorical complexity of the genres written in the service of pedagogy not only for students but also for the many other audiences within academia that have a role in shaping the experience of teaching. Contributors: Michael Albright, Lora Arduser, Lesley Erin Bartlett, Logan Bearden, Lindsay Clark, Dana Comi, Zack K. De Piero, Matt Dowell, Amy Ferdinandt Stolley, Mark A. Hannah, Megan Knight, Laura R. Micciche, Cindy Mooty, Dustin Morris, Kate Navickas, Kate Nesbit, Jim Nugent, Lori A. Ostergaard, Cynthia Pengilly, Jessica Rivera-Mueller, Christina Saidy, Megan Schoen, Virginia Schwarz, Christopher Toth |
| figurative language in the metamorphosis: Sounding/Silence David Nowell Smith, 2013-09-02 Goku's life is hanging by a thread. Gohan and Kuririn must use the seven Dragon Balls of Namek to summon the mighty Dragon Lord. |
| figurative language in the metamorphosis: Ovid, Metamorphoses, 3.511-733 Ingo Zissos Andrew Gildenhard, 2020-10-09 This extract from Ovid's 'Theban History' recounts the confrontation of Pentheus, king of Thebes, with his divine cousin, Bacchus, the god of wine. Notwithstanding the warnings of the seer Tiresias and the cautionary tale of a character Acoetes (perhaps Bacchus in disguise), who tells of how the god once transformed a group of blasphemous sailors into dolphins, Pentheus refuses to acknowledge the divinity of Bacchus or allow his worship at Thebes. Enraged, yet curious to witness the orgiastic rites of the nascent cult, Pentheus conceals himself in a grove on Mt. Cithaeron near the locus of the ceremonies. But in the course of the rites he is spotted by the female participants who rush upon him in a delusional frenzy, his mother and sisters in the vanguard, and tear him limb from limb.The episode abounds in themes of abiding interest, not least the clash between the authoritarian personality of Pentheus, who embodies 'law and order', masculine prowess, and the martial ethos of his city, and Bacchus, a somewhat effeminate god of orgiastic excess, who revels in the delusional and the deceptive, the transgression of boundaries, and the blurring of gender distinctions.This course book offers a wide-ranging introduction, the original Latin text, study aids with vocabulary, and an extensive commentary. Designed to stretch and stimulate readers, Gildenhard and Zissos's incisive commentary will be of particular interest to students of Latin at AS and undergraduate level. It extends beyond detailed linguistic analysis to encourage critical engagement with Ovid's poetry and discussion of the most recent scholarly thought. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors. |
| figurative language in the metamorphosis: The Rhetoric of the Body from Ovid to Shakespeare Lynn Enterline, 2000-05-11 This persuasive book analyses the complex, often violent connections between body and voice in Ovid's Metamorphoses and narrative, lyric and dramatic works by Petrarch, Marston and Shakespeare. Lynn Enterline describes the foundational yet often disruptive force that Ovidian rhetoric exerts on early modern poetry, particularly on representations of the self, the body and erotic life. Paying close attention to the trope of the female voice in the Metamorphoses, as well as early modern attempts at transgendered ventriloquism that are indebted to Ovid's work, she argues that Ovid's rhetoric of the body profoundly challenges Renaissance representations of authorship as well as conceptions about the difference between male and female experience. This vividly original book makes a vital contribution to the study of Ovid's presence in Renaissance literature. |
| figurative language in the metamorphosis: Shakespeare's Body Parts Griffiths Huw Griffiths, 2020-09-04 Uncovers the workings of sovereign power in Shakespeare's history plays Presents a sustained, formalist reading of Shakespeare's history playsReads Shakespeare's history plays for their contribution to political thought, and to theories of sovereigntyDelivers a thorough and wide-ranging formal analysis of Shakespearean body parts, both literal and figurativePresents a particular view of Shakespeare's language-use as e;baroquee;, its convolutions contributing to complex articulations of sovereign willCapitalises on current theories of authorship in relation to the history plays in order to assess Shakespeare's particular contribution to how sovereignty is imagined in the late sixteenth centuryThis book provides a sustained, formalist reading of the multiple body parts that litter the dialogue and action of Shakespeare's history plays, including Henry V, Richard III, Richard II, King John and Henry IV. With a starting point in literary critical analyses of these dislocated bodies, the book tracks Shakespeare's relentless pursuit of a specific political question: how does human flesh, blood and bone relate to sovereignty? Griffiths advances our understanding of how human bodies are captured by - and escape - the grip of political systems. |
| figurative language in the metamorphosis: A Very Old Man with Enormous Wings Gabriel García Márquez, 2014 Strange, wondrous things happen in these two short stories, which are both the perfect introduction to Gabriel García Márquez, and a wonderful read for anyone who loves the magic and marvels of his novels.After days of rain, a couple find an old man with huge wings in their courtyard in 'A Very Old Man with Enormous Wings' - but is he an angel? Accompanying 'A Very Old Man with Enormous Wings' is the short story 'The Sea of Lost Time', in which a seaside town is brought back to life by a curious smell of roses. |
| figurative language in the metamorphosis: On Earth We're Briefly Gorgeous Ocean Vuong, 2021-06-01 The instant New York Times Bestseller • Nominated for the 2019 National Book Award for Fiction “A lyrical work of self-discovery that’s shockingly intimate and insistently universal…Not so much briefly gorgeous as permanently stunning.” —Ron Charles, The Washington Post Ocean Vuong’s debut novel is a shattering portrait of a family, a first love, and the redemptive power of storytelling On Earth We’re Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late twenties, the letter unearths a family’s history that began before he was born — a history whose epicenter is rooted in Vietnam — and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class, and masculinity. Asking questions central to our American moment, immersed as we are in addiction, violence, and trauma, but undergirded by compassion and tenderness, On Earth We’re Briefly Gorgeous is as much about the power of telling one’s own story as it is about the obliterating silence of not being heard. With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years. Named a Best Book of the Year by: GQ, Kirkus Reviews, Booklist, Library Journal, TIME, Esquire, The Washington Post, Apple, Good Housekeeping, The New Yorker, The New York Public Library, Elle.com, The Guardian, The A.V. Club, NPR, Lithub, Entertainment Weekly, Vogue.com, The San Francisco Chronicle, Mother Jones, Vanity Fair, The Wall Street Journal Magazine and more! |
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more imaginative meaning, in…. Learn more.
Figurative Language - Definition and Examples - LitCharts
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way.
20 Types of Figurative Language (Examples + Anchor Charts)
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down its essential elements, and examine 20 specific types …
Figurative Language - Examples and Definition - Literary Devices
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, and allusions go beyond the literal meanings of the words …
Figurative - definition of figurative by The Free Dictionary
1. of the nature of or involving a figure of speech, esp. a metaphor; metaphorical; not literal. 2. characterized by or abounding in figures of speech. 3. representing by means of a figure or …
FIGURATIVE definition and meaning | Collins English Dictionary
If you use a word or expression in a figurative sense, you use it with a more abstract or imaginative meaning than its ordinary literal one.
FIGURATIVE Definition & Meaning - Dictionary.com
Figurative definition: of the nature of or involving a figure of speech, especially a metaphor; metaphorical and not literal.. See examples of FIGURATIVE used in a sentence.
Figurative - Definition, Meaning & Synonyms - Vocabulary.com
Any figure of speech — a statement or phrase not intended to be understood literally — is figurative. You say your hands are frozen, or you are so hungry you could eat a horse. That's …
Figurative Language – Definition and Examples - Proofed
Apr 13, 2023 · Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, or …
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more imaginative meaning, in…. Learn more.
Figurative Language - Definition and Examples - LitCharts
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way.
20 Types of Figurative Language (Examples + Anchor Charts)
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down its essential elements, and examine 20 specific types …
Figurative Language - Examples and Definition - Literary Devices
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, and allusions go beyond the literal meanings of …
Figurative - definition of figurative by The Free Dictionary
1. of the nature of or involving a figure of speech, esp. a metaphor; metaphorical; not literal. 2. characterized by or abounding in figures of speech. 3. representing by means of a figure or …
FIGURATIVE definition and meaning | Collins English Dictionary
If you use a word or expression in a figurative sense, you use it with a more abstract or imaginative meaning than its ordinary literal one.
FIGURATIVE Definition & Meaning - Dictionary.com
Figurative definition: of the nature of or involving a figure of speech, especially a metaphor; metaphorical and not literal.. See examples of FIGURATIVE used in a sentence.
Figurative - Definition, Meaning & Synonyms - Vocabulary.com
Any figure of speech — a statement or phrase not intended to be understood literally — is figurative. You say your hands are frozen, or you are so hungry you could eat a horse. That's …
Figurative Language – Definition and Examples - Proofed
Apr 13, 2023 · Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, …
