A connection between the adrenalin rushes experienced at life-or-death moments and during sexual excitement is made imagistically
every one," are first abstracted (30) and generalized into a single but still plural category of "shapes" and then--and here's the fulcrum that levers the sublime--further consolidated into unity both grammatically (in the singular noun "procession" and singular verbs "glides" and "appears") and imagistically
by being conceptually converted into a single swath of shadow, cloud, or mist moving or "processing" "Over still mountains.
Of course, Adoffs Slow Dance Heart Break Blues also tells a story, or, perh aps better, stories, for it interweaves micro-narratives grouped together in sections imagistically
"titled" by William Cotton's interesting collage pieces.
The imaginative force of this intuition becomes clearer after he has learned the dreadful secret of his conception and begun to pay a new kind of attention to Yaqut: "I decided that my father's head had something of the shape of a tamarind seed, compact, wholly intact"-wholly itself yet imagistically
connected to Kalaman's birth.
Thus, to end his book, instead of summarizing an argument about the importance of Emerson's life and work, Richardson imagistically
brings the two key forces in Emerson's life - the fire in the hearth and the fire in the mind - into the picture simultaneously.
For Lacan in his Johns Hopkins lecture, for instance, that something is taken up by his almost total preoccupation with the "unconscious," imagistically
foregrounded in relation to Baltimore's early morning half-light--a state of mind that "has nothing to do with instinct or primitive knowledge or preparation of thought in some underground," he observes, but is rather "a thinking with words, with thoughts that escape your vigilance, your state of watchfulness" (189).
In Tracks, the chapter labels bear the triple code of the season (in English) and date, an Anishinabe word for the season, and an English translation that describes the season imagistically
(for instance, "Raspberry Sun").
As I have suggested elsewhere, the memory structure itself that Williams adopts in Menagerie may not be without its own implicit "sexual" politics or agenda: Because it depends on and is even tied not only to a more imagistically
evocative language but also to certain poetic and nonrealistic theatrical devices (as described in Williams's Production Notes on what he calls the "new, plastic theatre"), memory might be construed as a feminine mode of discourse that partially subverts more patriarchically embedded literary texts that comprise linear narrative history.
The diffuseness of illumination upon landscape elements emphasizes imagistically
the departure from linearity that the sentence conveys structurally.
Both Welty and Warren address the problem of projection in their respective works; in essence, any projection of "meaning" becomes a projection of self, the artist's or observer's attempts to assign relative value or interpretation to an imagistically
or linguistically neutral object.
These themes, as is usually the case with Nabokov, are not handled discursively but imagistically
and stylistically -- in tropes and extended figures that dramatize consciousness and present its ideation in concrete spatial terms and in lexical, acoustic, and syntactic patterns that simultaneously govern the reader's apprehension of the meaning and articulate the ambivalent or ironic attitude of the narrator toward his own intellectual and verbal constructs.
dense stream-of-consciousness passages recall, in Beloved's voice, the experience of crossing the ocean by ship.