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metaphor |
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metaphor [Gr.,=transfer], in rhetoric, a figure of speech in which one class of things is referred to as if it belonged to another class. Whereas a simile states that A is like B, a metaphor states that A is B or substitutes B for A. Some metaphors are explicit, like Shakespeare's line from As You Like It: "All the world's a stage." A metaphor can also be implicit, as in Shakespeare's Sonnet LXXIII, where old age is indicated by a description of autumn:
A dead metaphor, such as "the arm" of a chair, is one that has become so common that it is no longer considered a metaphor. metaphorFigure of speech in which a word or phrase denoting one kind of object or action is used in place of another to suggest a likeness or analogy between them (as in “the ship plows the seas” or “a volley of oaths”). A metaphor is an implied comparison (as in “a marble brow”), in contrast to the explicit comparison of the simile (“a brow white as marble”). Metaphor is common at all levels of language and is fundamental in poetry, in which its varied functions range from merely noting a likeness to serving as a central concept and controlling image. metaphorThe derivation of metaphor means "to carry over." Thus the "desktop metaphor" as so often described means that the office desktop has been brought over and simulated on computers. metaphor a figure of speech in which a word or phrase is applied to an object or action that it does not literally denote in order to imply a resemblance, for example he is a lion in battle How to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit webmaster's page for free fun content. |
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Lawrence's straightforward yet metaphoric language convinces the reader that perhaps the dog is Beau, even as Lawrence portrays Danny's grieving parents' further despair that they are losing a second son to his delusions. Either way, it's a dark departure from the more purely decorative feel of previous projects: Narrative and associative fragments here merge and shift, their metaphoric weight fluctuating with apparent unpredictability as the genre of landscape painting, to which they loosely belong, is subject to complex interrogation. If the conceit seems too precious to be true--particularly under the metaphoric umbrella of the loggerhead turtles, who abandon their eggs on the beach to fend for themselves--writer-director Tim Kirkman wants you to know that, in fact, it's all true. |
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