He had been struck by Mr. Zeller's economy of language.
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Reviewing "Alma," her second collection, in The New York Times in 1986, J. D. McClatchy praised Ms. Gregg's economy of language and imagery.
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Still, there is a fundamental problem for anyone familiar with Soseki's feather-light "Ten Nights' Dreams," with its quintessential economy of language and evanescent images.
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Gay noted the economy of language that is required for writing comics, given the limited number of words that can fit on a panel or page.
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Durant, who calls himself, "in a sense, a failed poet," uses an economy of language in his art that ties together the past, present and perhaps the future.
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The story foreshadows the writer to be, not only in terms of Hemingway's economy of language and use of landscape, but also in his mixing of reportage with fiction.
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"Threshold" has teachers meeting pupils at the door; "strong voice" explains that the most effective teachers stand still when talking, use a formal register, deploy an economy of language and do not finish their sentences until they have their classes' full attention.
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In an attempt to combat recency bias, I've placed A Short Hike at 10 on my list, but could probably argue that through its economy of language, it communicated a specific emotional state so powerfully that it should be way higher up.
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Not to be a little kid about it, but J.D. Salinger's Nine Stories has an economy of language and what was communicated about the emotional history of these characters with such few bits of dialogue that just really floored me when I read it when I was in my late teens.
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De Swaan likens the global language system to contemporary political macrosociology and states that language constellations are a social phenomenon, which can be understood by using social science theories. In his theory, de Swaan uses the Political Sociology of Language and Political Economy of Language to explain the rivalry and accommodation between language groups.
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Her lighter poetry is ironic, often comic. Her writing was influenced by French imagism, Biblical stories, and the literature of the Second Aliyah pioneers. Another major creative influence on Rachel’s poetry was the Acmeists and their leader, the Russian poet Anna Akhmatova. Rachel’s style reflects the movement’s strive for “clarity, accuracy, conciseness, and economy of language” in poetry.
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A reaction to the abrasiveness of alternative rock in the early 1990s, when grunge had reigning popularity, Low "eschewed conventional songwriting in favour of mood and movement." Influenced by Brian Eno and Joy Division, the band, working with long-time producer and New York underground mainstay Mark Kramer, favored slow-paced compositions, a minimum of instrumentation and an economy of language.
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As his title suggests, in Ex Perimeter, Tom Konyves explores boundaries — between poetry and prose, and between art and life. Like American poet Frank O'Hara, Konyves views the poem as a "temporary object," which must be "true/ to the moment." The economy of language here, the proselike cadence, the focus on the "real" world, and on human mortality, are all features of Konyves' writing in this volume. \- SUSAN SCHENK – Unmapped Territory, Journal of Canadian Literature, Issue #130 (Autumn 1991) Fascinating, encouraging, delightful.
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" Her autobiography, A Little Bird Told Me..., was co-authored with music journalist, Jeff Apter, and was issued later that year. Her second collaboration with Nicholson, Wreck & Ruin (September 2012), reached No. 6 and provided another ARIA Award for Best Country Album in the next year. Keefe found the album has, "the married couple layering intricate vocal harmonies over some casual, mostly acoustic country-rock... Though [it] impresses for its thematic focus and gallows humor, the economy of language in the songwriting occasionally scans as a bit pedestrian.
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Pemberton Roach of AllMusic gave the album three stars out of five, calling it "a refreshingly direct, no-nonsense country record that had more in common with Steve Earle's best work than with any dance-club pretty boys." Alanna Nash of Entertainment Weekly gave the album an A grade, writing that Bunzow blends "an amiable tenor with economy of language and the minimalistic production of Dwight Yoakam collaborator Pete Anderson." After Jimmy Bowen left Liberty Records in March 1995 and the label returned to its Capitol Nashville name, the album was shelved and Bunzow was dropped. Bunzow continued writing and performing.
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In contrast to the contemporary Georgian poets, who were generally content to work within that tradition, Imagists called for a return to more Classical values, such as directness of presentation, economy of language, and a willingness to experiment with non-traditional verse forms; Imagists used free verse. A characteristic feature of the form is its attempt to isolate a single image to reveal its essence. This feature mirrors contemporary developments in avant-garde art, especially Cubism. Although these poets isolates objects through the use of what Ezra Pound called "luminous details", Pound's ideogrammic method of juxtaposing concrete instances to express an abstraction is similar to Cubism's manner of synthesizing multiple perspectives into a single image.
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"Nebraska" is sung as a first person narrative of Charles Starkweather, who along with his teenage girlfriend Caril Ann Fugate murdered 11 people over an eight-day period in 1958. Springsteen sings of 10 deaths, as Starkweather had already killed one man prior to their meeting. The song begins with Starkweather meeting Fugate: > I saw her standin' on her front lawn just a twirlin' her baton > Me and her went for a ride, sir ... and 10 innocent people died The economy of language in the opening is reminiscent of American writer Flannery O'Connor, whose work Springsteen had been reading prior to writing the songs for Nebraska. O'Connor's influence is heard throughout the song, with its confused characters who resort to violence.
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Ezra Pound photographed in 1913 by Alvin Langdon Coburn Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic, a major figure in the early modernist poetry movement, and a fascist collaborator in Italy during World War II. His works include Ripostes (1912), Hugh Selwyn Mauberley (1920), and the c. 23,000-line, 800-page epic poem The Cantos (1917–1968). Pound's contribution to poetry began with his role in developing Imagism, a movement derived from classical Chinese and Japanese poetry, stressing precision and economy of language. Working in London in the early 20th century as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost, and Ernest Hemingway.
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Author Andy Gill has commented that the final image of the lover being like some raven at the singer's window with a broken wing recalls Edgar Allan Poe's "The Raven", but is also a symbol of the lover's vulnerability in spite of her strength. Author Anthony Varesi has remarked that the broken wing may also be a reference to the woman's need for shelter, or else to a flaw in her. According to Dylan critics Oliver Trager and Marcus Gray, the style of the song's lyrics are comparable to William Blake's poem "The Sick Rose" in their economy of language and use of a detached tone to express the narrator's intense emotional experience. Wilfrid Mellers has suggested that the song's surreal images anticipate the psychedelic songs Dylan would later write.
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