O'Donnell's own observations frequently recall the tossed-off hyperboles of cable news.
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He built his private enterprise by selling "truthful hyperboles," ran his campaign by spreading lies and governs the country by purveying questionable narratives.
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Whoever designed the clothes for emoji women, she thought, must've likened them to Barbie dolls: hyperboles, with feet designed to fit only into heels.
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In a 2019 article for the Cut, Gabriella Paiella argued that the increase in violently horny hyperboles is a result of the dire state of affairs we're living in.
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The play triggered from Eddy an impossibly long "Bababababababa" and a flurry of hyperboles — "He took flight a kilometer away from the hoop" — punctuated by a high-pitched howling sound.
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Climate change is a real/present issue but I think we can reach a broader audience by talking about impacts/solutions rather than hyperboles I'm probably scabbing on myself here, but here are some longer thoughts on this: pic.twitter.
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The poetry of Jennifer L. Knox is very bold and real. Her poems are filled with humor, pop culture, and quite frequently, profanity. She delves into the pop culture of modern America today without censorship. Knox makes use of strong diction, hyperboles, and metaphors.
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Schiller makes use of an elevated style, pathos and hyperboles in order to describe the cynical and cold world of the court. The integrated French passages serve the uncovering of the court with its empty conversations and inclination for glamorous appearances. The President's speech is polished, calculated and imperatively arrogant. Secretary Wurm can be understood as a smaller copy of him.
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The tone of its writing is usually reflexive, humorous, ironic and above all very subjective in drawing conclusions, assessments and comments on a particular subject. Unlike other common journalistic genres, the feuilleton style is very close to literary. Its characteristic feature is lightness and wit evidenced by wordplay, parody, paradox and humorous hyperboles. The vocabulary is usually not neutral, and strongly emotionally loaded words and phrases prevail.
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Another characteristic singled out by Grierson is the Baroque European dimension of the poetry, its “fantastic conceits and hyperboles which was the fashion throughout Europe”.Grierson p.xx Again Johnson had been partly before him in describing the style as “borrowed from Marino and his followers”. It was from the use of conceits particularly that the writing of these European counterparts was known, Concettismo in Italian, Conceptismo in Spanish.
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Condorism changed Brazilian poetry in a variety of ways, being considered the Romantic phase that preceded the Realism in Brazil. Condorist poetry is characterized by a heavy use of hyperboles and grandiose language. Its main themes are Abolitionism and Republicanism, although the lyrical genre is also cultivated. However, unlike in the "Ultra-Romanticism", where love is heavily idealized and platonic, in Condorist poetry it is corporified, concrete, viable.
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People, both dead and alive, are as real as devils and angels and can interact with each other and visit earth, heaven, and hell. Fictionalized stories had dialogues, scenes from everyday life, deals with the devil, often unexpected conclusions. These elements made the stories similar to fables or fairy tales and made the book very popular among the readers. It is an example of Baroque literature and as such features complex style (extensive use of various figures of speech, including comparisons, contrasts, antithesis, metaphors, hyperboles, paradoxs, etc.).
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In particular when we choose the rectangular hyperbola xy = 1, one recovers the natural logarithm. A student and co-worker of Saint-Vincent, A. A. de Sarasa noted that this area property of the hyperbola represented a logarithm, a means of reducing multiplication to addition. An approach to Vincent−Sarasa theorem may be seen with hyperbolic sectors and the area-invariance of squeeze mapping. In 1651 Christiaan Huygens published his Theoremata de Quadratura Hyperboles, Ellipsis, et Circuli which referred to the work of Saint-Vincent.
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His mother had temporarily moved there to give birth and avoid scandal. But Bernhard wouldn’t be Bernhard if such a denigration, so relentless and ruthless, didn’t mutate in a vertiginous cascade of words with compulsive musical pitches of extraordinary beauty (and beautifully rendered by translator David McLintock) – a melodic aria whose lightness sharply contrasts with the gloomy character of Murau’s proclamations. It’s this very rhythm – an inexorable, spiralling mechanism of hyperboles and superlatives – which confers to the narrative the specific "vis comica" so characteristic of Bernhard’s work. Exaggeration changes into grotesque, tragedy into comedy.
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The epic tone of Venezuela Heroica succeeds through the use of wide coverage of space and time and lyrically with its basis of comparisons, epiphanies, hyperboles and other devices. The wideness in space succeeds by highlighting the heroes in relation to the people around them. Each hero is portrayed in relation to their own environment with interactions between them and other heroes. As regards the development of time, the events are often magnified through comparison with specific facts from the past, from antiquity or the Middle Ages, and this contributes to give a greater dimension.
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This Action Comics cover from 1959 ends every sentence with an exclamation point or question mark. Often, few or no periods would be used in the entire book. Some comic books, especially superhero comics of the mid-20th century, routinely use the exclamation point instead of the period, which means the character has just realized something; unlike when the question mark appears instead, which means the character is confused, surprised or they do not know what is happening. This tends to lead to exaggerated speech, in line with the other hyperboles common in comic books.
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But this very lack of unity constitutes Marino's narrative innovation. The poet composes his work using various levels and passes from one episode to the next without any apparent logical connection, basing the links solely on a language rich in hyperboles, antitheses and metaphors. In Adone, Marino quotes and rewrites passages from Dante's Divine Comedy, Ariosto, Tasso and the French literature of the day. The aim of these borrowings is not plagiarism but rather to introduce an erudite game with the reader who must recognise the sources and appreciate the results of the revision.
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This work has also been incorporated as one of the foretales in Kinsella's translation of The Táin., also endnotes. This editorial decision is potentially confusing, since for the Tain Bo Cuailnge proper, he uses the first recension and not the Book of Leinster version. The work also contains interesting passage of hyperboles regarding the heptad of Fergus (), omitted by Kinsella, which states how Fergus had the appetite of seven men, a libido that could only be satisfied by seven women in the absence of his wife Flidas, and that the size of his phallus measured seven fists.
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In Odes 1.2, for example, he eulogized Octavian in hyperboles that echo Hellenistic court poetry. The name Augustus, which Octavian assumed in January 27 BC, is first attested in Odes 3.3 and 3.5. In the period 27–24 BC, political allusions in the Odes concentrated on foreign wars in Britain (1.35), Arabia (1.29) Spain (3.8) and Parthia (2.2). He greeted Augustus on his return to Rome in 24 BC as a beloved ruler upon whose good health he depended for his own happiness (3.14).R. Nisbet, Horace: life and chronology, 13 The public reception of Odes 1–3 disappointed him, however.
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In The English Novel from Dickens to Lawrence (1970), he argued that the modern novel articulated a distinctively modern 'structure of feeling', the key problem of which was the 'knowable community'.Williams, R. (1974). The English Novel from Dickens to Lawrence, London: Chatto and Windus, pp. 14-15. In The Country and the City (1973) he developed a social history of English country-house poetry, aimed at demystifying the idealisations of rural life contained in the literature: 'It is what the poems are: not country life but social compliment; the familiar hyperboles of the aristocracy and its attendants'.
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Turbulent colour expression, infected with vital energy, is combined with the laws of primary symmetry characteristic of urban folklore: signs, trays. The artist achieved particular expressiveness in still life, his favourite genre. He hyperboles the material world, condenses forms, dramatises colour contrasts and exaggerates texture, creating powerful pictorial formulas. In addition to the Jack of Diamonds main genre of still life (Still Life. Fruit in a Dish, 1910; The Pumpkin 1914), Mashkov created theatrical, shocking portraits (Portrait of I.E.Kirkcaldy, 1910; Self-Portrait, 1911). In the 1920-1930s the artist tried to amalgamate his innovative achievements with the refinement of paintings by old masters (Food, Moscow Bread, 1924).
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To begin with, it shows a degree of vacillation in attitude toward its subject — perhaps resulting from Marcello's personal ambivalence regarding operatic music, as both a critic and a composer. For example, the dedicatory is by "the author of the book to its composer." In addition, it exhibits a number of surrealistic elements, which reach a climax in the last chapter, "The Raffle" (presumably organized by the mother of a young female singer), where the prizes include "a full dress of modern poet in fever-colored tree bark, wrapped with metaphors, translations, hyperboles" as well as "the pen that wrote Il teatro alla moda." The printing accompanies these peculiarities with a chaotic use of italic and normal typography and of capital fonts.
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Some irreversible binomials are used in legalese. Due to the use of precedent in common law, many lawyers use the same collocations found in documents centuries old, many of which are legal doublets of two synonyms, often one of Old English origin, the other of Latin origin: deposes and says, heirs and successors. While many irreversible binomials are literal expressions (like washer and dryer, rest and relaxation, rich and famous, savings and loan), some are entirely figurative (like come hell or high water, nip and tuck, surf and turf) or mostly figurative (like between a rock and a hard place, five and dime). Others are somewhat in between these extremes because they are more subtle figures of speech, synecdoches, metaphors, or hyperboles (like cat and mouse, sick and tired, barefoot and pregnant, rags to riches).
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He has also said there was nothing wrong with him threatening to kill anybody who destroys the Philippines. The President said that there is no law that prohibits him from threatening criminals. He has a duty to preserve the future generations, and he understands that fear has to be elicited from the drug addicts in order to force them to surrender peacefully. The President said he only wants to "lighten a dull moment” when he speaks in public, which is why he sometimes utter jokes. He has said that: “If it is too ridiculous, it must be a joke.” President Duterte’s spokesman said that the Chief Executive’s words have to be understood in the context of how he expresses himself. On previous occasions when the President was criticized for his language, then-Presidential Spokesperson Ernesto Abella said that the President has a fondness for "hyperboles.
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Strauss's argument is not that the medieval writers he studies reserved one exoteric meaning for the many (hoi polloi) and an esoteric, hidden one for the few (hoi aristoi), but that, through rhetorical stratagems including self-contradiction and hyperboles, these writers succeeded in conveying their proper meaning at the tacit heart of their writings—a heart or message irreducible to "the letter" or historical dimension of texts. Explicitly following Gotthold Ephraim Lessing's lead, Strauss indicates that medieval political philosophers, no less than their ancient counterparts, carefully adapted their wording to the dominant moral views of their time, lest their writings be condemned as heretical or unjust, not by "the many" (who did not read), but by those "few" whom the many regarded as the most righteous guardians of morality. It was precisely these righteous personalities who would be most inclined to persecute/ostracize anyone who was in the business of exposing the noble or great lie upon which the authority of the few over the many stands or falls.Jew and Philosopher: The Return to Maimonides in the Jewish Thought of Leo Strauss p.
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