His poetic style varies from the imagistic to the prosaic.
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The Adès orchestra, meanwhile, rivals the Buñuel camera in imagistic power.
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Now his rapping is sparser, more pointed, less imagistic and more emotional.
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You could even consider the green techno-rain the series' defining imagistic attribute.
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Like them, Voisine does not shy away from the imagistic in his work.
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It's sort-of the ultimate millennial gift: an imagistic presentation of recreational pharmaceutical use.
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The stories contained in the lyrics, even when blurry and imagistic, are clearly recounted.
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It's very imagistic, holistic, associative, metaphorical, symbolic—it's not linear and it's not logical.
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Beyond the imagistic content, what hits me first is color, form, texture, pattern, painterly incident.
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Do you see any similarities between how you approach production and the imagistic approach of poetry?
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"I tend to see and think in little imagistic shards which provide a basis," he said.
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Ms. Younger's harp playing can be airy or imagistic, but it's usually grounded in a groove.
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Thematically, the music informed the lyrics, and vice versa, and things became colder and more imagistic.
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A crushed-down and imagistic epic of flight may lurk in the interstices of "Ice," in fact.
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Tradition-minded listeners extol this Long Island-born rapper's imagistic verses, frostbite-cold storytelling and terse beats.
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"Peer Gynt" has since attracted directors of ripe imagistic bent, including Ingmar Bergman and, more recently, Robert Wilson.
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The imagistic work that Mr. Chong and his collaborators have created offers a broader introduction to the place.
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These sketches open a unique window into Mr Dylan's imagistic mind and suggest new ways to hear his songs.
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What Mennour could have muddled by being ambiguous is instead magnificent in an imaginative-imagistic way associated with good taste.
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The rapidity of these combinations allowed for the unexpected, as if Breton's automatic writing had finally found its imagistic counterpart.
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The survey format, it turns out, is a good fit for the sort of imagistic poetry in which creator Porpentine specializes.
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It showcases her morbid sensibility and her talent for writing lyrics that are as taut and imagistic as an objectivist poem.
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Meeting Gorbachev is profoundly sincere and imagistic, and is perhaps as much about memory as it is about the title figure.
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Not that anyone in "Girl" — which has an echoing, imagistic precision you associate with first-rate poetry — has much reason to hope.
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Waldman combines political, mythical, literary, artistic and historic references in poems that tend to blend and blur rather than yield imagistic clarity.
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Imagistic nocturnal fragments, hand-painted animation, like a loose abstract painting, mix with the indexical images of subway platforms, highways, and party scenes.
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In sometimes diaristic, sometimes imagistic songs about fatigue, desperation, illness, anxiety, adulation, longing and perseverance, he's deliberately exposed and ever compassionate. Nonesuch. Oct. 14.
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" Anyone charmed by the mix of melodic hooks and imagistic lyrics exemplified by Belly's breakout hit "Feed the Tree" will find a way into "Dove.
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While this is likely true — the painting is full of nightmarish, weird, perverse imaginings – it is still, determinedly, a message told in metaphor: formal and imagistic.
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Directed and choreographed by Silvana Cardell, who herself emigrated to Philadelphia from Buenos Aires more than a decade ago, "Supper" is a collection of imagistic sketches.
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These emoticons — predecessors of emoji, composed purely of typographical elements and not imagistic on their own — were initially produced by applying paint through laser-cut stencils.
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Over the last five years, she's made twisting, imagistic songs that function both as a depiction of and ballast against the heaviness of moving through the world.
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Pollard's songwriting tends to be imagistic and fractured, in a long tradition of tinkers who take the DNA of popular music and stretch it into stranger forms.
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"Guest" had a dreamlike plot—Nora, who works for the Department of Sudden Departure, realizes that her identity has been stolen—that felt newly confident, imagistic and musical.
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As first seen, occupied by straight-backed, chanting girls at their desks in a fleeting, imagistic prologue, this would appear to be a contemporary schoolroom of a dreary institutional nature.
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Frank O'Hara's 1964 "Lunch Poems," a set of imagistic, peripatetic musings on a city in motion, are beloved in part because they manage to articulate the balance of work and life.
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At key moments, the poet Saul Williams interjects with lines of imagistic poetry, wandering from speech to rap to song in a style similar to that of Yasiin Bey (formerly Mos Def).
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Her music was immediately lush and strikingly imagistic, conjuring a feeling of opulent to-be-looked-at-ness, and saw her putting herself – "Young and Beautiful" – in the eyelines of powerful, older men.
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" He also wrote numerous works for small, sometimes quirky groupings, like "Enter Ariel" (1980), a piece for piano, clarinet and voice that Mr. Page, in The Times, described as an "eloquent, imagistic song cycle.
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SIGHT LINES By Arthur Sze The sight lines in Sze's 10th collection are just that — imagistic lines strung together by jump-cuts, creating a filmic collage that itself seems to be a portrait of simultaneity.
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She had built an international career in the realm of art-pop as the leader of Antony and the Johnsons, singing sustained, vulnerable, imagistic chamber-pop ballads to an audience that hung on every vulnerable word.
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Many artists today are exploring artificial intelligence, but imagistic expressions of AI in the gallery have been largely trite, relying far too much on received appearances from the video game developers of Silicon Valley or Shenzhen.
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An imagistic montage of floods and political protests (such as Black Lives Matter and Standing Rock) passes onscreen, as the New York City Teen Poet Laureate Aaliyah Daniels voices over an untitled poem of hers about environmental racism.
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Caprix just celebrated the arrival of M6 Ultra, a self-released 7-track EP chock full of abstract avant-pop and imagistic music, as if the producer had strained old Taylor Swift demos through a Holly Herndon filtration system.
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Along with a team that includes Katrina Lindsay (costumes), Neil Austin (lighting) and Imogen Heap (music), Mr. Tiffany and his cast conjure the self-contained world(s) of Ms. Rowling's books with imagistic wit, precision and, occasionally, stark terror.
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As a leader, she released nearly 20 albums, from avant-funk to imagistic straight-ahead to the avant-garde; as an accompanist, she was known for creating a sense of weightlessness and possibility beneath and around her band mates.
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Mr. Joseph's juggling of them is too heavy-handed to produce any thrills, but eventually you sense that what he's after is the kind of imagistic force-field that keeps some large scale works, like "Angels in America," aloft.
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NASHVILLE — Guy Clark, who along with Townes Van Zandt, Jerry Jeff Walker and others patented the rugged, imagistic brand of narrative-rich songwriting that became associated with the Texas troubadour movement of the 1970s and '80s, died on Tuesday at his home here.
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" The poems in "Yeah No" are rarely imagistic, but they are visual in the sense that they force you to think about the way language looks; take that thy/thigh sequence above, one of several references to Aram Saroyan's famous visual poem "lighght.
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Tierra's writing tends to be imagistic, giving importance to seemingly insignificant details, like the acidic content of certain bourgeois bottled water brands, the specific way carbs and greens overlap on her dinner plate, or the efficacy of specific brands of bug spray.
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He finds a great deal throughout "The King," which finally proves more seductive than persuasive, particularly as Presley and Mr. Jarecki approach the finish and the screen turns into an imagistic, intellectual blur: Elvis falling, the twin towers burning, candidates rallying and Barney the purple dinosaur waving.
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Take his EP Testigo for example—released this August by fellow dancefloor contortionists N.A.A.F.I.—he offers five tracks that take the component parts of contemporary electronic music (the scuffed synth work, stomach-churning sub bass) and present them in a format that feels non-linear, otherworldly, and imagistic.
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No. Ms. Beach's essay was not a straightforward tell-all but rather, a stylized confessional, filled with imagistic asides ("cracked-open pill capsules rolled across the coffee table"), and knowing literary allusions, most importantly to "Cyrano de Bergerac," a play in which the title character is a ghostwriter.
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Antin became disengaged with the kind of writing he was doing and turned from imagistic based works — works which critic Marjorie Perloff has argued owe something to Surrealism and the French poet, Andre Breton — to a "process poetry," work influenced by the art world of the 1960s—much of which Antin was writing about in art journals— which was more "confrontational" than the lyrically-based work he had been doing.
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Its imagistic, vaguely mystical lyrics — the song was written by Mr. Frey, Mr. Henley and Don Felder — hint at a drug-fueled state of being, perhaps promising rapture, perhaps not, and have supplied fuel for countless interpretations: There she stood in the doorway; I heard the mission bell And I was thinking to myself, "This could be Heaven or this could be Hell" Then she lit up a candle and she showed me the way There were voices down the corridor, I thought I heard them say... Welcome to the Hotel California Such a lovely place (Such a lovely place) Such a lovely face Plenty of room at the Hotel California Any time of year (Any time of year) You can find it here Glenn Lewis Frey was born in Detroit on Nov.
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On their own, without visual aid, the recordings are awesomely imagistic; a maelstrom of impressions...
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Furthermore, through their imagistic power, they seek to shatter the ideological illusions propagated by priestcraft and kingcraft.
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The theory of divergent modes of religiosity (DMR) is intended to explain how religions are created, transmitted, and changed. DMR theory was first developed by anthropologist Harvey Whitehouse following his ethnographic fieldwork in Papua New Guinea. The theory proposes that religions tend to coalesce around two divergent modes, termed imagistic and doctrinal, which are distinguished primarily by their ritual practices. The imagistic mode is characterized by infrequently performed, high arousal rituals (e.g.
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Imagistic rituals arouse strong emotion and generate vivid, flashbulb like, episodic memories, while doctrinal rituals repetitive nature means that rather than individual events the experiences over time are stored in procedural and semantic memories. Later formulations of the theory also emphasised the different forms of group cohesion that are generated by the two modes, with imagistic rituals promoting intense, relational bonds with the other ritual participants and doctrinal rituals promoting more diffuse, categorical bonds with larger communities who share the same identity markers. DMR theory was tested empirically against data on 645 rituals from the HRAF global ethnographic database and the anticipated clustering of rituals around imagistic and doctrinal modes was confirmed. Ethnographic and historical examinations of the theory have been broadly positive and archaeologists have drawn upon DMR to explain the transition from small-scale societies to larger, more complex civilizations.
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Aiding in inventing Abstract Expressionism did not conclude her imagistic work. Her main goal was visual intensity, which she attained with impressive regularity. Milky Way, created in 1945, is currently displayed in the Museum of Modern Art.
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The theory of modes of religiosity seeks to explain the role of ritual in processes of group bonding and in the evolution of social complexity. Two modes are distinguished: imagistic and doctrinal. In the imagistic mode, collective rituals are infrequent and highly emotional, giving rise to tightknit local groups. In the doctrinal mode, rituals are frequent and relatively tame, producing indefinitely expandable communities with standardized beliefs and practices. Whitehouse’s published corpus includes a trilogy of books outlining his theory on modes of religiosity and the dysphoric pathway to identity fusion.
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DMR posits that fusion with other group members will also motivate the individual to act out extreme forms of altruism, especially when the group is threatened. Therefore, the imagistic mode of religiosity prevails when a group’s survival depends on extremely high levels of cohesion.
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Perhaps, the meaning in this poem rests entirely within its verbs, the "energy" the poem conveys its merit, within its "chaos of aimless and bewildering multiplicity". This energy filters through and is reflected by the reader, with whom the task of interpreting the poem's imagistic action lies.
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Buttel detects Imagistic technique in the poem's Whitman-like naming of physical details.Buttel, p. 131-2 In response to nature, man's natural architecture of flesh and bones has developed so as to catch nature's beauty. We are tattoo'd by it, but equally we tattoo nature with human sensibility.
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Jones, Ken. "Haibun: Some Concerns," in Haibun Today 9:2, June 2015. Generally, a haibun consists of one or more paragraphs of prose written in a concise, imagistic haikai style, and one or more haiku. However, there may be considerable variation of form, as described by editor and practitioner Jeffrey Woodward.
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Surgical planning using bone segment navigation for the osteotomy of the left orbit, based on stereolithographic models (registration based on infrared devices) The imagistic dataset used for surgical planning is mainly based on a CT or MRI. In oral and maxillofacial surgery, a different, more "traditional" surgical planning can be used for orthognatic surgery, based on cast models fixed into an articulator.
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Further, and due to a constellation of elements including broken narrative, fragmented characters and illusory/imagistic setting, conveyed in the form of a personal experience of an audience member, the work has been categorized as a dinstinctively postmodern play. However, because of its allegiance and focus on a Grand Narrative reconstruction it seems to stand at a distance from postmodern associations.
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The imagistic mode of religiosity involves collective rituals that are infrequent and highly emotional. Examples of these types of rituals include various initiation rites and rites of passage. The often dysphoric and highly emotional nature of these types of rituals activate the episodic memory system, resulting in detailed autobiographical memories. These dysphoric rituals can produce an extreme form of cohesion with the group, known as identity fusion.
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And all of those other things that people remember, > the imagistic things, are secondary, or certainly not as important. But I > think I’ve become pretty good at sussing out when people's opinions of my > work are coming from what they think of me personally. You just have to do > your thing and then let it go out into the world. The rest, you're not in > control.
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The play is in four acts; each act begins a new and unrelated story. The first three acts borrow from popular genres, but the dialogue is often associatively poetic. Act I is a Dada infidelity play that follows two lovers, Paul and Valentine, and Valentine's husband. The Dada dialogue twists the conventions of the dramatic cliché, as in the opening lines which juxtapose the tritest of romantic dialogue with imagistic metaphor.
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Louis S. Asekoff (born December 17, 1939) is an American poet and professor emeritus. Asekoff often incorporates surrealist imagery and monologue into his poetry, which is concerned with both the imagistic and aural dimensions of language. Asekoff's unconventional use of monologue as a poetic instrument is suggestive of "the inability of words to properly convey meaning" and a vehicle for implicating the readers who become "members of his poetic universe." Goykadosh, Bracha.
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Boyden's first book, The Mouths of Grazing Things, was selected by Robert Pinsky to receive the Brittingham Prize in Poetry in 2010 (University of Wisconsin Press). Her poetry is primarily lyrical and imagistic, and her themes often relate to environmental issues. In 1999, she was awarded the PEN Northwest Wilderness Writing residency and lived in an isolated, remote wilderness region near the Rogue River in southern Oregon. Her work was influenced by this wilderness immersion.
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In Shakespeare's play Macbeth, he uses a variety of narrative elements to create many different motifs. Imagistic references to blood and water are continually repeated. The phrase "fair is foul, and foul is fair" is echoed at many points in the play, a combination that mixes the concepts of good and evil. The play also features the central motif of the washing of hands, one that combines both verbal images and the movement of the actors.
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Aside from one long narrative poem in Frostian blank verse, Francis's poetry consists largely of concise lyrics, somewhat limited in thematic range but intensely crafted and deeply personal. Frost would later say that Robert Francis was America's best neglected poet. His poems often regard nature, and exhibit a distinct imagistic quality to them in representing the essence of the natural world. Also, the poems he wrote about baseball are perennial classics in that they are memorable.
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A megamusical (also known as a "spectacle show", "blockbuster musical", or "extravaganza") is a large-scale musical produced for large commercial profit. Such musicals utilize spectacle and increased technology to "radicalize the imagistic potential of musical theatre." Early concepts of the megamusical came into existence in the 1970s, and the form was established and popularized in the 1980s by individuals such as Andrew Lloyd Webber and Cameron Mackintosh. Megamusical is analogous to the film industry term "blockbuster".
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He began to make a name for himself in the early to mid-1970s as a literary minimalist, writing terse, imagistic poems. Critics have referred to Simic's poems as "tightly constructed Chinese puzzle boxes". He himself stated: "Words make love on the page like flies in the summer heat and the poet is merely the bemused spectator."Simic, Charles (ed.) (1992) The Best American Poetry 1992, Charles Scribner's Sons p xv Simic writes on such diverse topics as jazz, art, and philosophy.
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Critics such as Winfried Siemerling have hailed No Language is Neutral as a "breakthrough volume" for its uninhibitedness. In 1991, however, critics such as Ronald B. Hatch sung a different tune. He claimed that the "highly provocative material" in No Language Is Neutral coupled with "the Trinidadian English" was "monotonous" and lacked "imagistic representation". He claimed that the fault in No Language is Neutral was that it was "highly formal" and "highly rationalist" as if expecting Brand to write the opposite because of her 'other'/ 'exotic' status.
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M.R. Bentley, "Not of Things Only, but of Thought: Notes on A. J. M. Smith's Imagistic Poems", Canadian Poetry: Studies/Documents/Reviews, No. 11 (Fall/Winter 1982), UWO.ca, Web, March 28, 2011. Smith wrote a number of "Imagist poems" to illustrate the theory, the best known of which is "The Lonely Land". Some later critics noted that these poems didn't incorporate imagism as expressed by Pound and Hulme, but instead adapted imagist ideas in new ways, combining the imported practices to Canadian culture and environment.
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Taking its title from the middle-Scots word for maker, it published poetry, fiction, drama and criticism. Graham Rowlands was appointed editor soon after the magazine changed to a smaller format in 1966. Then, in 1968, Martin Duwell was appointed editor, beginning his long association with the magazine. By the early 1970s the poetry published in Makar had evolved, according to Robert Habost in his 1982 assessment for Image, 'from the "gushy", "high flying", imagistic, traditional rhyming verse' of the early 1960s 'to ... stark, concise, condensed verse'.
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Moartea visurilor, were among the first notable achievements of the Symbolist movement in Romania, striking in their thematic, imagistic and tonal unity. He was also a theoretician of Symbolism, which he knew in its Western European form and which he was able to define convincingly. He also published plays (Solii păcii, 1900–1901 and Frații, 1903), leaving behind manuscript plans for over thirty of them. His prose includes both journalism (political and sketches) and delicate and melancholic prose poems that show an authentic sensibility to nature.
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The doctrinal mode of religiosity refers to collective rituals that are frequent, usually routinized, and generate relatively little affect. Examples of this type of collective ritual would include Holy Communion and Call to prayer. Due to the repetitive nature of these types of rituals, semantic memory systems are thought to be activated and function similarly to organizing other general schemas and scripts of general knowledge. In contrast to the imagistic mode, these routinized rituals tend to produce less intense group identification, which serves to promote trust and cooperation but not extreme self-sacrifice.
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"Songs like 'The Big Ship,'" writes Mike Powell, "start on A and linger, accumulating countermelodies, magnifying themes, staying the same and yet revealing new sides with every turn." "In Dark Trees" and "The Big Ship" are two songs on which Eno plays all the instruments, namely the synthesizer, synthetic percussion and treated rhythm generator. The pulse of these songs is provided by the repeated rhythm coming from the rhythm box. These instrumental pieces and others like "Little Fishes" have been described as "highly imagistic, like paintings done in sound that actually resemble their titles".
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Bly's early collection of poems, Silence in the Snowy Fields, was published in 1962. Its plain, imagistic style had considerable influence on American verse of the next two decades.Gioia, Mason, and Schoerke, editors. Twentieth-Century American Poetics, p. 260. The following year, he published "A Wrong Turning in American Poetry", an essay in which he argued that the vast majority of American poetry from 1917 to 1963 was lacking in soul and "inwardness" as a result of a focus on impersonality and an objectifying, intellectual view of the world.
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The use of muta predicatio continued well into the Baroque period where paintings came to be seen as imagistic writing and a form of visual language for instruction. Visual art thus came to act as the "literature of the layman" via the concept of pictura-litteratura illiterata, i.e. pictures are the literature of the illiterate. Art historian Pamela J. Huckins has argued that the Franciscan missions of Alta California into the 19th century also employed muta predicatio to use art to transcend the barriers of language and literacy.
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Bosley Crowther of The New York Times wrote in a mixed review, "Here is a staggering combination of cinema brilliance and sheer banality, of visual excitement and verbal boredom, of historical pretentiousness and sex." Crowther thought that even Cecil B. DeMille's The Sign of the Cross "had nothing to match the horrendous and morbid spectacles of human brutality and destruction that Director Mervyn LeRoy has got in this. But within and around these visual triumph and rich imagistic displays is tediously twined a hackneyed romance that threatens to set your teeth on edge."Crowther, Bosley (November 9, 1951).
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All his work has a powerful involvement with landscape, both as a living entity shaping peoples' lives and as a source of metaphor for inner processes. The limestone caves of Barbados have provided a particularly fertile source of inspiration. Kellman's imagistic style (in his poems, novels and songs) moves between the indigenous and the international, the concrete and the universal, Barbadian vernacular English and standard English, the personal and the public, and between the contemporary moment and the historical past. Kellman continues to compose and perform eclectic folk songs in the world music/singer-songwriter genres.
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Virlana Tkacz (born June 23, 1952 in Newark, New Jersey) is the founding director of the Yara Arts Group, a resident company at the world-renowned La MaMa Experimental Theatre Club in New York. She was educated at Bennington College and Columbia University, where she earned a Master of Fine Arts in theatre directing. With Yara she created over thirty original theatre pieces that fuse fragments of contemporary poetry and traditional songs, chants, legends and history from East to create an imagistic production with a narrative. Experimental in their form and essence, they employ video, projected images, and complex musical scores to explore our relationship to time and consciousness.
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The latter characterizes the modern world. Obviously, while these different styles of consciousness may co-exist to some extent each has had a time of ascendency. Each was characteristic of the way people thought about life and the world at that particular historical-cultural nexus. One of the most profound changes in this regard has occurred along a dimension of immediacy vs. reflected thought—a movement from a consciousness that is identified with the immediacy of its imagistic experiences of the natural world,This phenomenon is also referred to as “participation mystique.” Both Jung and Giegerich have referred to Lucien Lévy-Bruhl’s early work on this subject.
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Similarly, historians and biologists have utilized DMR theory to help explain why some religions separate into sects and how reformations may occur. However, the theory has been challenged by some scholars on theoretical grounds and faced criticisms from some ethnographers and historians for suggesting too strong of a division between imagistic and doctrinal modes. Although the DMR theory developed out of research on religious groups, more recent research has found evidence that the ritual dynamics described apply outside of the religious domain, including amongst football fans and armed militias, and that it may therefore serve as a more general theory of ritual and social cohesion.
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A postmodern theatrical production might make use of some or all of the following techniques: # The accepted norms of seeing and representing the world are challenged and disregarded, while experimental theatrical perceptions and representations are created. # A pastiche of different textualities and media forms are used, including the simultaneous use of multiple art or media forms, and there is the 'theft' of a heterogeneous group of artistic forms. # The narrative needs not be complete but can be broken, paradoxical and imagistic. There is a movement away from linearity to multiplicity (to inter-related webs of stories), where acts and scenes give way to a series of peripatetic dramatic moments.
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While noting "they've been away so long they still think alt is a sloppy lifestyle rather than an embattled ethos", Christgau concluded that, "Through the imagistic baffle of their lyrics, they leave the impression that they subsist off their modest royalties, scattered gig fees, and compromised advances—mostly on beer." More negatively, Melanie McFarland of The Seattle Times lamented the too frequent changes in tone from song to song, and considered the album a step backwards from Last Splash. Spin magazine's Steve Kandell characterized Title TK as "a little unsure of itself", and pointed to the Breeders' re-recording of "Full on Idle" as evidence that "the creative coffers weren't exactly spilling over" for Deal.
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The album was positively reviewed by most critics and reached number 48 in the UK Albums Chart, and number 91 in Australia, but did not chart in the US. AllMusic's Thom Jurek said that the album was: "a solid, sweeping, elegant, and heart breaking album" that "proved beyond any doubt that Armatrading [is] a viable, profound songwriter capable of offering striking, imagistic portraits of complex emotional terrain", that there was "not a weak song" among the tracks and that in his opinion the album is "highly recommended". He singled out "Merchant of Love", "Everyday Boy", and "Recommend My Love" as the "finest songs" on the album."What's Inside". Barnes & Noble. Retrieved 31 December 2013.
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Certainly that was a complaint of the Montreal Group or McGill Movement, "a group of young intellectuals under the influence of Ezra Pound and T.S. Eliot.... In Montreal the assault was spearheaded by The McGill Fortnightly Review (1925-1927), edited chiefly by two graduate students, A.J.M. Smith and F. R. Scott (son of Frederick George Scott)." "In various editorials, Smith argued that Canadian poets must go beyond the ‘maple-leaf school’ of Bliss Carman, Archibald Lampman, Duncan Campbell Scott, and Charles G.D. Roberts in favour of free verse, imagistic treatment, displacement, complexity, and a leaner diction free of Victorian mannerisms."Geoff Hancock, "McGill Fortnightly Review - (1925 – 7)," Encyclopedia of Literature, JRank.org. Web, Mar.
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On Allmusic, William Ruhlmann wrote, "But the heart of the album — seven songs out of 12 — is the work of the new songwriting team of Nelson and Robert Hunter.... Hunter comes up with his typically aphoristic, imagistic, and vernacular words (particularly on the title song) and Nelson matches them with catchy, country-tinged melodies that the band plays in frisky country-rock roadhouse arrangements. This may be San Francisco music, but Bakersfield doesn't seem far away as the guitars go twangy and Cage plays down the weepy side of the pedal steel in favor of something more stinging. These New Riders jam a bit more than the original ensemble, and they also rock a bit more." On Jambands.
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Neko Richelle Case (; born September 8, 1970) is an American singer-songwriter and member of the Canadian indie rock group the New Pornographers. Case has a powerful, untrained contralto voice, which has been described by contemporaries and critics as a "flamethrower," "a powerhouse [which] seems like it might level buildings," "a 120-mph fastball," and a "vocal tornado". Critics also note her idiosyncratic, "cryptic," "imagistic" lyrics, and credit her as a significant figure in the early 21st-century American revival of the tenor guitar. Case's body of work has spanned and drawn on a range of traditions including country, folk, art rock, indie rock, and pop and is frequently described as defying or avoiding easy generic classification.
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Lichtenstein's interest in contemporary performance was showcased further when he started the Next Wave Series in 1981, which crystallized into the full-scale Next Wave Festival in 1983. Next Wave performances were often non-linear and imagistic, and were frequently the result of collaborations among artists in a grab bag of disciplines – visual artists, choreographers, composers, musicians, theater directors, playwrights, and videographers. The artists in the Next Wave did not often have the opportunity in the U.S. to work in such a large scale. Many became inextricably associated with the institution, as did the pieces they presented, for instance Peter Brook's The Mahabharata and Philip Glass and Robert Wilson's Einstein on the Beach.
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He has since written 13 books of poetry and in 1978 edited a volume of verse by Italian- Canadian poets, Roman Candles which became a seminal volume for the birth of Italian-Canadian literature. His poems, consisting of deep images in stanzas of free verse - with lines consisting of irregular numbers of syllables and (hypothetical) feet - often referred to di Cicco's immigrant and Italian- family experiences. In books like Flying Deeper Into the Century (1982) and The Tough Romance (1979) he communicated a modern, sensitive awareness of the confusing welter of 20th-century life. Di Cicco's unmetrical but imagistic lines flowed on, often with cumulative power, to release their tension at the end of their stanzas.
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Visual ethics is an emerging interdisciplinary field of scholarship that brings together religious studies, philosophy, photo and video journalism, visual arts, and cognitive science in order to explore the ways human beings relate to others ethically through visual perception. Historically, the field of ethics has relied heavily on rational-linguistic approaches, largely ignoring the importance of seeing and visual representation to human moral behavior. At the same time, studies in visual culture tend to analyze imagistic representations while ignoring many of the ethical dimensions involved. Visual ethics is a field of cross-fertilization of ethics and visual culture studies that seeks to understand how the production and reception of visual images is always ethical, whether or not we are consciously aware of this fact.
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From this perspective, the author of "The Ruin" could be describing the downfall of the Roman Empire by showing its once great and beautiful structure reduced to rubble just as the empire was. Similarly, Alain Renoir points to the author's use of the word "ƿyrde," meaning "fate," as the reason for the buildings' decay, implying the inevitable transience of man- made things: "that all human splendor, like human beings themselves, is doomed to destruction and oblivion." Where "The Ruin" can be seen from a sentimental perspective, it may also be viewed from an imagistic perspective. Arnold Talentino sees the poem as not a sorrowful lamentation, but as an angry or realistic condemnation of the actual people who wrought the destruction.
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Ko’s poems range from quiet imagistic reflections to the epigrammatic pieces in Flowers of the Moment with their haiku-like juxtapositions: Other works, however, are huge, like the seven-volume epic of the Korean independence movement under Japanese rule, Paektu Mountain (1987–94). There is also the monumental 30-volume Ten Thousand Lives (Maninbo). This was written over the years 1983-2010 to fulfil a vow made by Ko Un during his final imprisonment, when he was expecting to be executed. If he lived, he swore that every person he had ever met would be remembered with a poem. Speaking of his feelings at surviving the Korean War, when so many he knew had not, he has stated that “I'm inhabited by a lament for the dead.
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Deeming it the better of the pair of the songs, The New York Times Jon Caramanica praised J. Cole's lyricism: "The Climb Back' is thick with clever metaphors not heard since the 1990s over a self-produced beat that's both agitated and exasperated. Cole is a charmingly patient rapper, imagistic, nimble — and very keen to display all of those skills. His metrics are internal, his references are outmoded, his approach is deliberate [...]" Erika Marie of HotNewHipHop said Cole asserts "lyrical dominance" on "The Climb Back", which Marie found to be a "smoother approach" than "Lion King on Ice". Billboards Jason Lipshutz named the songs as one of the most essential releases of the week, opining that Cole "demonstrates the technical skill and unyielding personality that have made him a star" with the dual releases.
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Taggart's approach to the poem is strongly rooted in Objectivist poetics, particularly the works of Louis Zukofsky and George Oppen.See John Taggart Papers, "His dissertation, titled "Intending a Solid Object: A Study in Objectivist Poetics," was one of the first extended discussions of the compositional strategies informing the work of poets Louis Zukofsky and George Oppen." See also Two Approaches to John Taggart's "Slow Song for Mark Rothko" and "Inside Out" by Rochelle Ratner and Karl Young. Unlike most others of his generation whose poetries sprung from similar influences, Taggart stayed away from, on the one hand, the mainstream variations of the neatly packaged imagistic poem, and, on the other hand, the aggressively language-centered writing that foregrounded the materiality of text over the voice of the author.
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As a child, surrounded by the friends of her parents who were artists, writers, dancers, and musicians, Simon was steeped in an enriching culture of the arts. She has said that growing up with a mother who was a painter and sculptor, and a father, who was a composer, musician, and music scholar, deeply influenced her writing by instilling in her an understanding that poetry is both a vocal and imagistic art. Simon's study of the violin for ten years (1955–1965) reinforced her conviction that the human body and voice contain and rhythmically express the music of language. Her mother's visual art inspired Simon to become an artist herself, and it also heightened her sense of how a poem's visual imagery creates a kind of magnetic force field for all aspects of the work.
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These lines are followed by a sequence of identity shifts involving a seal, the daughter of Lir, and other figures associated with the sea: Eleanor of Aquitaine who, through a pair of Homeric epithets that echo her name, shifts into Helen of Troy, Homer with his ear for the "sea surge", the old men of Troy who want to send Helen back over the sea, and an extended, Imagistic retelling of the story of the abduction of Dionysus by sailors and his transformation of his abductors into dolphins. Although this last story is found in the Homeric Hymn to Dionysus, also contained in the Divus volume, Pound draws on the version in Ovid's poem Metamorphoses, thus introducing the world of ancient Rome into the poem. Sigismondo Pandolfo Malatesta "built a temple so full of pagane works" (Canto XI). Portrait by Piero della Francesca.
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We think of ourselves as knowing our own thought processes immediately, without having to interpret ourselves (in the way that we do need to interpret the behavior and circumstances of other people if we are to know what they are thinking). In a series of recent papers Peter Carruthers has argued that this introspective intuition is illusory. While allowing that we do have introspective access to our own experiences, including imagistic experiences of the sort that occur during "inner speech", he draws on evidence from across the cognitive sciences to argue that our knowledge of our own judgments and decisions results from us turning our interpretative skills upon ourselves. He also argues that while inner speech plays important roles in human cognition, it never plays the right sort of role to constitute a judgment, or a decision.
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Breder's works have been presented in numerous exhibitions in the United States and internationally. He was exhibited with the Richard Feigen Gallery (1967-1972), the Mitchell Algus Gallery, and Hachmeister Gallery. He was included in Kineticism: System Sculpture in Environmental situations, (Official Olympic Games Exhibition), University Museum of Arts and Science, Mexico City, Mexico (1968); Painting Beyond the Death of Painting: Imagistic and Abstract Work, the first group exhibition of American Art at Kuznetzky Most Exhibition Hall, Moscow, USSR (1989); An American Odyssey 1945/1980, Circolo de Bellas Artes, Madrid, Spain (2004); Ana Mendieta and Hans Breder: Converge, Lelong Galerie, New York (2008), Mind's Mirror', Ethan Cohen Gallery, New York (2014), ...Inmixing: A Survey of Works from 1964 to Present, WhiteBox, New York (2009-2010), Kollisions Felder (Collision Fields), Museum Ostwall, Dortmund, Germany (2013). He was a participant in the Whitney Biennial Exhibition in 1987, 1989, and 1991.
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Blason des comtes de Lyon In the tenth century, the counts of Lyons were the sovereign rulers of the city of Lyons which coalesced during the time of the Kingdom of Arles, then in the Holy Roman Empire after 1058. These counts of Lyons took for their emblem De gueules au lion d'argent. The name of the city of Lyons has no link with the animal lion, as it comes from the Latin name Lugdunum of which the root Lug- could also have been attached, like the Latin Lux ("light") or the Gaulish Lugos ("bracket") to the other root dunum, which means "hill." But the linguistic closeness which is noted today between the animal and the name of the city could have given inspiration to the arms parlantes, that is, the imagistic content gives in rebus the name of the cities that they designate.
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Mirror Man is the title of a "rogue opera" conceived and orchestrated by David Thomas, as well as an album recording of the first act of that piece. The piece draws many lyrical and imagistic threads from Thomas' entire recorded legacy, as well as relying to a large degree on improvisation and the personalities of its participants. The cast is typically large and diverse, featuring actors, poets and singers supported by a core musical group (based around Thomas' regular collaborators the Two Pale Boys). Set in an abstract highway landscape among anonymous all-night coffee shops, bus stops, roadside detritus, apocryphal road signs, and flickering streetlights, Mirror Man is (according to Thomas) "about places that don't exist and a collection of stories about the people who live there -- abandoned by the future, forbidden access to the past, and set adrift in a mirage-like Now".
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The multi- award winning Dostoevsky's Travels was a tragi-comic road movie in which a St Petersburg tram driver—and the only living descendant of Fyodor Dostoevsky—travels rough around Western Europe haunting high-minded humanists, aristocrats, monarchists and the Baden-Baden casino in his quest to raise money to buy a secondhand Mercedes. Pawlikowski's most original and formally successful film was Serbian Epics (1992), made at the height of the Bosnian War. The oblique, ironic, imagistic, at times almost hypnotic study of epic Serbian poetry, with exclusive footage of Radovan Karadžić and General Ratko Mladić, aroused a storm of controversy and incomprehension at the time, but has now secured it something of a cult status. The absurdist Tripping with Zhirinovsky, a surreal boat journey down the Volga with controversial Russian politician Vladimir Zhirinovsky, won Pawlikowski the Grierson Award for the Best British Documentary in 1995.
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Caryn James from The New York Times gave the film a somewhat neutral review, calling it "an imagistic morality tale" and "a bizarrely fascinating story told in flashback", but also was somewhat critical saying "If Mr. Crounse had stayed poised on the line between human reality and horrific visions of evil, he might have turned out a small masterpiece, or at least a cult film. As it is, Eyes of Fire is an ambitious idea gone haywire, as if The Scarlet Letter had zoomed into the future and collided with the movie version of The Exorcist." Dennis Schwartz from Ozus' World Movie Reviews awarded the film a grade B. In his review, Schwartz wrote, "The arty horror pic, not for all tastes... Though it's a flawed film, its strange storyline captivated me despite such obvious flaws as the performances were mostly inadequate, the story had choppy moments and the special effects were cheesy." HorrorNews.
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In 2000, after both Forster and McLennan had each recorded four solo albums, The Go-Betweens reformed with Pickvance, to create a new studio album, The Friends of Rachel Worth, they were assisted by Janet Weiss (Sleater-Kinney, Quasi) on drums and backing vocals and Sam Coomes (Quasi) on keyboards. It was issued in September with Bäumler credited for string arrangements, and production duties shared by Coomes, Forster, McLennan and Weiss. Allmusic's Hal Horowitz praised their "[p]oetic, languid, spoken/sung vocals similar to Lou Reed weave between lovely melodies whose appeal unfolds with repeated listens"; however it "sounds more like a combination of two solo albums rather than one from a cohesive unit". The Village Voices critic, Robert Christgau, described them as "rather than lyric poets, as I once thought, Forster and McLennan are better conceived as short- story writers, with the concreteness and forward motion of voices and music compensating for imagistic technique and low word count".
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