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The work was originally published as three long essays in the New York Review of Books. [7] Some of the more inflammatory language was slightly toned down for republication. For example, what Sontag originally called the "inimitable looniness" of Wilhelm Reich 's language was softened to the "inimitable coherence".
The essay's first section, 'The Meaning of the Letter', introduces the concept of "the letter", which Lacan describes as 'the material support that concrete discourse borrows from language'. [3] In his commentary on the essay, the Lacanian psychoanalyst Bruce Fink argues that "the letter" is best thought of as the differential element which ...
A mobile army of metaphors, metonyms, and anthropomorphisms—in short, a sum of human relations which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors ...
In her essay, Woolf uses metaphors to explore social injustices and comments on women's lack of free expression. Her metaphor of a fish explains her most essential point, "A woman must have money and a room of her own if she is to write fiction". [2] She writes of a woman whose thought had "let its line down into the stream". [4]
The essay concludes, "The struggle itself towards the heights is enough to fill a man's heart. One must imagine Sisyphus happy." The work can be seen in relation to other absurdist works by Camus: the novel The Stranger (1942), the plays The Misunderstanding (1942) and Caligula (1944), and especially the essay The Rebel (1951).
The Hedgehog and the Fox is an essay by philosopher Isaiah Berlin that was published as a book in 1953. It was one of his most popular essays with the general public. However, Berlin said, "I meant it as a kind of enjoyable intellectual game, but it was taken seriously. Every classification throws light on something". [1]
He has also published a collection of critical essays titled The Metamorphoses of Metaphor (1988) and a work of art criticism, Aaron Rose Photographs (Abrams Books, 2001). In January 2013, Tables, a volume of poems, was published by Press53. In April 2014, Unions, a volume of poems, was published by Barrow Street Press.