
1916
Quote in 'On space and Suprematism', Kasimir Malevich, 1916; as cited in Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 58
1910 - 1920
The Curious Incident of the Dog in the Night-Time
1916
Quote in 'On space and Suprematism', Kasimir Malevich, 1916; as cited in Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 58
1910 - 1920
"Glow, Big Glowworm", p. 264
Bully for Brontosaurus (1991)
“All slang is metaphor, and all metaphor is poetry.”
" A Defense of Slang http://books.google.com/books?id=8WpaAAAAMAAJ&q="all+slang+is+metaphor+and+all+metaphor+is+poetry"&pg=PA110#v=onepage"
The Defendant (1901)
“Either ghosts are a metaphor for history, or history is a metaphor for ghosts.”
Source: Kilroy Was Here (1996), p. 133
On how he employs metaphors in “Jericho Brown: ‘Poetry is a veil in front of a heart beating at a fast pace” https://www.theguardian.com/books/2018/jul/28/jericho-brown-book-interview-q-and-a-new-testament-poetry in The Guardian (2018 Jul 28)
Source: Equisse d'une Théorie de la Pratique (1977), p. 91
[O] : Introduction, 0.2
Semiotics and the Philosophy of Language (1984)
Context: The principle of interpretation says that "a sign is something by knowing which we know something more" (Peirce). The Peircean idea of semiosis is the idea of an infinite process of interpretation. It seems that the symbolic mode is the paramount example of this possibility.
However, interpretation is not reducible to the responses elicited by the textual strategies accorded to the symbolic mode. The interpretation of metaphors shifts from the univocality of catachreses to the open possibilities offered by inventive metaphors. Many texts have undoubtedly many possible senses, but it is still possible to decide which one has to be selected if one approaches the text in the light of a given topic, as well as it is possible to tell of certain texts how many isotopies they display.