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In literature, such as novels, plays, and poems, symbolism goes beyond just the literal written words on a page, since writing itself is also inherently a system of symbols. Artistic symbols may be intentionally built into a work by its creator, which in the case of narratives can make symbolism a deliberate narrative device .
Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against naturalism and realism. In literature, the style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal.
More positive interpretations, based on the concept of the friendly 'bookworm' or mutated forms of the common earthworm, are found in many recent books, especially those written for children. On Pink Floyd's album The Wall, worms were used as "symbols of negative forces within ourselves." [3]
Religious symbol, an iconic representation of a religion or religious concept Buddhist symbolism, the use of Buddhist art to represent certain aspects of dharma; Christian symbolism, the use of symbols, including archetypes, acts, artwork or events, by Christianity; Symbols of Islam, the use of symbols in Islamic literature, art and architecture
Edith Nesbit's famous children's novel The Phoenix and the Carpet is based on this legendary creature and its friendship with a family of children. In the Vermilion Bird, a mystical Phoenix symbol represents of Four Symbols of the Chinese constellations. D. H. Lawrence frequently used the phoenix as a symbol for rebirth in life.
Anthropomorphised ants have often been used in fables, children's stories, and religious texts to represent industriousness and cooperative effort. [2] In the Book of Proverbs, ants are held up as a good example for humans for their hard work and cooperation. Aesop did the same in his fable "The Ant and the Grasshopper".
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A Taste of Blackberries was rejected by several publishers who thought the main theme was too dark for children. Mortality had been a common subject in Victorian literature for young readers (see for example Oliver Twist), but books for young readers about death had become taboo until, in 1952, the appearance of E. B. White's classic Charlotte’s Web.