Sentence examples for an objective correlative for from inspiring English sources

A slight slouch seems an objective correlative for her reflexive self-deprecation.

Four characters in search of an objective correlative for their needy, angry, compulsive states of feelings.

But the real understanding of what he had to do came as he began to take in, in a way that brought its own liberation, the extent to which the painful absurdities of life provided an objective correlative for this personal sense of alienation.

If "Gatz" succeeds where other adaptations have failed, it may be because, in juxtaposing the lushness of Fitzgerald's prose and the squalor of the office surroundings, the show finds an objective correlative for Nick Carraway's, and Fitzgerald's, disillusionment — a feeling that started with a failure in Atlantic City, but ended up informing an indelible American fable.

An objective correlative is an object, several objects, or a series of events (all concrete things) that evoke the emotion or idea of the poem.

If an objective correlative could be said to exist for the myriad phenomena of the present Golden Age of American poetry, it would be Pink Thunder.

The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that, when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.

But just as the composer feared, there has been no stopping the explainers, who have found for the work's every phrase an objective correlative in the details of Bocklin's canvas.

The defining tragedy of severe depression is that it comes without an objective correlative like a white plaster cast.

But if you're Eliot, you can claim that "Hamlet" lacks an objective correlative, and academics will agree, even if they may not know what an objective correlative is.

For me, the dancing pull cord of the shade is one of the choicest details in art history, as an objective correlative, in T. S. Eliot's sense, of "memory and desire".