Learned by Reading
In Wikipedia:
Semiotician Philip Beitchman places their attitude in connection with Tzara’s own vision of Utopia, which combined communist messages with Freudo – Marxist psychoanalysis and made use of particularly violent imagery.
(Parse)
(S1 (S (NP (NNP Semiotician) (NNP Philip) (NNP Beitchman))
(VP (VBZ places)
(NP (PRP$ their) (NN attitude))
(PP (IN in)
(NP (NP (NN connection))
(PP (IN with)
(NP (NP (NP (NNP Tzara) (POS 's)) (JJ own) (NN vision))
(PP (IN of)
(NP (NP (NN Utopia)) (, ,)
(SBAR (WHNP (WDT which))
(S (VP (VP (VBD combined)
(NP (JJ communist) (NNS messages))
(PP (IN with)
(NP (NNP Freudo)))
(: -)
(NP (JJ Marxist) (NN psychoanalysis)))
(CC and)
(VP (VBD made)
(NP (NP (NN use))
(PP (IN of)
(NP (ADJP (RB particularly) (JJ violent)) (NN imagery)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
As the promo puts it: “Their use of Soviet imagery raises a complex of fascinating questions surrounding the place of aesthetics and nostalgia in post – communist world, the politics of the Utopian imagination, and the intersection of past and present visual cultures.”
(Parse)
(S1 (FRAG (SBAR (IN As)
(S (NP (DT the) (NN promo))
(VP (VBZ puts)
(NP (PRP it)))))
(: :) (PRN ('' ') ('' ')
(S (NP (NP (PRP$ Their) (NN use))
(PP (IN of)
(NP (JJ Soviet) (NN imagery))))
(VP (VBZ raises)
(NP (NP (DT a) (NN complex))
(PP (IN of)
(NP (NP (JJ fascinating) (NNS questions))
(VP (VBG surrounding)
(NP (NP (DT the) (NN place))
(PP (IN of)
(NP (NN aesthetics) (CC and) (NN nostalgia)))
(PP (IN in)
(NP (NN post)))))
(: -)
(NP (NP (JJ communist) (NN world)) (, ,)
(NP (NP (DT the) (NNS politics))
(PP (IN of)
(NP (DT the) (NNP Utopian) (NN imagination))))
(, ,) (CC and)
(NP (NP (DT the) (NN intersection))
(PP (IN of)
(NP (ADJP (JJ past) (CC and) (JJ present)) (JJ visual) (NNS cultures)))))
(. .) ('' ') ('' ')))
In the ICWSM 2009 Weblog Corpus:
In fact, there are a number of subliminal self-help items that make use of visual imagery and even sound recordings to get a message across and thus can entice customers into buying the products on offer.
(Parse)
(S1 (S (PP (IN In)
(NP (NN fact)))
(, ,)
(NP (EX there))
(VP (AUX are)
(NP (NP (DT a) (NN number))
(PP (IN of)
(NP (NP (JJ subliminal) (JJ self-help) (NNS items))
(SBAR (WHNP (WDT that))
(S (VP (VP (VBP make)
(NP (NP (NN use))
(PP (IN of)
(NP (NP (JJ visual) (NN imagery)) (CC and)
(NP (RB even) (JJ sound) (NNS recordings)))))
(S (VP (TO to)
(VP (VB get)
(NP (DT a) (NN message)) (PRT (RP across)))
(CC and)
(VP (ADVP (RB thus)) (MD can)
(VP (VB entice)
(NP (NNS customers))
(PP (IN into)
(S (VP (VBG buying)
(NP (DT the) (NNS products))
(PP (IN on)
(NP (NN offer)))
(. .)))
In Wikipedia:
It encompasses not only the big – picture, strategic choices such as point of view and choice of narrator, but also tactical choices of grammar, punctuation, word usage, sentence and paragraph length and structure, tone, the use of imagery, chapter selection, titles, and on and on.
(Parse)
(S1 (S (NP (PRP It))
(VP (VBZ encompasses)
(NP (CONJP (RB not) (RB only))
(NP (DT the) (UCP (ADJP (JJ big)) (: -)
(NP (NP (NP (NP (NN picture)) (, ,)
(NP (NP (JJ strategic) (NNS choices))
(PP (JJ such) (IN as)
(NP (NP (NN point))
(PP (IN of)
(NP (NN view)))
(CC and)
(NP (NN choice)))
(PP (IN of)
(NP (NN narrator))))
(, ,) (CC but) (RB also)
(NP (NP (JJ tactical) (NNS choices))
(PP (IN of)
(NP (NN grammar) (, ,) (NN punctuation) (, ,) (NN word) (NN usage) (, ,) (NN sentence) (CC and) (NN paragraph) (NN length) (CC and) (NN structure))))
(, ,)
(NP (NN tone)) (, ,)
(NP (NP (DT the) (NN use))
(PP (IN of)
(NP (NN imagery))))
(, ,)
(NP (NN chapter) (NN selection)) (, ,)))
(NNS titles)) (, ,) (CC and) (ADVP (IN on) (CC and) (IN on))))
(. .)))
In Wikipedia:
Bratcher argued that the Old Testament absorbed Near Eastern pagan mythology (although he drew a sharp distinction between the literally – interpreted myths of the Near Eastern pagans and the “mythopoetic” use of imagery from pagan myths by the Hebrews).
(Parse)
(S1 (S (NP (NNP Bratcher))
(VP (VBD argued)
(SBAR (IN that)
(S (NP (DT the) (NNP Old) (NNP Testament))
(VP (VBD absorbed)
(NP (NP (JJ Near) (NNP Eastern) (JJ pagan) (NN mythology)) (PRN (-LRB- -LRB-)
(SBAR (IN although)
(S (NP (PRP he))
(VP (VBD drew)
(NP (NP (NP (DT a) (JJ sharp) (NN distinction))
(PP (IN between)
(NP (DT the) (RB literally))))
(: -)
(NP (NP (VBN interpreted) (NNS myths))
(PP (IN of)
(NP (DT the) (JJ Near) (NNP Eastern) (NNS pagans))))
(CC and)
(NP (NP (DT the) ('' '') (JJ mythopoetic) ('' '') (NN use))
(PP (IN of)
(NP (NN imagery)))))
(PP (IN from)
(NP (NP (JJ pagan) (NNS myths))
(PP (IN by)
(NP (DT the) (NNPS Hebrews)))))
(-RRB- -RRB-))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Bear Witness is one particular turn of phrase appropriate, if you look at their use of iconic Christian imagery (layman’s terms;’ ’ they have a bigglowy cross’ ’), and their repeated biblical references in their work (’’ They have a song called ‘Genesis’ and a song called’ Lets There Be Light’ and, if you want to labour things, a song called ‘Phantom’’ ’).
(Parse)
(S1 (S (NP (NN Bear) (NN Witness))
(VP (AUX is)
(NP (NP (CD one) (JJ particular) (NN turn))
(PP (IN of)
(NP (NN phrase) (JJ appropriate))))
(, ,)
(SBAR (IN if)
(S (NP (PRP you))
(VP (VBP look)
(PP (IN at)
(NP (NP (PRP$ their) (NN use))
(PP (IN of)
(NP (NP (NP (JJ iconic) (NNP Christian) (NN imagery)) (PRN (-LRB- -LRB-)
(NP (NP (NN layman) (POS 's)) (NNS terms)) (: ;) ('' ') ('' ')
(S (NP (PRP they))
(VP (AUX have)
(NP (DT a) (JJ bigglowy) (NN cross) ('' '))))
('' ') (-RRB- -RRB-)))
(, ,) (CC and)
(NP (PRP$ their) (JJ repeated) (JJ biblical) (NNS references))))
(PP (IN in)
(NP (PRP$ their) (NN work)))))
(PRN (-LRB- -LRB-) ('' ') ('' ')
(S (NP (PRP They))
(VP (AUX have)
(NP (NP (DT a) (NN song))
(VP (VBN called)))))
('' ')
(S (NP (NP (NN Genesis) (POS ')) (CC and)
(NP (NP (DT a) (NN song))
(VP (VBN called)))
('' '))
(VP (VBZ Lets)
(SBAR (S (NP (EX There))
(VP (AUX Be)
(NP (NP (NP (NNP Light) (POS ')) (CC and) (PRN (, ,)
(SBAR (IN if)
(S (NP (PRP you))
(VP (VBP want)
(PP (TO to)
(NP (NNP labour) (NNS things)))
(, ,))
(NP (NP (DT a) (NN song))
(VP (VBN called)))
(: ')
(NP (JJ Phantom)))
('' ') ('' ') ('' '))))
(-RRB- -RRB-)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
The Obama supporters have been vocal and visible, and their over – the – top use of messianic imagery to cast Obama as “The One’ ’ has been extremely easy to spot on the Internet as well as elsewhere.
(Parse)
(S1 (S (S (NP (DT The) (NNP Obama) (NNS supporters))
(VP (AUX have)
(VP (AUX been)
(ADJP (JJ vocal) (CC and) (JJ visible)))))
(, ,) (CC and)
(S (NP (NP (PRP$ their) (JJ over)) (: -)
(NP (DT the)) (: -)
(NP (NP (JJ top) (NN use))
(PP (IN of)
(NP (JJ messianic) (NN imagery)))
(S (VP (TO to)
(VP (VB cast)
(NP (NNP Obama))
(PP (IN as)))
('' ') (: ')
(NP (NNP The) (NNP One) (POS ')) (: '))
(VP (AUX has)
(VP (AUX been)
(ADJP (RB extremely) (JJ easy)
(S (VP (TO to)
(VP (VB spot)
(PP (IN on)
(NP (NP (DT the) (NNP Internet)) (CONJP (RB as) (RB well) (IN as))
(NP (RB elsewhere)))))
(. .)))
In the British National Corpus:
Dickens employs the use of imagery through out the novel especially when describing characters.
(Parse)
(S1 (S (NP (NNP Dickens))
(VP (VBZ employs)
(NP (NP (DT the) (NN use))
(PP (IN of)
(NP (NN imagery))))
(PP (IN through) (IN out)
(NP (DT the) (NN novel)))
(SBAR (ADVP (RB especially)) (WHADVP (WRB when))
(S (VP (VBG describing)
(NP (NNS characters)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
I think the use of sepia imagery here is a blunt, visual representation of time passing.
(Parse)
(S1 (S (NP (PRP I))
(VP (VBP think)
(SBAR (S (NP (NP (DT the) (NN use))
(PP (IN of)
(NP (JJ sepia) (NN imagery))))
(ADVP (RB here))
(VP (AUX is)
(NP (NP (DT a) (JJ blunt) (, ,) (JJ visual) (NN representation))
(PP (IN of)
(NP (NN time) (NN passing)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
It would be great to see an educated electorate, consisting of many more folks like David Gergen and Josh Marshall, rise up and challenge the cynical use of imagery in the McCain ads.
(Parse)
(S1 (S (NP (PRP It))
(VP (MD would)
(VP (AUX be)
(ADJP (JJ great)
(S (VP (TO to)
(VP (VB see)
(S (NP (NP (DT an) (VBN educated) (NN electorate)) (, ,)
(VP (VBG consisting)
(PP (IN of)
(NP (NP (JJ many) (JJR more) (NNS folks))
(PP (IN like)
(NP (NP (NNP David) (NNP Gergen)) (CC and)
(NP (NNP Josh) (NNP Marshall))))
(, ,))
(VP (VP (VB rise) (PRT (RP up)))
(CC and)
(VP (VB challenge)
(NP (NP (DT the) (JJ cynical) (NN use))
(PP (IN of)
(NP (NN imagery))))
(PP (IN in)
(NP (DT the) (NNP McCain) (NNS ads)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Coppola’s masterful use of imagery is at its peak in Apocalypse Now.
(Parse)
(S1 (S (NP (NP (NP (NNP Coppola) (POS 's)) (JJ masterful) (NN use))
(PP (IN of)
(NP (NN imagery))))
(VP (AUX is)
(PP (IN at)
(NP (NP (PRP$ its) (NN peak))
(PP (IN in)
(NP (NNP Apocalypse) (NNP Now)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Therefore, Hargev was offended by the use of Islamic imagery, the description of his belief as an’ ‘ideology’’ and the oddly veiled attempts to convert those that share his belief.
(Parse)
(S1 (S (ADVP (RB Therefore)) (, ,)
(NP (NNP Hargev))
(VP (AUX was)
(VP (VBN offended)
(PP (IN by)
(NP (NP (DT the) (NN use))
(PP (IN of)
(NP (NP (NNP Islamic) (NN imagery)) (, ,)
(NP (NP (DT the) (NN description))
(PP (IN of)
(NP (NP (PRP$ his) (NN belief))
(PP (IN as)
(NP (NP (DT an) ('' ') ('' ') (NN ideology)) ('' ') ('' ')))
(CC and)
(NP (NP (DT the)
(ADJP (RB oddly) (VBN veiled)) (NNS attempts))
(VP (TO to)
(VP (VB convert)
(NP (NP (DT those))
(SBAR (WHNP (WDT that))
(S (VP (VBP share)
(NP (PRP$ his) (NN belief)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
This method is called progressive relaxation and is based on the use of visual imagery.
(Parse)
(S1 (S (NP (DT This) (NN method))
(VP (VP (VBZ is)
(VP (VBN called)
(NP (JJ progressive) (NN relaxation))))
(CC and)
(VP (VBZ is)
(VP (VBN based)
(PP (IN on)
(NP (NP (DT the) (NN use))
(PP (IN of)
(NP (JJ visual) (NN imagery)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Borrowing metal’s use of gothic imagery and sound may also come in handy – System of a Down shouldn’t just be scoring sci – fi flicks.
(Parse)
(S1 (S (NP (NP (NP (VBG Borrowing) (NN metal) (POS 's)) (NN use))
(PP (IN of)
(NP (NP (JJ gothic) (NN imagery)) (CC and)
(NP (NN sound)))))
(VP (MD may) (ADVP (RB also))
(VP (VB come) (PRT (RP in))
(ADJP (JJ handy) (PRN (: -)
(S (NP (NP (NN System))
(PP (IN of)
(NP (DT a) (NNP Down))))
(VP (MD should) (RB n't) (ADVP (RB just))
(VP (AUX be)
(VP (VBG scoring)
(NP (NNP sci)))
(: -))
(S (VP (VBG fi)
(NP (NNS flicks))))
(. .)))
In Wikipedia:
History. 2D CGI was first used in movies in 1973’s “Westworld”, though the first use of 3D Wireframe imagery was in its sequel, “Futureworld” (1976), which featured a computer – generated hand and face created by then University of Utah graduate students Edwin Catmull and Fred Parke.
(Parse)
(S1 (FRAG (NP (NN History)) (. .)
(VP (VB 2D)
(NP (NP (S (NP (NNP CGI))
(VP (AUX was)
(VP (ADVP (RB first)) (VBN used)
(PP (IN in)
(NP (NNS movies)))
(PP (IN in)
(NP (CD 1973) (POS 's)))
('' '') (NNP Westworld) ('' '')) (, ,)
(SBAR (WHNP (IN though))
(S (NP (NP (DT the) (JJ first) (NN use))
(PP (IN of)
(NP (JJ 3D) (JJ Wireframe) (NN imagery))))
(VP (AUX was)
(PP (IN in)
(NP (PRP$ its) (NN sequel)))
(, ,) ('' '')
(NP (NNP Futureworld)) ('' '') (PRN (-LRB- -LRB-)
(NP (CD 1976)) (-RRB- -RRB-)) (, ,)
(SBAR (WHNP (WDT which))
(S (VP (VBD featured)
(NP (DT a) (NN computer))))
(: -)
(NP (NP (VBN generated) (NN hand) (CC and) (NN face))
(VP (VBN created)
(PP (IN by)
(NP (NP (NP (NP (RB then) (NNP University))
(PP (IN of)
(NP (NNP Utah) (NN graduate) (NNS students))))
(NNP Edwin) (NNP Catmull)) (CC and)
(NP (NNP Fred) (NNP Parke)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Notorious for their use of inflammatory imagery, a backlash against a world they perceived as ever more materialistic, unjust and conservative, Killing Joke, railed against the establishment and created a unique sound from their very conception.
(Parse)
(S1 (FRAG (ADJP (JJ Notorious)
(PP (IN for)
(NP (NP (PRP$ their) (NN use))
(PP (IN of)
(NP (JJ inflammatory) (NN imagery)))
(, ,)
(NP (NP (DT a) (NN backlash))
(PP (IN against)
(NP (NP (DT a) (NN world))
(SBAR (S (NP (PRP they))
(VP (VP (VBN perceived)
(PP (IN as)
(NP (ADJP (RB ever) (RBR more) (JJ materialistic)) (, ,)
(ADJP (JJ unjust) (CC and) (JJ conservative)) (, ,) (VBG Killing) (NN Joke))))
(, ,)
(VP (VBN railed)
(PP (IN against)
(NP (DT the) (NN establishment))))
(CC and)
(VP (VBN created)
(NP (NP (DT a) (JJ unique) (NN sound))
(PP (IN from)
(NP (PRP$ their) (JJ very) (NN conception)))))
(. .)))
In Wikipedia:
’s vision of the world”, but noted that the tiger is more widely associated with Tamil nationalism and that the singer’s use of such imagery did not necessarily indicate her support for the Tamil Tigers.
(Parse)
(S1 (S (VP (AUX 's)
(NP (NP (NN vision))
(PP (IN of)
(NP (DT the) (NN world)))
('' '')))
(, ,) (CC but)
(S (VP (VBD noted)
(SBAR (SBAR (IN that)
(S (NP (DT the) (NNP tiger))
(VP (AUX is) (ADVP (RBR more) (RB widely))
(VP (VBN associated)
(PP (IN with)
(NP (NNP Tamil) (NN nationalism))))
(CC and)
(SBAR (IN that)
(S (NP (NP (NP (DT the) (NN singer) (POS 's)) (NN use))
(PP (IN of)
(NP (JJ such) (NN imagery))))
(VP (AUX did) (RB not) (ADVP (RB necessarily))
(VP (VB indicate)
(NP (NP (PRP$ her) (NN support))
(PP (IN for)
(NP (DT the) (NNP Tamil) (NNP Tigers)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
“In both cases, the reader is presented with a series of rapid dumps of information and revelations that partly stem from the current view point’s mind and partly from the narrator, invisible and chatty; The dump is usually preceeded by an exclamation of wonder or amazement shding into fear or respect, but ratehr then simply creating an atmosphere through the use of imagery and metaphor, the syntax and construction of each paragraph.
(Parse)
(S1 (S ('' ') (: ')
(S (PP (IN In)
(NP (DT both) (NNS cases)))
(, ,)
(NP (DT the) (NN reader))
(VP (AUX is)
(VP (VBN presented)
(PP (IN with)
(NP (NP (DT a) (NN series))
(PP (IN of)
(NP (NP (JJ rapid) (NNS dumps))
(PP (IN of)
(NP (NN information) (CC and) (NNS revelations)))))
(SBAR (WHNP (WDT that))
(S (ADVP (RB partly))
(VP (VBP stem)
(PP (IN from)
(S (NP (DT the) (JJ current) (NN view) (NN point))
(VP (AUX 's)
(ADJP (NN mind) (CC and) (ADVP (RB partly)
(PP (IN from)
(NP (DT the) (NN narrator))))
(, ,) (JJ invisible) (CC and) (JJ chatty))))
(: ;)
(NP (DT The) (NN dump))
(VP (AUX is) (RB usually)
(VP (VBD preceeded)
(PP (IN by)
(S (NP (NP (DT an) (NN exclamation))
(PP (IN of)
(NP (NN wonder) (CC or) (NN amazement))))
(VP (VP (VBG shding)
(PP (IN into)
(NP (NN fear) (CC or) (NN respect))))
(, ,) (CC but)
(VP (ADVP (RB ratehr) (RB then) (RB simply)) (VBG creating)
(NP (DT an) (NN atmosphere))
(PP (IN through)
(NP (NP (DT the) (NN use))
(PP (IN of)
(NP (NN imagery) (CC and) (NN metaphor)))
(, ,)
(NP (NP (DT the) (NN syntax) (CC and) (NN construction))
(PP (IN of)
(NP (DT each) (NN paragraph)))
(. .)))
In Wikipedia:
His early work incorporated found objects and made use of popular imagery, referencing the transition period between Abstract Expressionism and Pop Art when artists like Robert Rauschenberg and Larry Rivers used both lyrical brush strokes and popular imagery in their work.
(Parse)
(S1 (S (NP (PRP$ His) (JJ early) (NN work))
(VP (VP (VBN incorporated)
(NP (VBN found) (NNS objects)))
(CC and)
(VP (VBN made)
(NP (NP (NN use))
(PP (IN of)
(NP (JJ popular) (NN imagery)))))
(, ,)
(S (VP (VBG referencing)
(NP (NP (DT the) (NN transition) (NN period))
(PP (IN between)
(NP (JJ Abstract) (NN Expressionism) (CC and) (NN Pop) (NN Art)))
(SBAR (WHADVP (WRB when))
(S (NP (NP (NNS artists))
(PP (IN like)
(NP (NP (NNP Robert) (NNP Rauschenberg)) (CC and)
(NP (NNP Larry) (NNS Rivers)))))
(VP (VBD used)
(NP (NP (DT both) (JJ lyrical) (NN brush) (NNS strokes)) (CC and)
(NP (JJ popular) (NN imagery)))
(PP (IN in)
(NP (PRP$ their) (NN work))))
(. .)))
And 301 more sentences.