Juxtaposition Examples Quotes

What are the true reasons why the purchaser is planning to spend his money on a new car instead of a piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars. The modern propagandist therefore sets to work to create circumstances which will modify that custom . . . He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition of period music rooms designed by well-known decorators who themselves exert an influence on the buying groups . . . Then, in order to create dramatic interest in the exhibit, he stages an event or ceremony. To this ceremony key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before. The juxtaposition of these leaders, and the idea which they are dramatizing, are then projected to the wider public through various publicity channels . . . The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea.

Most people don't see what's going on around them. That's my principal message to writers: for God's sake, keep your eyes open. Notice what's going on around you. I mean, I walk down the street with friends. I ask, “Did you see him, that person who just walked by?” No, they didn't notice him. I had a very pleasant time on the train coming out here. I haven't traveled on trains in years. I found there were no drawing rooms. I got a bedroom so I could set up my typewriter and look out the window. I was taking photos, too. I also noticed all the signs and what I was thinking at the time, you see. And I got some extraordinary juxtapositions. For example, a friend of mine has a loft apartment in New York. He said, “Every time we go out of the house and come back, if we leave the bathroom door open, there's a rat in the house.” I look out the window, there's Able Pest Control.

What are the true reasons why the purchaser is planning to spend his money on a new car instead of a piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars. The modern propagandist therefore sets to work to create circumstances which will modify that custom. He appeals perhaps to the home instinct which is fundamental. He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition . . . key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before. The juxtaposition of these leaders, and the idea which they are dramatizing, are then projected to the wider public through various publicity channels . . . The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea.

Psychologist J.P. Guilford, who carried out a long series of systematic psychological studies into the nature of creativity, found that several factors were involved in creative thinking; many of these, as we shall see, relate directly to the cognitive changes that take place during mild manias as well. Fluency of thinking, as defined by Guilford, is made up of several related and empirically derived concepts, measured by specific tasks: word fluency, the ability to produce words each, for example, containing a specific letter or combination of letters; associational fluency, the production of as many synonyms as possible for a given word in a limited amount of time; expressional fluency, the production and rapid juxtaposition of phrases or sentences; and ideational fluency, the ability to produce ideas to fulfill certain requirements in a limited amount of time. In addition to fluency of thinking, Guilford developed two other important concepts for the study of creative thought: spontaneous flexibility, the ability and disposition to produce a great variety of ideas, with freedom to switch from category to category; and adaptive flexibility, the ability to come up with unusual types of solutions to set problems.

Sometimes Christian good is hard to be around. It’s not of this world, and the juxtaposition jars. For example, Jean Vanier spent seven years in the British navy, starting in 1942. Later in life he noticed the way people with mental disabilities were mistreated and discarded by society into miserable asylums. He visited the asylums and noticed that nobody in them was crying. “When they realize that nobody cares, that nobody will answer them, children no longer cry. It takes too much energy. We cry out only when there is hope that someone may hear us.” He bought a little house near Paris and started a community for the mentally disabled. Before long there were 134 such communities in thirty-five countries. Vanier exemplifies a selflessness that is almost spooky. He thinks and cares so little of himself. He lives as almost pure gift. People who meet him report that this can have an unnerving effect. Vanier walked out of a society that celebrates the successful and the strong to devote his life purely to those who are weak. He did it because he understands his own weakness. “We human beings are all fundamentally the same,” he wrote. “We all belong to a common, broken humanity. We all have wounded, vulnerable hearts. Each one of us needs to feel appreciated and understood; we all need help.

Finally, Europe’s post-war history is a story shadowed by silences; by absence. The continent of Europe was once an intricate, interwoven tapestry of overlapping languages, religions, communities and nations. Many of its cities—particularly the smaller ones at the intersection of old and new imperial boundaries, such as Trieste, Sarajevo, Salonika, Cernovitz, Odessa or Vilna—were truly multicultural societies avant le mot, where Catholics, Orthodox, Muslims, Jews and others lived in familiar juxtaposition. We should not idealise this old Europe. What the Polish writer Tadeusz Borowski called ‘the incredible, almost comical melting-pot of peoples and nationalities sizzling dangerously in the very heart of Europe’ was periodically rent with riots, massacres and pogroms—but it was real, and it survived into living memory. Between 1914 and 1945, however, that Europe was smashed into the dust. The tidier Europe that emerged, blinking, into the second half of the twentieth century had fewer loose ends. Thanks to war, occupation, boundary adjustments, expulsions and genocide, almost everybody now lived in their own country, among their own people. For forty years after World War Two Europeans in both halves of Europe lived in hermetic national enclaves where surviving religious or ethnic minorities the Jews in France, for example—represented a tiny percentage of the population at large and were thoroughly integrated into its cultural and political mainstream. Only Yugoslavia and the Soviet Union—an empire, not a country and anyway only part-European, as already noted—stood aside from this new, serially homogenous Europe. But since the 1980s, and above all since the fall of the Soviet Union and the enlargement of the EU, Europe is facing a multicultural future. Between them refugees; guest-workers; the denizens of Europe’s former colonies drawn back to the imperial metropole by the prospect of jobs and freedom; and the voluntary and involuntary migrants from failed or repressive states at Europe’s expanded margins have turned London, Paris, Antwerp, Amsterdam, Berlin, Milan and a dozen other places into cosmopolitan world cities whether they like it or not.

When we think without Marx's perspective, that is, without considering class interests and class power, we seldom ask why certain things happen. Many things are reported in the news but few are explained. Little is said about how the social order is organized and whose interests prevail. Devoid of a framework that explains why things happen, we are left to see the world as do mainstream media pundits: as a flow of events, a scatter of particular developments and personalities unrelated to a larger set of social relations - propelled by happenstance, circumstance, confused intentions, and individual ambition, never by powerful class interests - and yet producing effects that serve such interests with impressive regularity. Thus we fail to associate social problems with the socio-economic forces that create them and we learn to truncate our own critical thinking. Imagine if we attempted something different; for example, if we tried to explain that wealth and poverty exist together not in accidental juxtaposition, but because wealth causes poverty, an inevitable outcome of economic exploitation both at home and abroad. How could such an analysis gain any exposure in the capitalist media or in mainstream political life?

It is said that the essence of Zen is the absence of all particularities, and that the real power to see consists in the knowledge that one's own heart possesses neither form nor feature. Yet the power to sec, which is capable of properly envisaging the absence of feature, must be exceedingly keen in resisting the charm of formal appearances. How can a person who is unable to see forms or features with selfless keenness so vividly see and apprehend formlessness and featurelessness? Thus the clear form of a person like Tsurukawa who emitted brightness by the mere fact of his existence, of a person who could be reached by both hands and eyes, who could in fact be called life for life's sake, might, now that this person was dead, serve as the clearest possible metaphor to describe unclear formlessness; and his sense of his own existence might become the most real, existent model of formless nihility. It seemed, indeed, as though he himself might now have become nothing more than such a metaphor. For example, the aptness and suitability of the juxtaposition between Tsurukawa and May flowers was precisely the aptness and suitability of those flowers which, as a result of his sudden May death, had been thrown onto his coffin.

Meanwhile, countries that had actually undergone the dreamed-of socialist revolution— North Korea, Cuba, and East Germany, for example—suffered from sputtering economies and totalitarian regimes. To people who had embraced so-called Marxist dogma during their entire careers, the juxtaposition of these two realities was both puzzling and disturbing.