Creating a metaphorical situation - the main talent of Stephen King
Stephen King is one of the most popular writers of our time. His works are read by adolescents and adults, women and men – all who want to better understand themselves and others, as well as our changeable and unpredictable world. The works of Stephen King are in demand around the world.
Stephen King finds a way to hearts of people. The language of his works is as simple as possible and is accessible to any reader. The subjects are fascinating and intriguing. The peculiarity of the narrative, the original metaphors, mild irony, and constant psychological tension attract the attention of the reader. A metaphor is King's powerful tool for expressing emotions and facts. It is important to be able to perceive the meaning of the metaphor, its role in the work, so that it becomes more vivid and understandable –this is due to the relevance of the selected topic.
Stephen King finds a way to hearts of people. The language of his works is as simple as possible and is accessible to any reader. The subjects are fascinating and intriguing. The peculiarity of the narrative, the original metaphors, mild irony, and constant psychological tension attract the attention of the reader. A metaphor is King's powerful tool for expressing emotions and facts. It is important to be able to perceive the meaning of the metaphor, its role in the work, so that it becomes more vivid and understandable –this is due to the relevance of the selected topic.
1
Theory
Definitions of a metaphor
Many home and foreign linguists have studied the concept of metaphor. We have considered several definitions.
Aristotle gave the first definition of the term "metaphor": "Metaphor - the transfer of the word with a change in the meaning of the genus in the species, from species to genus, or from species to species, or by analogy." The metaphor according to Aristotle gives the right "to speak of the real, to connect with it the impossible." On this idea, the definition of a metaphor is constructed as an assertion "about the properties of an object on the basis of some similarity with that already indicated in the rethought meaning of the word."
Metaphor is a poetically or rhetorically ambitious use of words, a figurative as opposed to literal use. It has attracted more philosophical interest and provoked more philosophical controversy than any of the other traditionally recognized figures of speech.
All this reasoning is logically complemented by N.D. Arutyunova, a Soviet and Russian linguist. "In general, the metaphor can not find a refuge in any function. Its very essence does not correspond to the appointment of the main elements of the sentence - its subject and predicate. For the realization of the identifying function, the metaphor is too subjective; it can not fully specify the subject of speech. For a predicate, it is too vague; semantically diffuse. The seeming concreteness, the "materiality" of the metaphor does not at all turn it into a visual aid of the language; this property complicates rather than simplifies understanding."
Arutyunova's arguments are continued by V.P. Moskvin, a linguist. He says that a metaphor is defined as any transfer of words from one object to another on the basis of similarity, contiguity. By "metaphor in the narrow sense," the researcher means "... that kind of figurative meaning, which is based on the similarity of the figurative basis, due to the presence of a common feature between the direct and portable meaning of the word."
We will rely on the definition of a metaphor, which Arutyunova develops in her works. "A metaphor is a path (or mechanism of speech), consisting in the use of the word, denoting a certain class of object, phenomena. Metaphor suggests using the word not for its intended purpose, as a result of which the transformation of its semantic structure takes place. The interaction of the metaphor with two different types of objects creates its semantic duality, "duality".
All things considered, it can be concluded that the use of metaphor is inextricably linked with the creation of the image; if the metaphor does not contain any image, then its very existence seems questionable. Metaphor is one of the most emotional ways of creating imagery, both at the level of the word and the entire text.
Aristotle gave the first definition of the term "metaphor": "Metaphor - the transfer of the word with a change in the meaning of the genus in the species, from species to genus, or from species to species, or by analogy." The metaphor according to Aristotle gives the right "to speak of the real, to connect with it the impossible." On this idea, the definition of a metaphor is constructed as an assertion "about the properties of an object on the basis of some similarity with that already indicated in the rethought meaning of the word."
Metaphor is a poetically or rhetorically ambitious use of words, a figurative as opposed to literal use. It has attracted more philosophical interest and provoked more philosophical controversy than any of the other traditionally recognized figures of speech.
All this reasoning is logically complemented by N.D. Arutyunova, a Soviet and Russian linguist. "In general, the metaphor can not find a refuge in any function. Its very essence does not correspond to the appointment of the main elements of the sentence - its subject and predicate. For the realization of the identifying function, the metaphor is too subjective; it can not fully specify the subject of speech. For a predicate, it is too vague; semantically diffuse. The seeming concreteness, the "materiality" of the metaphor does not at all turn it into a visual aid of the language; this property complicates rather than simplifies understanding."
Arutyunova's arguments are continued by V.P. Moskvin, a linguist. He says that a metaphor is defined as any transfer of words from one object to another on the basis of similarity, contiguity. By "metaphor in the narrow sense," the researcher means "... that kind of figurative meaning, which is based on the similarity of the figurative basis, due to the presence of a common feature between the direct and portable meaning of the word."
We will rely on the definition of a metaphor, which Arutyunova develops in her works. "A metaphor is a path (or mechanism of speech), consisting in the use of the word, denoting a certain class of object, phenomena. Metaphor suggests using the word not for its intended purpose, as a result of which the transformation of its semantic structure takes place. The interaction of the metaphor with two different types of objects creates its semantic duality, "duality".
All things considered, it can be concluded that the use of metaphor is inextricably linked with the creation of the image; if the metaphor does not contain any image, then its very existence seems questionable. Metaphor is one of the most emotional ways of creating imagery, both at the level of the word and the entire text.
Different Types of Metaphors
According to N.D. Arutyunova, we can distinguish the following types of language metaphor:
1) a nominative metaphor (name transfer), consisting in replacing one value with another;
2) a figurative metaphor, burlesque, where the comparison is grotesque, comic or exaggerated.
3) a cognitive metaphor that arises from a shift in the compatibility of predicative words and creates a polysemy;
4) a generalizing metaphor that erases the boundaries between logical orders in the lexical meaning of the word and stimulates the emergence of logical polysemy.
Experts define several types of metaphors:
1) a nominative metaphor (name transfer), consisting in replacing one value with another;
2) a figurative metaphor, burlesque, where the comparison is grotesque, comic or exaggerated.
3) a cognitive metaphor that arises from a shift in the compatibility of predicative words and creates a polysemy;
4) a generalizing metaphor that erases the boundaries between logical orders in the lexical meaning of the word and stimulates the emergence of logical polysemy.
Experts define several types of metaphors:
Absolute metaphor
Absolute metaphor is one where there is absolutely no connection between the subject and the metaphor.
The value of an absolute metaphor is in the way that it can confuse and hence make people think hard about the meaning of something. Absolute metaphors can thus communicate frustration, confusion and uncertainty.
The value of an absolute metaphor is in the way that it can confuse and hence make people think hard about the meaning of something. Absolute metaphors can thus communicate frustration, confusion and uncertainty.
Catachretic
A metaphor that uses words in a figurative sense to fill in the gap caused by an insufficient language. Parts of the body can be used in these metaphors.
Compound metaphor
Compound metaphor is one where there are multiple elements in the metaphor that are used to snag the listener. These elements may be enhancement words such as adverbs, adjectives, etc.
Each element in the compound metaphor may be used to signify an additional item of meaning.
Each element in the compound metaphor may be used to signify an additional item of meaning.
Dead Metaphor
A metaphor that has occurred so often that it has become a new meaning of the expression may once have been a metaphor but after years of use it has died and become a new sense of the word. In a dead metaphor the original image has already receded into the background.
Dormant metaphor
Dormant metaphor is one where the connection between the vehicle and the subject is not clear. A dormant metaphor may be formed when a sentence is incomplete in some way or shortened. The value of a dormant metaphor may well be weak, as the insufficient connection loses the power that the metaphor can bring.
Dying metaphor
Dying metaphor is one which has become so over-used, it is considered unfashionable or lacking in eloquence to use it. In effect, it is a cliché.
Extended metaphor
Extended metaphor is one where there is a single main subject to which additional subjects and metaphors are applied. The extended metaphor may act as a central theme, for example where it is used as the primary vehicle of a poem and is used repeatedly and in different forms.
Implied Metaphor
Implied Metaphor. The definition of implied metaphor is a word or phrase that compares two unlike things to more clearly describe them, without mentioning one of the things.
Mixed Metaphors
The use in the same expression of two or more metaphors that are incongruous or illogical when combined.
Root metaphor
Root metaphor is one which is so embedded within a language or culture that it is often not realized as being a metaphor.
Root metaphors can be unique to individual cultures, nations, organizations or groups. For example one culture may have a root metaphor of life as a journey, whilst another may see it as opportunity.
Root metaphors can be unique to individual cultures, nations, organizations or groups. For example one culture may have a root metaphor of life as a journey, whilst another may see it as opportunity.
Simple metaphor
Simple metaphor has a single link between the subject and the metaphoric vehicle. The vehicle thus has a single meaning which is transferred directly to the subject.
In the simple metaphor, the cognitive effort to understand what the author or speaker intends is relatively low and hence it may easily be used with a wider and less sophisticated audience.
In the simple metaphor, the cognitive effort to understand what the author or speaker intends is relatively low and hence it may easily be used with a wider and less sophisticated audience.
Synecdoche metaphor
Synecdoche metaphor is one where a small part or element of something is used to represent the whole.
Our memories work in associative ways, a factor that metaphors use to the full. Thus when you are told about an element of something, then by association you quickly also think about the whole thing, of which it a part. Synechdochic metaphors thus are simple metaphors that are easily accessible by many people.
Our memories work in associative ways, a factor that metaphors use to the full. Thus when you are told about an element of something, then by association you quickly also think about the whole thing, of which it a part. Synechdochic metaphors thus are simple metaphors that are easily accessible by many people.
Thus, the parameters of the classification of metaphors are determined by the uniqueness of the content and expression plans, the dependence on the context and the functional specificity of the metaphorical sign, as well as the level correlation of metaphors across the tiers of the language. Analysis of metaphors can be made not only by any one, but also by combinations of various kinds of parameters.
The functions of metaphor
1
The first, and more practical, function is to allow the reader greater understanding of the concept, object, or character being described. This is done by comparing it to an item that may be more familiar to the reader. In contrast, the metaphor in its usual meaning dispenses with words such as like or as, describing something by calling it another thing.
2
The second function is purely artistic: to create an image that is beautiful or profound or otherwise produces the effect that the writer desires. Moreover, it gives a life-like quality to our conversations, and to the characters of the fiction or poetry. Metaphors are also ways of thinking, offering the listeners and the readers fresh ways of examining ideas and viewing the world. Metaphors can also be used to simply make the writing more interesting. If a writer uses literal language, especially in fiction or literary non-fiction, the writing can be boring and dry. Coming up with original metaphors helps to make the writing more interesting while, as stated above, helping the reader to understand what the author is trying to convey. For these reasons, writers have used the metaphor since the earliest recorded stories.
3
The third function is metaphors can make our words come to life. If we hear someone say "metaphorically speaking," it probably means that we shouldn't take what they said as the truth, but as more of an idea. Often, we can use a metaphor to make our subject more relatable to the reader or to make a complex thought easier to understand. They can also be a tremendous help when we want to enhance your writing with imagery. As a common figure of speech, metaphors turn up everywhere from novels and films to presidential speeches and even popular songs;
R. Hoffman, the author of a number of studies on metaphor, wrote: "The metaphor is exceptionally practical ... It can be used as an instrument of description and explanation in any field: in psychotherapeutic conversations and in conversations between airline pilots, in ritual dances and in programming language, in artistic education and in quantum mechanics. The metaphor, wherever it meets us, always enriches the understanding of human actions, knowledge and language."
2
Practice
Stephen King as a representative of modern American literature
Stephen King is a 'New York Times' – bestselling novelist who made his name in the horror and fantasy genres with books like 'Carrie','The Shining' and 'IT'. King is recognized as one of the most famous and successful horror writers of all time. Much of his work has been adapted for film and TV.
Author Stephen Edwin King was born on September 21, 1947, in Portland, Maine. His parents, Donald and Nellie Ruth Pillsbury King, split up when he was very young, and he and his brother David divided their time between Indiana and Connecticut for several years. King later moved back to Maine with his mother and brother. There he graduated from Lisbon Falls High School in 1966.
King stayed Stories'. After graduating with a degree in English in 1970, he tried to find a position as a teacher but had no luck at first. King took a job in a laundry and continued to write stories in his spare time until late 1971, when he began working as an English educator at Hampden Academy. It was that year that he also married fellow writer Tabitha Spruce.
Author Stephen Edwin King was born on September 21, 1947, in Portland, Maine. His parents, Donald and Nellie Ruth Pillsbury King, split up when he was very young, and he and his brother David divided their time between Indiana and Connecticut for several years. King later moved back to Maine with his mother and brother. There he graduated from Lisbon Falls High School in 1966.
King stayed Stories'. After graduating with a degree in English in 1970, he tried to find a position as a teacher but had no luck at first. King took a job in a laundry and continued to write stories in his spare time until late 1971, when he began working as an English educator at Hampden Academy. It was that year that he also married fellow writer Tabitha Spruce.
In 1973, King sold his first novel, 'Carrie', the tale of a tormented teen who gets revenge close to home for college, attending the University of Maine at Orono. There he wrote for the school's newspaper and served in its student government. While in school, King published his first short story, which appeared in 'Startling Mystery on her peers. The book became a huge success after it was published the following year, allowing him to devote himself to writing full time. It was later adapted for the big screen with Sissy Spacek as the title character. More popular novels soon followed, including 'Salem's Lot', 'The Shining', 'Firestarter', 'Cujo' and 'IT'.
While making novels about vicious, rabid dogs and sewer-dwelling monsters—as seen in 'Cujo' and 'IT', respectively – King published several books as Richard Bachman. Four early novels – 'Rage', 'The Long Walk', 'Roadwork' and 'The Running Man' – were published under the moniker because of King's concern that the public wouldn't accept more than one book from an author within a year.
While making novels about vicious, rabid dogs and sewer-dwelling monsters—as seen in 'Cujo' and 'IT', respectively – King published several books as Richard Bachman. Four early novels – 'Rage', 'The Long Walk', 'Roadwork' and 'The Running Man' – were published under the moniker because of King's concern that the public wouldn't accept more than one book from an author within a year.
Carrie
For a good portion of his career, King wrote novels and stories at a breakneck speed. He published several books per year for much of the 1980s and 90s. His compelling, thrilling tales have continued to be used as the basis of numerous films for the big and small screens. Actress Kathy Bates and actor James Can starred in the critically and commercially successful adaptation of 'Misery' in 1990, with Bates winning an Oscar for her performance as the psychotic Annie Wilkes.
Four years later, 'Rita Hayworth and Shawshank Redemption', starring Tim Robbins and Morgan Freeman and based on one of his stories, became another acclaimed outing with multiple Oscar nominations. King's 1978 novel 'The Stand' became a 1994 miniseries with Molly Ringwald and Gary Sinise in the lead, while the mid-'90s serialized outing 'The Green Mile' was turned into a 1999 prison-based film starring Tom Hanks and Michael Clarke Duncan.
Four years later, 'Rita Hayworth and Shawshank Redemption', starring Tim Robbins and Morgan Freeman and based on one of his stories, became another acclaimed outing with multiple Oscar nominations. King's 1978 novel 'The Stand' became a 1994 miniseries with Molly Ringwald and Gary Sinise in the lead, while the mid-'90s serialized outing 'The Green Mile' was turned into a 1999 prison-based film starring Tom Hanks and Michael Clarke Duncan.
Misery
King continues to create and be involved in provocative projects. He has worked directly in television, writing for series like 'Kingdom Hospital' and 'Under the Dome', with the latter based on his 2009 novel. In 2011 he published '11.22.63', a novel involving time travel as part of an effort to stop the assassination of President John F. Kennedy. King also wrote 'Joyland', a pulp-fiction style thriller that takes readers on a journey to uncovering who's behind an unsolved murder. And he surprised audiences by releasing 'Doctor Sleep', a sequel to 'The Shining', with 'Sleep' hitting on the New York Times bestseller list.
Outside of writing, King is a music fan. He even sometimes plays guitar and sings in a band called 'Rock Bottom Remainders' with fellow literary stars like Dave Barry, Barbara Kingsolver and Amy Tan. The group has performed a number of times over the years to raise money for charity.
So, the work of Stephen King lies, undoubtedly, in the field of mass literature with its specifics and a special system of relations with other types of literature.
Outside of writing, King is a music fan. He even sometimes plays guitar and sings in a band called 'Rock Bottom Remainders' with fellow literary stars like Dave Barry, Barbara Kingsolver and Amy Tan. The group has performed a number of times over the years to raise money for charity.
So, the work of Stephen King lies, undoubtedly, in the field of mass literature with its specifics and a special system of relations with other types of literature.
Doctor Sleep
The features of Stephen King's books
The work of Stephen King takes hold of its readers in a way that many writers struggle to compete with. He has a cult following of fans and his ability to produce the kind of writing that creates visceral reactions in different genres and situations ensures that he continues to find an ever-increasing readership.
The scope and range of his work ensures that film and television adaptations are produced on a regular basis, again bringing newcomers to his universe. This year's remake of 'IT' was a huge success among audiences and critics alike and a younger generation of horror fans will surely now be seeking out the iconic source material. And in King's case, once a reader has found his work, they are certain to be hooked.
There are several key ingredients that can be found in almost all of his fifty-plus stories.
The scope and range of his work ensures that film and television adaptations are produced on a regular basis, again bringing newcomers to his universe. This year's remake of 'IT' was a huge success among audiences and critics alike and a younger generation of horror fans will surely now be seeking out the iconic source material. And in King's case, once a reader has found his work, they are certain to be hooked.
There are several key ingredients that can be found in almost all of his fifty-plus stories.
Telling you too much
A man known as 'The Master of Suspense' should surely be careful not to give too much away as his stories unfold. Stephen King, however, gives tantalising facts to his readers that let them know world-changing events that are still to come. Just finishing a chapter he can tell of the looming death of a key character or that the protagonist's fears were focused on the wrong cause all along.
In 'Pet Sematary', around the half-way mark, we are told matter-of-factly that the youngest child in the Creed family has only two months to live. In 'The Girl Who Loved Tom Gordon', after a suspenseful page in which Trisha makes the decision of which way to turn in order to find her way out of the forest she is lost in, we are simply told that she made the wrong choice. If she'd gone the other way, King tells us, she'd have been home hours later. But no, Trisha went wrong.
In 'Pet Sematary', around the half-way mark, we are told matter-of-factly that the youngest child in the Creed family has only two months to live. In 'The Girl Who Loved Tom Gordon', after a suspenseful page in which Trisha makes the decision of which way to turn in order to find her way out of the forest she is lost in, we are simply told that she made the wrong choice. If she'd gone the other way, King tells us, she'd have been home hours later. But no, Trisha went wrong.
Great description and language
Stephen King clearly loves language. Focusing on the need for and power of description, King has on several occasions made it clear that you must be able to describe if you want to be a writer. If you can't describe things, you're not going to
succeed. It's a challenge that keeps many a writer going. When we say, "Oh it was so great, I just can't describe it," the writer needs to step up and try to do so.
succeed. It's a challenge that keeps many a writer going. When we say, "Oh it was so great, I just can't describe it," the writer needs to step up and try to do so.
Getting the length right
Stephen King is a master of storytelling. There are stories like 'The Stand' that are over the 1000 page mark; stories of an average length such as 'Misery' with its 300-plus pages and short stories such as 'Rita Hayworth and Shawshank Redemption'.
Stephen King's stories are as long or as short as they need to be. He has released dozens of short stories. Some of his very finest film adaptations have come from these, most notably 'Stand By Me' and 'The Mist'.
In contrast, many of his most successful books have been huge, from 'IT' with 1100-plus pages to 'Under The Dome ' which in unabridged form is over 1300 pages.
The story is what counts, and for Stephen King it doesn't matter if it's short, long or exceptionally long – you'll enjoy it regardless.
Stephen King's stories are as long or as short as they need to be. He has released dozens of short stories. Some of his very finest film adaptations have come from these, most notably 'Stand By Me' and 'The Mist'.
In contrast, many of his most successful books have been huge, from 'IT' with 1100-plus pages to 'Under The Dome ' which in unabridged form is over 1300 pages.
The story is what counts, and for Stephen King it doesn't matter if it's short, long or exceptionally long – you'll enjoy it regardless.
Terrifying villains
Well-loved characters have to be the single most significant aspect of King's success. These protagonists would be fun to spend time with on their own, but they are denied this privilege. Instead, they must share the spotlight with a range of horrifying antagonists.
Randall Flagg, villain of first The Stand but later at least nine confirmed stories, is basically Satan himself. IT, or Pennywise the Dancing Clown, manifests every character's very worst fears and prays on innocent children. Annie Wilkes of Misery is so terrifying because she is so very plausible but so utterly repulsive. Cujo may simply be an ill St Bernard that could be deserving of sympathy, but he becomes an entirely insurmountable object to the weakened mother and child trapped in that car.
If characters and their adventures, emotions and growth are the key to success, then this awe-inspiring range of adversaries have to be the next most important aspect. They cause fear, disgust, anger, injury and death in their own unique ways, demonstrating a staggering originality, but each is as compelling as the next.
Randall Flagg, villain of first The Stand but later at least nine confirmed stories, is basically Satan himself. IT, or Pennywise the Dancing Clown, manifests every character's very worst fears and prays on innocent children. Annie Wilkes of Misery is so terrifying because she is so very plausible but so utterly repulsive. Cujo may simply be an ill St Bernard that could be deserving of sympathy, but he becomes an entirely insurmountable object to the weakened mother and child trapped in that car.
If characters and their adventures, emotions and growth are the key to success, then this awe-inspiring range of adversaries have to be the next most important aspect. They cause fear, disgust, anger, injury and death in their own unique ways, demonstrating a staggering originality, but each is as compelling as the next.
Writing the young and the old
Childhood suffering is a key theme across the work of Stephen King. Both as abuse from bullies or, far worse, fathers, but also suffering from the intense fear of fear itself that all children are so very vulnerable to.
Too few books aimed at an adult audience revisit the pain of young childhood. Older teenagers seem to get considerable coverage, but young children are often left unexplored as if adults have forgotten the relevance or importance of these formative years. King, however, helps us inhabit the mind of a child in many of his best works such as 'IT', 'The Shining' and 'The Girl Who Loved Tom Gordon'.
King says, "We think in a different way as children. We tend to think around corners instead of in straight lines." It is this fascination and, more importantly, appreciation of childhood that makes him so able to capture the vivid imagination of the young. This, in turn, has led to some horrifying moments as characters that so effectively represent the most vulnerable members of our society are subjected to pure terror.
If children are under-represented in much of adult fiction, so too are the elderly. But not so in the fiction of Stephen King. Jud Crandall of 'Pet Sematary' is in his eighties, Ralph Roberts of 'Insomnia' and Bill Hodges of the 'Mr. Mercedes' trilogy are retired main characters and Mother Abigail from 'The Stand' is a staggering 106 years old. It takes real awareness and sensitivity to help someone genuinely imagine the life of the elderly as the majority of readers simply haven't experienced it, but King helps his readers to truly empathise with the advantages and disadvantages of reaching advanced years.
Few writers are as able as King to take a reader back into their childhood or project them forward into old age, but King has done both of these many times over and with tremendous success.
Too few books aimed at an adult audience revisit the pain of young childhood. Older teenagers seem to get considerable coverage, but young children are often left unexplored as if adults have forgotten the relevance or importance of these formative years. King, however, helps us inhabit the mind of a child in many of his best works such as 'IT', 'The Shining' and 'The Girl Who Loved Tom Gordon'.
King says, "We think in a different way as children. We tend to think around corners instead of in straight lines." It is this fascination and, more importantly, appreciation of childhood that makes him so able to capture the vivid imagination of the young. This, in turn, has led to some horrifying moments as characters that so effectively represent the most vulnerable members of our society are subjected to pure terror.
If children are under-represented in much of adult fiction, so too are the elderly. But not so in the fiction of Stephen King. Jud Crandall of 'Pet Sematary' is in his eighties, Ralph Roberts of 'Insomnia' and Bill Hodges of the 'Mr. Mercedes' trilogy are retired main characters and Mother Abigail from 'The Stand' is a staggering 106 years old. It takes real awareness and sensitivity to help someone genuinely imagine the life of the elderly as the majority of readers simply haven't experienced it, but King helps his readers to truly empathise with the advantages and disadvantages of reaching advanced years.
Few writers are as able as King to take a reader back into their childhood or project them forward into old age, but King has done both of these many times over and with tremendous success.
The role of metaphors in Stephen King's books
After studying the theoretical part of the work, we conducted a practical study, where we tried to determine the type and role of metaphors that Stephen King uses in his works.
The result of the study can be seen in table.
The result of the study can be seen in table.
Analyzing these works and conducting a study of the poetics and metaphorical stories of S. King's story 'The Green Mile', 'Pet Sematary' and 'Insomnia', we came to the following conclusions:
• S. King's work relates to the genres of horror and science fiction;
• judging by descriptions of the inner world of heroes and analysis of their actions, one can say that the writer is a good psychologist;
• S. King widely uses biblical motifs in his works;
• S. King widely uses the metaphor. More common is an extended metaphor.
This figure of speech helps the author create an atmosphere of mystical and, at the same time, real, make the reader's imagination work and think out what the author has not said, allows one to feel his own fears and draw the whole picture (completely or partially) by himself - to create his own world fear.
• S. King's work relates to the genres of horror and science fiction;
• judging by descriptions of the inner world of heroes and analysis of their actions, one can say that the writer is a good psychologist;
• S. King widely uses biblical motifs in his works;
• S. King widely uses the metaphor. More common is an extended metaphor.
This figure of speech helps the author create an atmosphere of mystical and, at the same time, real, make the reader's imagination work and think out what the author has not said, allows one to feel his own fears and draw the whole picture (completely or partially) by himself - to create his own world fear.
Conclusion
American writer Stephen King is the author who caused a significant part of the world's population to tremble with fear while reading the next novel he created. King of Nightmares, Master of Horrors, Virtuoso writer..
In every book of S. King there are new ideas, linking his work with the literary traditions of America. At the same time, the writer uses the language of today. Thus, it paves the way from mass literature to classical.
The theme of our research "Creating a metaphorical situation - the main talent of Stephen King." To achieve the goal, we have considered the definition of the concept of metaphor, its classification. To confirm the hypothesis, we read and analyzed the works of S. King "The Green Mile", "The Cemetery of Pets" and "Insomnia." Having studied the use of metaphor in these works, we found out that a metaphor is really necessary to create a figurative image of the characters in the reader, which, in turn, leads to a deeper and fuller understanding of the author's design and to the misinterpretation of the meanings of the text.
The metaphor occupies a central place in his works because of his ability to create a capacious image based on bright, often unexpected associations. Metaphor helps to reveal, reveal the inner nature of any phenomenon, object or aspect of being, often being an expression of the individual author's vision of the world.
It should be noted that the metaphor of King is particularly expressive, because he has unlimited opportunities for rapprochement, often in the unexpected assimilation of a variety of subjects and phenomena, essentially reinterpreting the subject in a new way.
In every book of S. King there are new ideas, linking his work with the literary traditions of America. At the same time, the writer uses the language of today. Thus, it paves the way from mass literature to classical.
The theme of our research "Creating a metaphorical situation - the main talent of Stephen King." To achieve the goal, we have considered the definition of the concept of metaphor, its classification. To confirm the hypothesis, we read and analyzed the works of S. King "The Green Mile", "The Cemetery of Pets" and "Insomnia." Having studied the use of metaphor in these works, we found out that a metaphor is really necessary to create a figurative image of the characters in the reader, which, in turn, leads to a deeper and fuller understanding of the author's design and to the misinterpretation of the meanings of the text.
The metaphor occupies a central place in his works because of his ability to create a capacious image based on bright, often unexpected associations. Metaphor helps to reveal, reveal the inner nature of any phenomenon, object or aspect of being, often being an expression of the individual author's vision of the world.
It should be noted that the metaphor of King is particularly expressive, because he has unlimited opportunities for rapprochement, often in the unexpected assimilation of a variety of subjects and phenomena, essentially reinterpreting the subject in a new way.
