correlative

I think the idea of the objective correlative relies a little too heavily on every single audience member reading every single symbol in the same way, when we all bring our own emotions and thoughts to whatever piece of art we’re taking in.

If you want to see a great example of the objective correlative hard at work, just check out “Mass in Time of War,” the second episode of Succession’s third season, which features a box of doughnuts, soaked in dread.

By contrast, Eliot wrote, Lady Macbeth is a good example of using the objective correlative — that “damn spot” she can’t get out instantly gives us a sense of her deep, unresolvable guilt.

Broadly speaking, the objective correlative is when an artist uses a symbol or image or object — or a string of them all together — to create a strong sense of feeling and emotion.

That correlative trend between Siakam’s driving success and Toronto’s overall success has continued.

To hell with seven types of ambiguity, the objective correlative, and the anxiety of influence.

The fear of losing her increased his passion for her, and made him hate his rival with correlative fervor.

We might answer that the actualization of him who acts is simply present in such a thing (without correlative reaction).

It is correlative with black, which is the opposite extreme of neutrality.

Where she might have rejoiced in the correlative claims bestowed upon her, she nourished only complaint.

Potentiality and actuality are correlative terms corresponding to matter and form.