Juxtaposition can be defined as placing two variable, side by side and their contrast or similarity are shown through comparison. Many creative processes rely on juxtaposition. By juxtaposing two objects or words next to each other, human brain will automatically associate or transfer meaning. Usually ‘turning’ something familiar to something less familiar or vice-versa.
And The arrangement of two or more ideas, characters, actions, settings, phrases, or words side-by-side or in similar narrative moments for the purpose of comparison, contrast, rhetorical effect, suspense, or character development.
Juxtaposition (literary), synonymous with contrast, two objects or texts that oppose one another
The majority of the studies done on contrast and contrastive relations in semantics has concentrated on characterizing exactly which semantic relationships could give rise to contrast. Earliest studies in semantics also concentrated on identifying what distinguished clauses joined by and from clauses joined by but.
In discourse theory, and computational discourse, contrast is a major discourse relation, on par with relationship like explanation or narration, and work has concentrated on trying to identify contrast in naturally produced texts, especially in cases where the contrast is not explicitly marked.
http://en.wikipedia.org/wiki/Contrast_(linguistics)
Juxtaposition (literary)
Juxtaposition (literary), synonymous with contrast, two objects or texts that oppose one another
In linguistics and semantics, contrast is a relationship between two discourse segments. Contrast is often overtly marked by markers such as but or however, such as in the following examples:
1. It's raining, but I am not taking an umbrella.
2. We will be giving a party for our new students. We won't, however, be serving drinks.
3. The student knew about the test on Friday, but still he did not study.
In the first clause, It's raining implies that the speaker knows the weather situation and so will prepare for it, while the second clause I am not taking an umbrella implies that the speaker will still get wet. Both clauses (or discourse segments) refer to related situations, or themes, yet imply a contradiction. It is this relationship of comparing something similar, yet different, that is believed to be typical of contrastive relations. The same type of relationship is shown in (2), where the first sentence can be interpreted as implying that by giving a party for the new students, the hosts will serve drinks. This is of course a defeasible inference based on world knowledge, that is then contradicted in the following sentence.
Juxtaposition (literary), synonymous with contrast, two objects or texts that oppose one another
In linguistics and semantics, contrast is a relationship between two discourse segments. Contrast is often overtly marked by markers such as but or however, such as in the following examples:
1. It's raining, but I am not taking an umbrella.
2. We will be giving a party for our new students. We won't, however, be serving drinks.
3. The student knew about the test on Friday, but still he did not study.
In the first clause, It's raining implies that the speaker knows the weather situation and so will prepare for it, while the second clause I am not taking an umbrella implies that the speaker will still get wet. Both clauses (or discourse segments) refer to related situations, or themes, yet imply a contradiction. It is this relationship of comparing something similar, yet different, that is believed to be typical of contrastive relations. The same type of relationship is shown in (2), where the first sentence can be interpreted as implying that by giving a party for the new students, the hosts will serve drinks. This is of course a defeasible inference based on world knowledge, that is then contradicted in the following sentence.
The majority of the studies done on contrast and contrastive relations in semantics has concentrated on characterizing exactly which semantic relationships could give rise to contrast. Earliest studies in semantics also concentrated on identifying what distinguished clauses joined by and from clauses joined by but.
In discourse theory, and computational discourse, contrast is a major discourse relation, on par with relationship like explanation or narration, and work has concentrated on trying to identify contrast in naturally produced texts, especially in cases where the contrast is not explicitly marked.
http://en.wikipedia.org/wiki/Contrast_(linguistics)
In literature and film, juxtaposition is the arrangement of two opposing ideas, characters, objects, etc. side-by-side or in similar narratives for effect. Juxtaposition techniques are used to further develop the storyline or characters - it is applied variously to opposing emotions, abstract concepts, character traits/values, or images
Juxtaposition (literary)
Juxtaposition (literary), synonymous with contrast, two objects or texts that oppose one another
In linguistics and semantics, contrast is a relationship between two discourse segments. Contrast is often overtly marked by markers such as but or however, such as in the following examples:
1. It's raining, but I am not taking an umbrella.
2. We will be giving a party for our new students. We won't, however, be serving drinks.
3. The student knew about the test on Friday, but still he did not study.
In the first clause, It's raining implies that the speaker knows the weather situation and so will prepare for it, while the second clause I am not taking an umbrella implies that the speaker will still get wet. Both clauses (or discourse segments) refer to related situations, or themes, yet imply a contradiction. It is this relationship of comparing something similar, yet different, that is believed to be typical of contrastive relations. The same type of relationship is shown in (2), where the first sentence can be interpreted as implying that by giving a party for the new students, the hosts will serve drinks. This is of course a defeasible inference based on world knowledge, that is then contradicted in the following sentence.
In literature and film, juxtaposition is the arrangement of two opposing ideas, characters, objects, etc. side-by-side or in similar narratives for effect. Juxtaposition techniques are used to further develop the storyline or characters - it is applied variously to opposing emotions, abstract concepts, character traits/values, or images
juxtaposition Here the process requires the introduction of a completely random
stimulus which is juxtaposed with the problem in hand. The connection that developes
between the two may serve to give emphasis to the side track. For example, the
juxtaposition of ‘cigarette po soap’ gave rise to the idea of putting flower seeds in the butts
of cigarette so that man would beautify the surroundings with his waste instead of
messing them up. This is not a specially strong idea, but it does illustrate the sort of idea
that could not come directly from analysis of the situation itself – although with hindsight it
makes good sense. The juxtaposition of ‘cigarette po traffic-light’ produced the idea of a
red ‘danger’ band that would be about two centimetres from the butt end of the cigarette,
since the last two centimetres are the most dangerous, as he smoke particles that have
condensed there are re-evaporated. A person who deliberately smoked into the danger
zone would be making a conscious decision to do so. There are many other techniques
and processes in lateral thinking, and these are described in detail elsewhere. The direct
purpose of lateral thinking is to develop a new way of looking at things. For example, if we
were to say ‘self po leaf’ we might develop the concept of several different selves all of
which were separate but which depended upon and fed into the central self.Juxtaposition (literary)
Juxtaposition (literary), synonymous with contrast, two objects or texts that oppose one another
In linguistics and semantics, contrast is a relationship between two discourse segments. Contrast is often overtly marked by markers such as but or however, such as in the following examples:
1. It's raining, but I am not taking an umbrella.
2. We will be giving a party for our new students. We won't, however, be serving drinks.
3. The student knew about the test on Friday, but still he did not study.
In the first clause, It's raining implies that the speaker knows the weather situation and so will prepare for it, while the second clause I am not taking an umbrella implies that the speaker will still get wet. Both clauses (or discourse segments) refer to related situations, or themes, yet imply a contradiction. It is this relationship of comparing something similar, yet different, that is believed to be typical of contrastive relations. The same type of relationship is shown in (2), where the first sentence can be interpreted as implying that by giving a party for the new students, the hosts will serve drinks. This is of course a defeasible inference based on world knowledge, that is then contradicted in the following sentence.
The majority of the studies done on contrast and contrastive relations in semantics has concentrated on characterizing exactly which semantic relationships could give rise to contrast. Earliest studies in semantics also concentrated on identifying what distinguished clauses joined by and from clauses joined by but.
In discourse theory, and computational discourse, contrast is a major discourse relation, on par with relationship like explanation or narration, and work has concentrated on trying to identify contrast in naturally produced texts, especially in cases where the contrast is not explicitly marked.
http://en.wikipedia.org/wiki/Contrast_(linguistics)
In literature and film, juxtaposition is the arrangement of two opposing ideas, characters, objects, etc. side-by-side or in similar narratives for effect. Juxtaposition techniques are used to further develop the storyline or characters - it is applied variously to opposing emotions, abstract concepts, character traits/values, or images
In literature and film, juxtaposition is the arrangement of two opposing ideas, characters, objects, etc. side-by-side or in similar narratives for effect. Juxtaposition techniques are used to further develop the storyline or characters - it is applied variously to opposing emotions, abstract concepts, character traits/values, or images
juxtaposition Here the process requires the introduction of a completely random
stimulus which is juxtaposed with the problem in hand. The connection that developes
between the two may serve to give emphasis to the side track. For example, the
juxtaposition of ‘cigarette po soap’ gave rise to the idea of putting flower seeds in the butts
of cigarette so that man would beautify the surroundings with his waste instead of
messing them up. This is not a specially strong idea, but it does illustrate the sort of idea
that could not come directly from analysis of the situation itself – although with hindsight it
makes good sense. The juxtaposition of ‘cigarette po traffic-light’ produced the idea of a
red ‘danger’ band that would be about two centimetres from the butt end of the cigarette,
since the last two centimetres are the most dangerous, as he smoke particles that have
condensed there are re-evaporated. A person who deliberately smoked into the danger
zone would be making a conscious decision to do so. There are many other techniques
and processes in lateral thinking, and these are described in detail elsewhere. The direct
purpose of lateral thinking is to develop a new way of looking at things. For example, if we
were to say ‘self po leaf’ we might develop the concept of several different selves all of
which were separate but which depended upon and fed into the central self. 
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