(1) It is an inventive device intended to provide new perspectives- and metonymy, synecdoche , and irony all operate by the invention of perspective.(2) I use the expression ‘all mouth and no trousers’ to introduce my sixth-formers to the distinction between synecdoche and metonymy.(3) Night and Fog is formally constructed as a visual synecdoche , evoking a major chapter of history from a few traces remaining.(4) Metonymy limited language by restricting it to ‘metaphorical extension’; synecdoche overcomes this limitation by inducement.(5) On the other hand, the synecdoche is plain in the case of the Chalice: ‘This is my blood’, i.e. the contents of the Chalice are my blood, and hence no longer wine.(6) Note that this leaves aside several more difficult questions: the relationships among referents vs. the structure of the ontology, the problems of metonymy and synecdoche , elliptical variants of terms, etc.(7) Other theorists add synecdoche and irony to complete a list of ‘four master tropes'.(8) But as any reader of the odes can attest, Neruda's incredible use of metaphor, simile and synecdoche , among other poetic techniques frequently confronts the reader unprepared, jolted by the sudden flash of creative spontaneity.(9) He, however, says that this substitution, along with many others, characterizes synecdoche .(10) I found examples of other tropes and schemes - epanalepsis, asyndeton, polysyndeton, hyperbole, metonymy, synecdoche , personification, and anadiplosis - but perhaps my point is sufficiently made.(11) There is a typology of rhetorical figures of speech made up of four tropes, they in turn govern the way we operate language: metaphor, metonymy, synecdoche , and irony.(12) Such synecdoches are central to reformist representation, which relies on one ‘wretched woman’ to stand in for all.(13) By weaving the notions of ancient skepticism into William and Adso's first journey into the labyrinth, Eco places infinitude in the form of suspension of judgement, synecdochical for ancient skepticism, within the labyrinth.(14) The six films resurrect, continue, and conclude the story of the Enterprise through the use of a synecdochic narrative.(15) Because these perceptions were connected with shifting British attitudes to Russia as a whole, the story moves beyond the biographical to take on a synecdochical meaning.(16) Likewise, at very purposeful points, Barnes is depicted with eyes that are optically printed as angry red points - synecdochically cast as ‘the essence of evil: wrath, obsession, anger, fear, hatred, [and] permanence’.
