(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’.

(17) In Ireland, I would argue, there is a metaphorical and, more specifically, a synecdochic similarity between the fetus' relationship to the mother and Ireland's relationship to Europe.

(18) I want to present a way of looking at our country in this time, in which the rights of homosexuals are synecdochical .

(19) He argues that the detective is like the ‘cognitive hero,’ an ‘agent of recognition, reduced synecdochically to the organ of visual perception, the eye,’ seeking to understand the universe.

(20) Reality arrives synecdochically , in sharply limned phenomena and events that act as object lessons.

(21) The dominant aesthetic is, therefore, synecdochical , but, whereas in a synecdoche, the part usually stands for the whole, in hypertext, the synecdoche is dynamic: the sum of the parts, always greater than the whole, does not add up to fixed and unified object.

(22) In the English writing of India, the emperor quickly becomes the locus of the civilized/barbaric binary and via this synecdochic function Mogul culture becomes figured as simultaneously civilized and barbaric.

(23) The body as possessed by the knowledge of writing becomes a writer's body, part of the writing, a synecdochic body.

(24) Given that representations always stand at a distance from the objects they represent what we find is the synecdochic presence of domestic workers in the reminiscences of the Bengali middle-class.

(25) Just as Matthew, Isabelle and Theo in the apartment are a synecdochical image, a microcosm of the revolution outside, so the France of May 1968 is figured in its entirety by Bertolucci as a mere image of the world's true revolutions.