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(sĭnĕk`dəkē), figure of speech, a species of metaphormetaphor
[Gr.,=transfer], in rhetoric, a figure of speech in which one class of things is referred to as if it belonged to another class. Whereas a simile states that A is like B, a metaphor states that A is B or substitutes B for A.
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, in which a part of a person or thing is used to designate the whole—thus, "The house was built by 40 hands" for "The house was built by 20 people." See metonymymetonymy
, figure of speech in which an attribute of a thing or something closely related to it is substituted for the thing itself. Thus, "sweat" can mean "hard labor," and "Capitol Hill" represents the U.S. Congress.
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a figure of speech and variant of metonymy by which the whole is made known by means of a part. There are two types of synecdoche. In the first, the whole is represented by a, part, which replaces the whole. For example, “Hey, beard! how can I get from here to Pliushkin’s?” (N. Gogol). Here the meanings of “man with a beard,” “bearded one” (“villein”), and “beard” are combined. In the second type of synecdoche, one grammatical number is used instead of the other: “And until dawn the Frenchman [the French] could be heard rejoicing” (M. Iu. Lermontov).

References in periodicals archive ?
What he experiences in Vietnam, however, is not Vietnam but, as the first image he encounters on arriving synecdochically suggests--a sign naming the army base "Fort Dodge"--a simulacrum of exceptionalist America's errand in the wilderness.
When Truman finally breaches the wall of the panopticon, and the gaze of Christof and the gaze of the world no longer burden him, he recognizes that he is free to "direct" his own departure, at last being agentic and therefore genuine in his mantra of "good afternoon, good evening, and good night," perhaps synecdochically standing in for the film's extradiegetic audience, suggesting that we turn our own gaze inward, possibly neutralizing the tyranny of the panopticon.
If the 'ethical face' (if we may so speak) breaks the world and the forms that are lit up in the light of the World and opens up onto a truly radical exteriority, the 'feminine face', as a face encountered in love (love is always at least also erotic), also breaks the forms lit up in the World, but so as to lead back, in a synecdochically inverted way, to a beneath [en-depa], toward the night of pleasure [jouissance]-the pleasure of the element, where form falters (without however being absolutely nullified).
They offer no insight into the deeper meaning of the child's death, and synecdochically of the genocide, beyond their obvious evocation of disconnection, absence, and loss--all important components of mourning.
The stormy night of his own birth is synecdochically related to the peasant revolt as if nature wanted to play its part in the upheaval.
Secrecy, at this level, contributes, to a large extent, to forging a cycle of concealment as an important feature of women relating to each other synecdochically.
The speaker's name stands in synecdochically for all language, which he is attached to but ultimately attempts to relinquish.
Compson, the sickness, yellow fever, which Sutpen appears to have had operates synecdochically to point to larger questions of slave trade and consumption and because yellow fever is associated with vampirism both in folklore and in history; thus, the entire operation of the slave trade becomes marked as vampiric in the novel.
31) And Adolphe is, according to an unpublished prefatory fragment, a tale in which affective freedom stands, synecdochically, for freedom in love, politics, and religion.
In this sense, the TRC's performative articulation of the South African nation under a singular ideal of truth, amnesty and reconciliation ultimately and problematically operates synecdochically.
101) In her script, Rand succeeds in retaining the epic nature of her novel for the film medium through references to low angle shots to highlight soaring architectural design, recommendations on the extreme close-up framing of body parts to signify synecdochically the strength of the human spirit, and the verbose text of Roark's infamous courtroom summation--one of the lengthiest in Hollywood history.
The way in which Becker's and Luxemburg's bodies are discarded synecdochically signifies the abjectness of the temporal world, which allows no prospect of salvation or resurrection.