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in stylistics, a combination of lexically incompatible words that form a unique and meaningful whole (compare with oxymoron, a combination of words with contrasting and opposite meanings, such as in “a living corpse.”)

There are two types of catachresis: (1) that which comes into being naturally, through the development of the nominative means of a language, and which may be perceived at first as incorrect word usage (“white brownstone,” “to sail a steamship”); and (2) that which is created deliberately, for an intended effect (“black gold,” “when the crab whistles”). Catachresis can be either a verbal blunder (“let not the arms of the sharks of imperialism extend to us”), where the tropes are joined mechanically, or an illustration of great artistic skill:

But through the listless night the serpents of remorse

More shrewdly burn within me …

A. S. Pushkin

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Several of the examples are indicated as catachrestic ("Hares" to signify "iron" is a metonymy that is typical of the common language, according to Artemidorus, a rhetor of the second century CE) or they are catachrestic but not explicitly defined so.
William Pietz addresses just this catachrestic indecorum in his history of the "discursively promiscuous" fetish.
For all the figurative cruces of the entire passage, however, its "geographical transubstantiation" is the most striking not only because of its catachrestic effects but also because of its irreverent reverence that dares to collocate "transubstantiation" with any objects or processes outside the Eucharist and its utterly unique significance.