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n. pl. syl·lep·ses (-sēz)
A verbal construction in which a word governs two or more other words but agrees in number, gender, or case with only one, or has a different meaning when applied to each of the words, as in He lost his coat and his temper.

[Late Latin syllēpsis, from Greek sullēpsis : sun-, syn- + lēpsis, a taking (from lambanein, to take).]

syl·lep′tic (-lĕp′tĭk) adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.
References in periodicals archive ?
Minor considers the entire "narrative domain" of the Lateran's interior as well as the individual "domains" of each tabernacle that form an "achronic" or "sylleptic narrative, which is spatial rather than chronological" (p.
With its fourth item the list breaks the pattern of an enumeration of places, objects, or people encountered en route by returning to the "conscious of" syntagm in a sylleptic move toward verbally delineating Dickens's motion.
The pruning treatment (in T3 and T4) consisted of removing approximately one-third of the previous year's growth on all shoots that elongated the previous season, thinning shoots that were too close together and removing in-season branching points (sylleptic shoots).
Yet, as the collection's sylleptic title, opening paragraph and back cover all remind us, "it is precisely because there is nowhere perfect that we continue to seek the perfect nowhere." Invoking Utopia, in other words, is as much about creating new places from which to write and think as it is about indicating any real or imagined place per se.
The sylleptic tropes discussed here work somewhat similarly to the ester bonds forming the bases between the separate spirals of a DNA double helix.
The urn's chiastic assertion of the identity of beauty and truth, truth and beauty, seems to override such reservation and therefore expose itself to questions as to its tenability, though the slight disturbance of the chiasm--the sylleptic omission of the second "is"--has been read as indicating a non-reciprocity.
And it is perhaps the very porousness of the novel "genre" itself (or "antigenre," as Bakhtin calls it), its ability to absorb and juxtapose heterogeneous elements in various "sylleptic" combinations, that makes it the privileged form for this interpenetration.
He finds many variants of "sylleptic forking" and cites this one from Little Dorrit: "Flora [Finching], always tall, had grown to be very broad, too, and short of breath." Stewart comments: "The two initial axes of extremity, vertical and horizontal, yield to an inner dimension of breathless giddiness--and panting babble--whose way of being 'short' is not a matter of spatial measure at all." (144).