13) In A Tale of Two Cities the idiom "shaking in one's shoes" for "being afraid" is literalized when the road mender is said to be shaking "in his wooden shoes" out of fear of Madame Defarge (180), his footgear, ominously contrasting with the elegant shoes made by Doctor Manette in captivity and foreshadowing a combination of dead metaphor and hypallage--when after the outbreak of the Revolutionary terror, the synecdochic
Monseigneur "[takes] to his noble heels" (243).
I find Wevill's version much more powerful and startling, with its synecdochic
emphasis on one spark rather than a fire started from one spark and the unexpected action of eating rather than destroying.
assumptions are unlikely to produce conclusive results, but I am angling for something different here.
Where these are denied (for example by the Chinese state) the otherwise obscure "true face" of the self is, in self-immolation, vindicated in the public gaze not merely in its own defense but trans-personally, as da Col explains of the synecdochic
substitution (glud), whereby "a single self-immolator could protect and benefit the whole Tibetan nation.
If you see one chair alone, it's like an orphan, it's synecdochic
, a part that speaks to a larger whole that's absent, from which it has been removed.
and metonymic seductions that link images and sequences .
11) Tarabotti establishes her Inferno monacale, or "Convent as Hell" as analogous to Dante's Inferno through synecdochic
allusions to and quotations from the Commedia.
On the other hand, photography as an art form also has much to gain from painting, especially Zen-inspired painting, which is characterized by suggestiveness, the synecdochic
implying of the macrocosmic by the microcosmic, the indispensability of empty space, the sense of haecceity (i.
10) The term's potential for synecdochic
spread was evident to eighteenth-century regime--critics like Swift and Pope, for whom "[a]llegations about forgery functioned .
They were symbolic in representing the almost sacramental vow with which Bishop Myriel charges Valjean, and synecdochic
in representing first Valjean himself (to himself as Madeleine), then Myriel (to Valjean at the play's conclusion), standing as both icon and conduit to embody and communicate with absent figures.
This soundless eye-opening synecdochic
vignette is both a projection of the normative demands of the social world on the individual and an illustration of the basic modality of the patronizing and appropriating gaze.
Such ideological overtones are all the more pertinent because of the space's synecdochic
value: Eeckhout claims that the novel seeks to "understand a century's transformations of the English landscape through the narrative staging of a range of individual life stories" (3).