synecdochic


Also found in: Thesaurus, Encyclopedia, Wikipedia.

syn·ec·do·che

 (sĭ-nĕk′də-kē)
n.
A figure of speech in which the name of a part is used to stand for the whole (as hand for sailor), the whole for a part (as the law for police officer), the specific for the general (as cutthroat for assassin), the general for the specific (as thief for pickpocket), or the material for the thing made from it (as steel for sword).

[Middle English synodoches, from Medieval Latin synodoche, alteration of Latin synecdochē, from Greek sunekdokhē, from sunekdekhesthai, to take on a share of : sun-, syn- + ekdekhesthai, to understand (ek-, out of; see eghs in Indo-European roots + dekhesthai, to take; see dek- in Indo-European roots).]

syn′ec·doch′ic (sĭn′ĕk-dŏk′ĭk), syn′ec·doch′i·cal (-ĭ-kəl) adj.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Adj.1.synecdochic - using the name of a part for that of the whole or the whole for the part; or the special for the general or the general for the special; or the material for the thing made of it; "to use `hand' for `worker' or `ten sail' for `ten ships' or `steel' for `sword' is to use a synecdochic figure of speech"
figurative, nonliteral - (used of the meanings of words or text) not literal; using figures of speech; "figurative language"
References in periodicals archive ?
Such arguments revolved around the synecdochic logic of part-representing-whole that governs "close reading," revealing its ability to scale from any amount of evidence (a word, a line, a sonnet) to any level of interpretation (the poem, poetry in the nineteenth century, poetic language in general).
This final scene scripts a potential disavowal of Lucius's attempt at ridding Rome of the synecdochic Moor on the audience's part.
This seems to be a lesson of the postwar deployment of Jewish identity as a heuristic, at once a synecdochic attractor and a floating signifier (15) capable of reinscribing--by periodizing--American history in its image.
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.
The meaning that Richard's death imposes on his life as Chancery's ward and victim encapsulates Dickens's synecdochic method: Chancery and Vholes, the institution and the affiliated individual, share the blame for his descent into "negligence, idleness, dissipation, dishonesty, and ruin," and he dies only hours after learning that Jarndyce and Jarndyce itself is dead: the court has absorbed the entire estate in costs and declared the suit to be finished.
Reflexivity is clearest in Obama's synecdochic invocation of his religious biography: "I'm a Christian but my father came from a Kenyan family that includes generations of Muslims" (para.
Text and author stand in a synecdochic relation: since the citizens of Highbury have not yet met Frank Churchill, the letter and its virtues stand in for Frank and his supposed virtues.
Furthermore, she continues, while maps are informed by a univocal, one-directional synecdochic logic, one that "relies on the assumption that one knows what smaller space is a part of what larger one," modernist writers' more complex handling of "the relationship between representation and experience [.
I analyze the Whitmanian specimen as the material and psychic remains of the dying soldier: a synecdochic figure that facilitates the symbolic burial of countless inaccessible bodies.
As an oppositional echo to the sash of the Protestant marching song epitomising an essentially authentic identity warranting violence, the wig is synecdochic of a media-engineered Irish reality (specifically television).
Synecdochic assumptions are unlikely to produce conclusive results, but I am angling for something different here.