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A place where tickets are sold, in this example, for movies. A term to describe how well a film is doing. "The film is a hit at the box office." [citation needed] brass: A metal alloy (used for or in the manufacture of e.g. buttons, insignia and a family of musical instruments)
[10] [11] [12] Metalepsis uses a familiar word or a phrase in a new context. [13] For example, "lead foot" may describe a fast driver; lead is proverbially heavy, and a foot exerting more pressure on the accelerator causes a vehicle to go faster (in this context unduly so). [14] The figure of speech is a "metonymy of a metonymy". [13]
[11] In other words, a condensation is when more than one displacement occurs towards the same idea. In 1957, Jacques Lacan, inspired by an article by linguist Roman Jakobson, argued that the unconscious has the same structure of a language, and that condensation and displacement are equivalent to the poetic functions of metaphor and metonymy.
Metaphor may also be used for any rhetorical figures of speech that achieve their effects via association, comparison or resemblance. In this broader sense, antithesis, hyperbole, metonymy and simile would all be considered types of metaphor. Aristotle used both this sense and the regular, current sense above. [1]
Synecdoche is a rhetorical trope and a kind of metonymy—a figure of speech using a term to denote one thing to refer to a related thing. [9] [10]Synecdoche (and thus metonymy) is distinct from metaphor, [11] although in the past, it was considered a sub-species of metaphor, intending metaphor as a type of conceptual substitution (as Quintilian does in Institutio oratoria Book VIII).
An example of a pars pro toto in geography is the use of the capital to refer generally to the country such as Washington for the United States, Beijing for China, or Moscow for Russia. When the capital is used to refer specifically to the country's government, the figure of speech is a metonymy rather than a pars pro toto.
A figure of speech or rhetorical figure is a word or phrase that intentionally deviates from straightforward language use or literal meaning to produce a rhetorical or intensified effect (emotionally, aesthetically, intellectually, etc.). [1] [2] In the distinction between literal and figurative language, figures of
In the previous example, "the world" is compared to a stage, describing it with the attributes of "the stage"; "the world" is the tenor, and "a stage" is the vehicle; "men and women" is the secondary tenor, and "players" is the secondary vehicle. Other writers [which?] employ the general terms ground and figure to denote the tenor and the vehicle.