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Synecdoche: Difference between revisions
→William Shakespeare's The Tragedy of Julius Caesar
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"Friends, Romans, countrymen, lend me your ears..."<ref name=Ref2/> are the opening words of Mark Antony's famous speech during Act III, scene ii of the play. The "parts of a whole" connection comes from the ears that are part of the whole human body. Antony does not plea for his countrymen's physical ears; rather, he requires what they represent: their attention and their minds. | "Friends, Romans, countrymen, lend me your ears..."<ref name=Ref2/> are the opening words of Mark Antony's famous speech during Act III, scene ii of the play. The "parts of a whole" connection comes from the ears that are part of the whole human body. Antony does not plea for his countrymen's physical ears; rather, he requires what they represent: their attention and their minds. | ||
In Daniel Novak's article "If Re-Collecting Were Forgetting: Forged Bodies and Forgotten Labor "Little Dorrit," he examines the existence of synecdoche in Charles Dickens's ''Little Dorrit.'' | In Daniel Novak's article "If Re-Collecting Were Forgetting: Forged Bodies and Forgotten Labor "Little Dorrit," he examines the existence of synecdoche in Charles Dickens's ''Little Dorrit.'' According to Novak, synecdoche functions in literature as "the exaggeration and isolation of a body part so that its dominance of physical size and semiotic voice the essence of the entire character." Effacing the boundary between the material world of things and the organic structures of body, he packages all parts of the body, no matter how ostensibly central as “accessories” – loose members in the world of commodities" (21) <ref name=Ref8/> | ||
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== And Metonymy == | == And Metonymy == | ||