(7) The
antiphrasis as a euphemistic resource plays a crucial role in the metaphors DEATH IS A JOYFUL LIFE and TO DIE IS TO LIVE IN MEMORY.
The audience hears what they expect to hear: whoever is touched by the charcoals will feel no fire, in
antiphrasis with the real meaning.
Based on simultaneity of meaning reminiscent of paradox or
antiphrasis, irony questions certainty, doubt, and their relationship and allows for an ambiguity signalled in the most positive way by Corneille's drama and his commentaries on dramatic art.
"Connection" of this sort signifies an
antiphrasis, a radical disconnection of word and meaning in the term itself.
Baudelaire's
antiphrasis at the outset of the poem Justice's
cohyponymic transfer,
antiphrasis, auto-antonomy, and auto-converseness, the absence of pertinent cases may simply be due to their great rareness; nothing, for example, should prevent in principle a diminutive pattern from turning into an augmentative one through extended antiphrastic use of diminutives, followed by a reinterpretation (e.g.
- linguistic chaos, "the terms retained to designate acts are consistent with no principle of legal specialisation", names being "arbitrary and fallacious, the most common elements within this linguistic lie being approximation, euphemism and the
antiphrasis. Between two words", the rapporteur continues, "Europe always chooses the lesser term: the Treaty rather than the Constitution, the Commission rather than the government, assent rather then ratification, decision rather than law or regulation, own resources rather than taxes or contributions".
Thus, he compares euphemisms to a number of stylistic devices including metaphors (e.g., sex as food and gardens),
antiphrasis, litotes, foreign words as substitutes for more common ones, metonymy, periphrasis, syneedoche, ellipsis, wish formulae, and folk etymologies.
The speaker of Bishop's poem repeatedly asserts that it is, but the assertion does not become any truer for that: on the contrary, it is that form of irony called
antiphrasis, opposite speaking.
The form of this irony is, more often than not, that of
antiphrasis: "Quindi veda Bayle se possan esser di fatto nazioni nel mondo senza veruna cognizione di Dio!" ([section]1110).
These blue flowers, with their romantic connotation, are the emblematic image of the ambiguous that we are trying to abolish, because they could pass for an
antiphrasis, even if the whole of the novel rests on the border between dream and reality and gives hope of opening onto the dream.
In the introduction to Alien Cantica Alberto Granese, quoting Luigi Fontanella, writes that Rimanelli's poems have "stressed the author's particular 'centrifugal lexicon,' with 'a gratified, sarcastic and freewheeling use of many rhetorical devices, with a predominance of
antiphrasis, alliteration, calembours, metonymy, epanalepsis, hyperbaton; thus running over a wide expressive gamut, from the plebeian to the sublime, from specialized technical terms to classical literary language, obtaining, at times, a pastiche of burgeoning intensity.'" Measures certainly not unlike the poetics one finds in Beckett's Watt and Nabokov's Lolita.
