synecdoche

The image of the hand is particularly suited to the contradictions of such a task, playing as it does on two diametrically opposed registers of the phenomenon of identification: According to a long-standing convention of propagandistic art, the hand evokes collective participation as a synecdoche for the human; and yet it simultaneously exceeds any such assimilation, looming here as singular and as fascinating as a fingerprint.

Taylor-Wood's native art world is the YBA scene of contemporary London, for which it is tempting to view Third Party as a synecdoche. If this is true, art making there would seem to involve an amphetamine social life and a shallow camaraderie complicated by bitter but suppressed competition.

The hand, that synecdoche for the old-fashioned artisanal approach to painting and sculpture, remains important to Koons, even though it isn't necessarily his hand doing the work of execution.

While acknowledging the importance of fashion for a postfeminist analysis of masquerade, Reiss refuses to allow "fashion" to become a synecdoche for Woman, as it so often is.

I've discussed this transformation in these pages before and won't repeat myself, except to suggest that what I've called a "pictorial turn" is taking place in the human sciences, a movement that promises to supplant the "linguistic turn" that Richard Rorty has identified as the fundamental issue in modern philosophy.(2) The picture, understood as a synecdoche for the entire circuit of production and consumption in visually dominated multimedia, is now emerging as the central topic of discussion in the study of culture, and in something like the way language did: that is, both as a kind of model or figure for other things (economics, politics, social theory) and as an unresolved problem.

Much current art prefers to forget that without the leap across difference that metaphor affords, the act of exhibiting containers of body fluids, for example, adds little to the so-called discourse on the body: synecdoche has but minor cognitive power.

If you're like me, you sat in awe and puzzlement as you watched the Charlie Kaufman-directed film starring Philip Seymour Hoffman titled "Synecdoche, New York."

Hussein selects eleven rhetorical figures from al-Zamakhshari, ranging from metonymy (kinaya) to redirection (iltifat) via paranomasia (tajnis) and ploke ([pi][lambda]ok[??], radd al-'ajuz 'ald l-sadr), and then builds his own critical toolbox with the help of Francois Moreau from late twentieth-century France: metonymy, simile, metaphor, analogy, and the loose trope (synecdoche).

In fact, the whole experience is a sort of synecdoche - the programmer represents every one of us in that he thinks he is a free man but instead, he has a controller.

In the English-language world, two films seem to have grown in reputation in the decade since: the scabrously funny In Bruges and the complex, morbid, almost Borgesian folly Synecdoche, New York, with the late Philip Seymour Hoffman as a theatre director blurring the line between art and reality.

Another major role came in 2008, in the bizarre post-modern drama film "Synecdoche, New York", where he played a theatre director who watches his life fall apart while he sets out to create the grandest play of his career.

As a synecdoche for the party's inability to gain political or cultural traction, the song "William Weld in the 21st Century" has seemingly nothing to do with Weld's role as a third-party candidate.