Look up metonymy in Wiktionary, the free dictionary.

Metonymy ( /mɨˈtɒnɨmi/ mi-TONN-ə-mee) ^[1] is a figure of speech used in rhetoric in which a thing or concept is not called by its own name, but by the name of something intimately associated with that thing or concept. Metonyms can be either real or fictional concepts representing other concepts real or fictional, but they must serve as an effective and widely understood second name for what they represent.

For instance, "Hollywood" is used as a metonym (an instance of metonymy) for U.S. cinema, because of the fame and cultural identity of Hollywood, a district of the city of Los Angeles, California as the historical center of movie studios and movie stars. Another example is "Westminster," which is used as a metonym for the Parliament of the United Kingdom, because it is located there. A third example showing a different version of metonymy is the fictional character Scrooge McDuck's "money bin" or indeed Scrooge himself, often used in Disney works and parody works as metonymous with wealth - most currency in the modern era is now stored electronically, but the money bin is still drawn in comics and persists as a pop culture metonym for any financial holding of great value.

The words "metonymy" and "metonym" come from the Greek: μετωνυμία, metōnymía, "a change of name", from μετά, metá, "after, beyond" and -ωνυμία, -ōnymía, a suffix used to name figures of speech, from ὄνῠμα, ónyma or ὄνομα, ónoma, "name."^[2] Metonymy also may be instructively contrasted with metaphor. Both figures involve the substitution of one term for another. In metaphor, this substitution is based on some specific similarity, whereas, in metonymy, the substitution is based on some understood association (contiguity).

Cognitive science and linguistics for metaphor and metonymy[link]

Metonymy works by the contiguity (association) between two concepts, whereas metaphor works by the similarity between them. When people use metonymy, they do not typically wish to transfer qualities from one referent to another as they do with metaphor: there is nothing press-like about reporters or crown-like about a monarch, but "the press" and "the crown" are both common metonyms.

Two examples using the term "fishing" help clarify the distinction.^[3] The phrase "to fish pearls" uses metaphor, drawing from "fishing" the idea of taking things from the ocean. What is carried across from "fishing fish" to "fishing pearls" is the domain of metaphor.

In contrast, the metonymic phrase "fishing for information" transfers the concept of fishing into a new domain. If someone is "fishing" for information, we do not imagine that the person is anywhere near the ocean; rather, we transpose elements of the action of fishing (waiting, hoping to catch something that cannot be seen, probing) into a new domain (a conversation). Thus, metonymy works by calling up an array of associations (in the example above, boats, the ocean, gathering life from the sea), whereas metaphor picks a target set of meanings and uses them to suggest similarity between concepts.

Examples[link]

Here are some broad kinds of relationships where metonymy is frequently used:

• Containment: When one thing contains another, it can frequently be used metonymically, as when "dish" is used to refer not to a plate but to the food it contains, or as when the name of a building is used to refer to the entity it contains, as when "the White House" or "the Pentagon" are used to refer to the presidential staff or the military.
• Tools/Instruments: Often a tool is used to signify the job it does or the person who does the job, as in the phrase "the press" (referring to the printing press), or as in the idiom, "The pen is mightier than the sword."
• Synecdoche: A part of something is often used for the whole, as when people refer to "head" of cattle or assistants are referred to as "hands."
• Toponyms: A country's capital city is frequently used as a metonym for the country's government, such as Washington, D.C. in the United States. Similarly, other important places, such as Wall Street and Hollywood are commonly used to refer to the industries that are located there (business and entertainment, respectively).

Sometimes, metaphor and metonymy may both be at work in the same figure of speech, or one could interpret a phrase metaphorically or metonymically. For example, the phrase "lend me your ear" could be analyzed in a number of ways. One could imagine the following interpretations:

• Analyze "ear" metonymically first — "ear" means "attention" (because we use ears to pay attention to someone's speech). Now, when we hear the phrase "lending an ear (attention)", we stretch the base meaning of "lend" (to let someone borrow an object) to include the "lending" of non-material things (attention), but, beyond this slight extension of the verb, no metaphor is at work.
• Imagine the whole phrase literally — imagine that the speaker literally borrows the listener's ear as a physical object (and the person's head with it). Then the speaker has temporary possession of the listener's ear, so the listener has granted the speaker temporary control over what the listener hears. We then interpret the phrase "lend me your ear" metaphorically to mean that the speaker wants the listener to grant the speaker temporary control over what the listener hears.
• First, analyze the verb phrase "lend me your ear" metaphorically to mean "turn your ear in my direction", since we know that, literally, lending a body part is nonsensical. Then, analyze the motion of ears metonymically — we associate "turning ears" with "paying attention", which is what the speaker wants the listeners to do.

It is difficult to say which of the above analyses most closely represents the way a listener interprets the expression, and it is possible that the phrase is analysed in different ways by different listeners, or even in different ways by the same listener at different times. Regardless, all three analyses yield the same interpretation; thus, metaphor and metonymy, though quite different in their mechanism, may work together seamlessly. For further analysis of idioms in which metaphor and metonymy work together, including an example very similar to the one given here, read this article entitled Metaphor and Metonymy in Contrast.^[4]

Polysemy[link]

The concept of metonymy also informs the nature of polysemy, i.e., how the same phonological form (word) has different semantic mappings (meanings). If the two meanings are unrelated, as in the word pen meaning both writing instrument and enclosure, they are considered homonyms.

Within logical polysemies, a large class of mappings may be considered to be a case of metonymic transfer (e.g., chicken for the animal, as well as its meat; crown for the object, as well as the institution). Other cases wherein the meaning is polysemous, however, may turn out to be more metaphorical, e.g., eye as in the eye of the needle.

Rhetorical strategy[link]

Metonymy also may refer to the rhetorical strategy of describing something indirectly, by referring to things contiguous to it, in either time or space. For example, in Jane Austen's novel Pride and Prejudice, the main character Elizabeth's change of heart and love for her suitor, Mr. Darcy, is first revealed when she sees his house:

They gradually ascended for half-a-mile, and then found themselves at the top of a considerable eminence, where the wood ceased, and the eye was instantly caught by Pemberley House, situated on the opposite side of a valley, into which the road with some abruptness wound. It was a large, handsome stone building, standing well on rising ground, and backed by a ridge of high woody hills; and in front, a stream of some natural importance was swelled into greater, but without any artificial appearance. Its banks were neither formal nor falsely adorned. Elizabeth was delighted. She had never seen a place for which nature had done more, or where natural beauty had been so little counteracted by an awkward taste.

—Jane Austen, Pride and Prejudice, Chapter 43.

Austen describes the house and Elizabeth's admiration for the estate at length as an indirect way of describing her feelings for Mr. Darcy. One could attempt to read this as an extended metaphor, but such a reading would break down as one tried to find a way to map the elements of her description (rising ground, swollen river) directly to attributes of her suitor. Furthermore, an extended metaphor typically highlights the author's ingenuity by maintaining an unlikely similarity to an unusual degree of detail.

In this description, on the other hand, although there are many elements of the description that we could transfer directly from the grounds to the suitor (natural beauty, lack of artifice), Austen is emphasizing the consistency of the domain of use rather than stretching to make a fresh comparison: each of the things she describes she associates with Darcy, and in the end we feel that Darcy is as beautiful as the place to which he is compared and that he belongs within it. Metonymy of this kind, thus, helps define a person or thing through a set of mutually reinforcing associations rather than through a comparison.

Advertising frequently uses this kind of metonymy, putting a product in close proximity to something desirable in order to make an indirect association that would seem crass if made with a direct comparison.

Synecdoche[link]

Synecdoche, wherein a specific part of something is used to refer to the whole, usually is understood as a specific kind of metonymy. Sometimes, however, people make an absolute distinction between a metonymy and a synecdoche, treating metonymy as different from, rather than inclusive of, synecdoche. There is a similar problem with the use of simile and metaphor.

When the distinction is made, it is the following: when "A" is used to refer to "B", it is a synecdoche if A is a component of B and a metonym if A is commonly associated with B, but not part of its whole.

Thus, "The White House said" would be a metonymy for the president and his staff, because the White House (A) is not part of the president nor of his staff (B), but is closely associated with them. On the other hand, "20,000 hungry mouths to feed" is a synecdoche because mouths (A) are a part of the people (B) referred to.

One example of a simple sentence that displays synecdoche, metaphor, and metonymy is: "Fifty keels ploughed the deep", where "keels" is the synecdoche, as it names the whole (the ship) after a particular part (of the ship); "ploughed" is the metaphor, as it substitutes the concept of ploughing a field for moving through the ocean; and "the deep" is the metonym, as "depth" is an attribute associated with the ocean.

Metalepsis[link]

Metalepsis and metonymy are closely related. Much as synecdoche, it is understood as a specific kind of metonymy.

See also[link]

References[link]

Notes[link]

This section includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (January 2010)

Bibliography[link]

• Corbett, Edward P.J. (1971). Classical Rhetoric for the Modern Student. New York: Oxford University Press. 
• Dirven, René. Conversion as a Conceptual Metonymy of Basic Event Schemata. 
• Fass, Dan. Processing Metonymy and Metaphor. ISBN 1-56750-231-8. 
• Somov, Georgij Yu. (2009). "Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder". Semiotica 2009 (174): 309–66. DOI:10.1515/semi.2009.037. 
• Smyth, Herbert Weir (1920). Greek Grammar. Cambridge MA: Harvard University Press. p. 680. ISBN 0-674-36250-0. 
• Blank, Andreas (1998), Prinzipien des lexikalischen Bedeutungswandels am Beispiel der romanischen Sprachen, Tübingen: Niemeyer.
• Grzega, Joachim (2004), Bezeichnungswandel: Wie, Warum, Wozu? Ein Beitrag zur englischen und allgemeinen Onomasiologie, Heidelberg: Winter.
• Warren, Beatrice (2006), "Referential Metonymy",Royal Society of Letters at Lund, Lund, Sweden; ISBN 91-22-02148-5

Further reading[link]

• Fass, Dan (1988). "Metonymy and metaphor: what's the difference?". Proceedings of the 12th conference on Computational linguistics. 1. pp. 177–81. DOI:10.3115/991635.991671. ISBN 963-8431-56-3. 
• René Dirvens & Ralf Pörings, ed. (2002). Metaphor and Metonymy in Contrast. Berlin: Mouton de Gruyter 
• Lakoff, George (1980). Metaphors We Live By. Chicago, IL: The University of Chicago Press. ISBN 0-226-46801-1 .
• Low, Graham. "An Essay is a Person". In Cameron, Lynne; Low, Graham. Researching and Applying Metaphor. Cambridge: Cambridge University Press. pp. 221–48. ISBN 978-0-521-64964-3. 
• Jakobson, Roman (1995 (originally published in 1956)). "Two Aspects of Language and Two Types of Disturbances". In Linda Waugh and Monique Monville-Burston. On Language. Cambridge, MA: Harvard University Press. ISBN 0-674-63536-1 
• Metonymy as a cross-lingual phenomenon [Peters 2003] ()
• Peters, Wim (2003). "Metonymy as a cross-lingual phenomenon". Proceedings of the ACL 2003 workshop on Lexicon and figurative language. 14. pp. 1–9. DOI:10.3115/1118975.1118976. 

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A Silent Film
[[File: A Silent Film |300x200px|alt=|]]
Background information
Origin	Oxford, United Kingdom
Genres	Piano rock,[1] Alternative rock[2]
Years active	2005-present
Labels	Xtra Mile Recordings Bieler Bros.
Members
Robert Stevenson Karl Bareham Ali Hussain Spencer Walker
Past members
Lewis Jones

A Silent Film is a 4 piece alternative rock band^[3] from Oxford England. The band consists of Robert Stevenson (vocals/piano), Karl Bareham (guitar), Ali Hussain (bass) and Spencer Walker (drums).^[4] Their first album, 'A City That Sleeps', was released on October 6, 2008.^[5][6] with reviewers describing it as 'a surefire winner'.^[7]

Critics have compared A Silent Film to Coldplay, Snow Patrol and The Killers.^[8]

Biography[link]

Formation and early years[link]

The band formed in 2005. Two of the four members (Robert Stevenson & Spencer Walker) had been members of another band named Shouting Myke,^[9] which formed in early 2000. In 2005 two members (Benn Clarke and Steve Meyer-Rassow) left the band and were replaced by Ali Hussain. The newly-formed band chose the name 'A Silent Film' after the lead singer, Robert Stevenson, wrote a song using the melody from a song from a Charlie Chaplin film;^[10] the band agreed they liked the style and chose the name as a reference to Charlie Chaplin's many silent films.

The band released their first single in 2007, an EP titled 'The Projectionist'.^[11] They performed on the BBC Introducing Stage at Glastonbury in 2007^[12] and their first album, The City That Sleeps, was released in October 2008.

The band cites its influences as 'Love, sex and death, and everything in between'.^[13]

[edit] The City That Sleeps

The original UK version of the album, produced by Sam Williams,^[14] contains 11 tracks, including the single 'You Will Leave a Mark'. This single was number one in the Sunday Times Culture magazine's 'Hottest Downloads' chart.^[15] The album was compared to the music of bands such as Coldplay and reviewers described it as 'catchy and accessible.^[16]

After the album's release the band toured the UK and then Portugal where they quickly became popular.^[17] After a matter of weeks their song 'You Will Leave A Mark' reached top of the Portuguese download singles charts, followed by the album soon after.^[18]

The band have played and toured with OneRepublic, Scouting for Girls, The Smashing Pumpkins, Temper Trap, Sleigh Bells, Biffy Clyro, Fitz & The Tantrums, Civil Twilight and Athlete.^[19]

The song 'You Will Leave A Mark' was featured as an iTunes Discovery Download as has so far been downloaded over 110,000 times.^[20]

In 2009, the song You Will Leave A Mark' was nominated for the XFM New Music Award.^[21]

In 2010 'The City That Sleeps' was re-released with the addition of two new tracks,^[22] Driven By Their Beating Hearts and Firefly In My Window.

In 2010 'Aurora' was featured on Linkin Park's iTunes celebrity playlist podcast.^[23]

'You Will Leave A Mark' topped national radio most requested playlists,^[24] picking up first place at the Sirius Alt Nation awards for 'Best In Studio Performance' & No. 4 'Song of the Year' only behind Mumford & Sons, The Black Keys & Vampire Weekend.^[25]

The band performed at SXSW in March 2011. As one of the festivals 'buzz bands' they successfully performed to a capacity room.^[26]

Multiple syncs on MTV's The Hills,^[27] The Hard Times of R J Berger,^[28] Investigation Discovery^[29] and an appearance on the Rockband video game^[30] have all helped raise the awareness of the band in the United States.

Discography[link]

Albums[link]

EPs/Singles[link]

References[link]