Metaphor in the context of "Metonym"

Metonymy (/mɪˈtɒnɪmi, mɛ-/) is a figure of speech in which a concept is referred to by the name of something associated with that thing or concept. For example, the word "suit" may refer to a person from groups commonly wearing business attire, such as business executives, bankers or attorneys.

Metonymies are common in everyday speech and encapsulate a range of other ideas, such as synecdoche and metalepsis. Metonymies are similar to metaphors but where metaphors rely on analogous characteristics to form a comparison, a metonymy is caused by general association of the two objects of comparison.

Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet. Poets use a variety of techniques called poetic devices, such as assonance, alliteration, consonance, euphony and cacophony, onomatopoeia, rhythm (via metre), rhyme schemes (patterns in the type and placement of a phoneme group) and sound symbolism, to produce musical or other artistic effects. They also frequently organize these devices into poetic structures, which may be strict or loose, conventional or invented by the poet. Poetic structures vary dramatically by language and cultural convention, but they often rely on rhythmic metre: patterns of syllable stress or syllable (or mora) weight. They may also use repeating patterns of phonemes, phoneme groups, tones, words, or entire phrases. Poetic structures may even be semantic (e.g. the volta required in a Petrachan sonnet).

Most written poems are formatted in verse: a series or stack of lines on a page, which follow the poetic structure. For this reason, verse has also become a synonym (a metonym) for poetry. Some poetry types are unique to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz, or Rumi may think of it as written in lines based on rhyme and regular meter. There are, however, traditions, such as Biblical poetry and alliterative verse, that use other means to create rhythm and euphony. Other traditions, such as Somali poetry, rely on complex systems of alliteration and metre independent of writing and have been described as structurally comparable to ancient Greek and medieval European oral verse. Much modern poetry reflects a critique of poetic tradition, testing the principle of euphony itself or altogether forgoing rhyme or set rhythm. In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker, distinct from the poet (the author). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading).

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.). In the distinction between literal and figurative language, figures of speech constitute the latter. Figures of speech are traditionally classified into schemes, which vary the ordinary sequence of words, and tropes, where words carry a meaning other than what they ordinarily signify.

An example of a scheme is a polysyndeton: the repetition of a conjunction before every element in a list, whereas the conjunction typically would appear only before the last element, as in "Lions and tigers and bears, oh my!"—emphasizing the danger and number of animals more than the prosaic wording with only the second "and". An example of a trope is the metaphor, describing one thing as something it clearly is not, as a way to illustrate by comparison, as in "All the world's a stage."

The Ecumenical Patriarchate of Constantinople (Greek: Οἰκουμενικὸν Πατριαρχεῖον Κωνσταντινουπόλεως, romanized: Oikoumenikón Patriarkhíon Konstantinoupóleos, IPA: [ikumeniˈkon patriarˈçion konstandinuˈpoleos]; Latin: Patriarchatus Oecumenicus Constantinopolitanus; Turkish: Rum Ortodoks Patrikhanesi, İstanbul Ekümenik Patrikhanesi, "Roman Orthodox Patriarchate, Ecumenical Patriarchate of Istanbul") is one of the fifteen to seventeen autocephalous churches that together compose the Eastern Orthodox Church. It is headed by the Ecumenical Patriarch of Constantinople.

Because of its historical location as the capital of the former Eastern Roman Empire and its role as the mother church of most modern Eastern Orthodox churches, Constantinople holds a special place of honor within Eastern Orthodox Christianity and serves as the seat for the Ecumenical Patriarch, who enjoys the status of primus inter pares (first among equals) among the world's Eastern Orthodox prelates and is regarded as the representative and spiritual leader of Eastern Orthodox Christians. Phanar (Turkish: Fener), the name of the neighbourhood where ecumenical patriarch resides, is often used as a metaphor or shorthand for the Ecumenical Patriarchate of Constantinople.

A creation myth or cosmogonic myth is a type of cosmogony, a symbolic narrative of how the world began and how people first came to inhabit it. While in popular usage the term myth often refers to false or fanciful stories, members of cultures often ascribe varying degrees of truth to their creation myths. In the society in which it is told, a creation myth is usually regarded as conveying profound truths – metaphorically, symbolically, historically, or literally. They are commonly, although not always, considered cosmogonical myths – that is, they describe the ordering of the cosmos from a state of chaos or amorphousness.

Creation myths often share several features. They often are considered sacred accounts and can be found in nearly all known religious traditions. They are all stories with a plot and characters who are either deities, human-like figures, or animals, who often speak and transform easily. They are often set in a dim and nonspecific past that historian of religion Mircea Eliade termed in illo tempore ('at that time'). Creation myths address questions deeply meaningful to the society that shares them, revealing their central worldview and the framework for the self-identity of the culture and individual in a universal context.

A poet is a person who studies and creates poetry. Poets may describe themselves as such or be described as such by others. A poet might simply be the creator (thinker, songwriter, writer, or author) who creates (composes) poems (oral or written), or someone who also performs their art to an audience.

The work of a poet is essentially one of communication, expressing ideas either in a literal sense (such as describing a specific event or place) or metaphorically. Poets have existed since prehistory, in nearly all languages, and have produced works that vary greatly in different cultures and periods. Throughout each civilization and language, poets have used various styles that have changed over time, resulting in countless poets as diverse as the literature that (since the advent of writing systems) they have produced.

A melting pot is a monocultural metaphor for a heterogeneous society becoming more homogeneous, the different elements "melting together" with a common culture; an alternative being a homogeneous society becoming more heterogeneous through the influx of foreign elements with different cultural backgrounds. It can also create a harmonious hybridized society known as cultural amalgamation. In the United States, the term is often used to describe the cultural integration of immigrants to the country. A related concept has been defined as "cultural additivity."

The melting-together metaphor was in use by the 1780s. The exact term "melting pot" came into general usage in the United States after it was used as a metaphor describing a fusion or mixture of nationalities, cultures and ethnicities in Israel Zangwill's 1908 play of the same name.