catachresis

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In both novels, we find catachrestic versions of the damaged child that adjure readers to relate to that which exceeds discourse and which the text therefore cannot signify.
Several of the examples are indicated as catachrestic ("Hares" to signify "iron" is a metonymy that is typical of the common language, according to Artemidorus, a rhetor of the second century CE) or they are catachrestic but not explicitly defined so.
William Pietz addresses just this catachrestic indecorum in his history of the "discursively promiscuous" fetish.
For all the figurative cruces of the entire passage, however, its "geographical transubstantiation" is the most striking not only because of its catachrestic effects but also because of its irreverent reverence that dares to collocate "transubstantiation" with any objects or processes outside the Eucharist and its utterly unique significance.
I think in fact that the rhetorical pyrotechnics for which his self-deceiving first person narrators are renowned, obscure a more consequential innovation: Hawkes' willingness to allow catachrestic figuration to complicate a reader's prioritization of evidentiary contexts for discerning boundaries between a narrator's imagination and realities which that imagination both constrains and is constrained by.
On his joining the circus, Walser, the pragmatic, rational journalist is replaced by Walser, the grotesque clown who performs in a masquerade not only a newly acquired, self-deconstructive, heterogeneous identity but also a virtuoso linguistic play, a meta-reflexive, mocking, hyperbolic, catachrestic, polyphonic, unlimited, carnivalesque flow of silly kitsch and insane hysteric artifice of ecriture feminine, a verbal drag, a laughing text matching the spectacular feverish narrative of the beloved winged woman:
Castle describes the hallmarks of Flanner's style even more flamboyantly: 'the ironic flourishes, the polysyllabic wit, the taste for glittering, catachrestic, sometimes macabre descripti on.
Catachrestic in relation to the metaphorical "body" represented by the actual poem, the star provides the perspective necessary to evoke the illusion of depth.
Bob Hodge and Vijay Mishra recognise 'a catachrestic reduction by Ashcroft, Griffiths, and Tiffin of postcoloniality to no more than textuality, and the further diminution of textual gestures to either/or categories: the appropriation or abrogation of English.
Similarly, Harris's method in his latest novel is the kind of technique that, to quote Spivak, "pluralizes the grid" in a fashion that maintains the "adequate narratives of the concept-metaphors" (17) of decolonization within the space of the decolonized and not through the catachrestic maneuvers of the colonizers.