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The couple metaphor-metonymy had a prominent role in the renewal of the field of rhetoric in the 1960s. In his 1956 essay, "The Metaphoric and Metonymic Poles", Roman Jakobson describes the couple as representing the possibilities of linguistic selection (metaphor) and combination (metonymy); Jakobson's work became important for such French ...
In the 1950s the concept was used by linguist Roman Jakobson in his influential article on metaphor and metonymy.Comparing the linguistic evidence to Freud's account of the dream-work, Jakobson saw symbolism as relating to metaphor, condensation, and displacement to metonymy. [7]
Jakobson was born in Moscow on 11 October [O.S. 29 September] 1896 [2] [3] to well-to-do parents of Jewish descent, the industrialist Osip Jakobson and chemist Anna Volpert Jakobson, [2] and he developed a fascination with language at a very young age.
Whereas Roman Jakobson argued that the fundamental dichotomy in trope was between metaphor and metonymy, Burke argues that the fundamental dichotomy is between irony and synecdoche, which he also describes as the dichotomy between dialectic and representation, or again between reduction and perspective. [9]
In 1957, psychoanalyst Jacques Lacan, inspired by an article by linguist Roman Jakobson on metaphor and metonymy, argued that the unconscious has the structure of a language, linking displacement to the poetic function of metonymy, [15] and condensation to that of metaphor.
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Roman Jakobson defined six functions of language (or communication functions), according to which an effective act of verbal communication can be described. [2] Each of the functions has an associated factor. For this work, Jakobson was influenced by Karl Bühler's organon model, to which he added the poetic, phatic and metalingual functions.
In fact, the relationship of language to parole (or speech-in-context) is and always has been a theoretical problem for linguistics (cf. Roman Jakobson's famous essay "Closing Statement: Linguistics and Poetics" et al.). A famous thesis by Saussure states that the relationship between a sign and the real-world thing it denotes is an arbitrary one.