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The Rescuers
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The Rescuers
Original theatrical release poster
Directed by
Wolfgang Reitherman
John Lounsbery
Art Stevens
Produced by
Wolfgang Reitherman
Ron W. Miller
Story by
Larry Clemmons
Vance Gerry
Ken Anderson
Frank Thomas
Burny Mattinson
Fred Lucky
Dick Sebast
David Michener
Ted Berman
Based on
The Rescuers and Miss Bianca
by Margery Sharp
Starring
Bob Newhart
Eva Gabor
Michelle Stacy
Geraldine Page
Joe Flynn
Jim Jordan
John McIntire
Jeanette Nolan
Pat Buttram
Bernard Fox
Music by
Score:
Artie Butler
Songs:
Sammy Fain
Carol Connors
Ayn Robbins
Shelby Flint
Edited by
James Koford
James Melton
Production
company
Walt Disney Productions
Distributed by
Buena Vista Distribution
Release date
June 22, 1977 (1977-06-22)
Running time
77 minutes
Country
United States
Language
English
Budget
$7.5 million[1]
Box office
$71.2 million[2]
The Rescuers is a 1977 American animated comedy-drama adventure film produced by Walt Disney Productions and first released on June 22, 1977, by Buena Vista Distribution. The 23rd Disney animated feature film, the film is about the Rescue Aid Society, an international mouse organization headquartered in New York City and shadowing the United Nations, dedicated to helping abduction victims around the world at large. Two of these mice, jittery janitor Bernard (Bob Newhart) and his co-agent, the elegant Miss Bianca (Eva Gabor), set out to rescue Penny (Michelle Stacy), an orphan girl being held prisoner in the Devil's Bayou by treasure huntress Madame Medusa (Geraldine Page).
The film is based on a series of books by Margery Sharp, most notably The Rescuers and Miss Bianca. Due to the film's success, a sequel entitled The Rescuers Down Under was released in 1990, which made this film the first Disney animated film to have a sequel.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Animation
4 Music
4.1 Track list
5 Release
5.1 Marketing
5.2 Home media
5.3 Controversy
6 Reception
6.1 Box office
6.2 Critical reaction
6.3 Accolades
7 Sequel
8 References
9 External links
Plot
In an abandoned river boat in Devil's Bayou, a young orphan named Penny drops a message in a bottle, containing a plea for help into the river. The bottle washes up in New York City, where it is recovered by the Rescue Aid Society, an international mouse organization inside the United Nations. The Hungarian representative, Miss Bianca, volunteers to accept the case and chooses Bernard, a stammering janitor, as her co-agent. The two visit Morningside Orphanage, where Penny lived, and meet an old cat named Rufus. He tells them about a woman named Madame Medusa who once tried to lure Penny into her car and may have succeeded in abducting Penny this time.
The mice travel to Medusa's pawn shop, where they discover that she and her partner, Mr. Snoops, are on a quest to find the world's largest diamond, the Devil's Eye. They mice learn that Medusa and Mr. Snoops are currently at the Devil's Bayou with Penny, whom they have indeed kidnapped and placed under the guard of two trained crocodiles, Brutus and Nero. With the help of an albatross named Orville and a dragonfly named Evinrude, the mice follow Medusa to the bayou. There, they learn that Medusa plans to force Penny to enter a small hole that leads down into a pirates' cave where the Devil's Eye is located.
Bernard and Miss Bianca find Penny and devise a plan of escape. They send Evinrude to alert the local animals, who loathe Medusa, but Evinrude is delayed when he is forced to take shelter from a flock of bats. The following morning, Medusa and Mr. Snoops send Penny down into the cave to find the gem. Unbeknownst to Medusa, Miss Bianca and Bernard are hiding in Penny's skirt pocket. The three soon find the Devil's Eye within a pirate skull. As Penny pries the mouth open with a sword, the mice push it out from within, but soon the oceanic tide rises and floods the cave. Miss Bianca, Penny, and Bernard barely manage to retrieve the diamond and escape.
Medusa plans to keep the diamond for herself, hiding it in Penny's teddy bear while holding Penny and Snoops at gunpoint. When she trips over a cable set as a trap by Bernard and Bianca, Medusa loses the bear to Penny, who runs away with it. The local animals arrive at the riverboat and trap the crocodiles Brutus and Nero, then set off Snoops's fireworks to create more chaos. Meanwhile, Penny and the mice commandeer Medusa's swamp-mobile, a makeshift airboat. Medusa unsuccessfully pursues them, using Brutus and Nero as water-skis, and is left clinging to the boat's smoke stacks as the irritated Brutus and Nero circle below. Snoops escapes.
Back in New York, the Rescue Aid Society watch a news report of how Penny found the Devil’s Eye, which has been given to the Smithsonian Institution, and how she has been adopted. The meeting is interrupted when Evinrude arrives with a call for help, sending Bernard and Bianca on a new adventure.
Cast
Bob Newhart as Bernard, Rescue Aid Society's timid janitor, who reluctantly tags along with Miss Bianca. He is highly superstitious about the number 13 and dislikes flying (the latter being a personality trait of Newhart).
Eva Gabor as Miss Bianca, the Hungarian representative of the Rescue Aid Society. She is sophisticated and adventurous. Her Hungarian nationality was derived from that of her voice actress.
Geraldine Page as Madame Medusa, a greedy, redheaded, wicked pawnshop owner.
Michelle Stacy as Penny, a lonely six-year-old orphan girl, residing at Morningside Orphanage in New York City.
Joe Flynn as Mr. Snoops, Medusa's clumsy business partner. This was Flynn's final role before his death in 1974.
Jim Jordan as Orville (named after Orville Wright of the Wright brothers, the inventors of the aeroplane), an albatross who gives Bernard and Bianca a ride to Devil's Bayou. The role was the last for Jordan, who retired after the film's release. Several of Orville's screams were recycled from Pinto Colvig's performances as Goofy.
John McIntire as Rufus, the elderly cat who resides at Morningside Orphanage and comforts Penny when she is sad. He was designed by animator Ollie Johnston, who retired after this film following a 40-year career with Disney.
Jeanette Nolan as Ellie Mae and Pat Buttram as Luke, two muskrats who reside in a Southern-style home on a patch of land in Devil's Bayou. Luke drinks very strong, homemade liquor.
James MacDonald as Evinrude, a dragonfly who mans a leaf boat across Devil's Bayou, giving Bernard and Miss Bianca a ride across the swamp waters.
Candy Candido as Brutus and Nero, Medusa's two aggressive pet crocodiles.
Bernard Fox as Mr. Chairman, the chairman to the Rescue Aid Society.
George Lindsey as Deadeye, a fisher rabbit who is one of Luke and Ellie Mae's friends.
Larry Clemmons as Gramps, a grumpy, yet kind old turtle who carries a brown cane.
Dub Taylor as Digger, a mole.
John Fiedler as Deacon Owl
Shelby Flint as Singer, Bottle
Bill McMillian as T.V. Announcer
Production
In 1962, the film began development with its initial treatment developed from the first book centering on a poet held captive by a totalitarian government in the Siberia-like stronghold. However, as the story grew overtly involved with international intrigue, Walt Disney shelved the project as he was unhappy with the political overtones.[3] The project was revived in the early 1970s as a project for the young animators, led by Don Bluth, as the studio would alternate between full-scale "A pictures" and smaller, scaled-back "B pictures" with simpler animation. The animators had selected the most recent book, Miss Bianca in the Antarctic, with its story focusing on a captured polar bear forced into performing in shows causing the unsatisfied bear to place a bottle that would reach the mice.[3] Jazz singer Louis Prima was to voice the character named Louis the Bear, and this version was to feature six songs sung by Prima written by Floyd Huddleston.[4] However, in 1975, following headaches and episodes of memory loss, Prima discovered he had a stem brain tumor, and the project was scrapped.[5]
Penny struggles to free the Devil's Eye diamond from a pirate's skull; the filmmakers carefully designed every shot of the scene to raise the tension.[6]
Meanwhile, the "A" crew had finished work on Robin Hood, and was set to begin production on an adaptation of Paul Gallico's book titled Scruffy under the direction of Ken Anderson. Its story concerned the monkeys of Gibraltar under World War II, which also involved Nazis. When the time had come to greenlight one of the two projects, the studio leaders eventually decided to go for The Rescuers.[7] When Scruffy was shelved, the veteran team turned the project into a more traditional, full-scale production ultimately dropping the Arctic setting of the story with veteran Disney writer Fred Lucky stating, "It was too stark a background for the animators."[3] Cruella de Vil, the villainess from One Hundred and One Dalmatians, was originally considered to be the main antagonist of the film,[8] but Disney animator Ollie Johnston stated it felt wrong to attempt a sequel and the idea was dropped.[9] Instead, she was replaced by a retouched version of the Diamond Duchess in Miss Bianca. The motive to steal a diamond originated in Margery Sharp's 1959 novel, Miss Bianca. Her appearance was based on animator Milt Kahl's ex-wife, whom he did not particularly like. This was Kahl's last film for the studio, and he wanted his final character to be his best; he was so insistent on perfecting Madame Medusa that he ended up doing almost all the animation for the character himself.[10] Penny was inspired by Patience, the orphan in the novel. For the accomplices, the filmmakers adapted the character, Mandrake, into Mr. Snoops and his appearance was caricatured from animation historian John Culhane.[11] Culhane claims he was practically tricked into posing for various reactions, and his movements were imitated on Mr. Snoops's model sheet. However, he stated, "Becoming a Disney character was beyond my wildest dreams of glory."[12] Brutus and Nero are based on the two bloodhounds, Tyrant and Torment in the novels.[13][14]
The writers had considered developing Bernard and Bianca into married professional detectives, though they decided that leaving the characters as unmarried novices was more romantic.[3] For the supporting characters, a pint-sized swampmobile for the mice – a leaf powered by a dragonfly – was created. As they developed the comedic potential of displaying his exhaustion through buzzing, the dragonfly grew from an incidental into a major character.[3] Veteran sound effects artist and voice talent Jimmy MacDonald came out of retirement to provide the effects.[15] Also, the local swamp creatures were organized into a dedicated home guard that drilled and marched incessantly. However, the writers evolved them into a volunteer group of helpful little bayou creatures. Their leader, a singing bullfrog voiced by Phil Harris, was deleted from the film.[3] A pigeon was originally proposed to be the transportation for Bernard and Bianca, until Ollie Johnston remembered a True Life Adventures episode that showed albatrosses and their clumsy take-offs and landings, and suggested the ungainly bird instead.[16]
Animation
Ever since One Hundred and One Dalmatians, animation for theatrical Disney animated films was done by xerography, which had been only been able to produce black outlines, but had been improved for the cel artists to use a medium-grey toner in order to create a softer-looking line.[17] At the end of production, it marked the last joint effort by veterans Milt Kahl, Ollie Johnston, and Frank Thomas, and the first Disney film worked on by Don Bluth as an animator, instead of an assistant animator.[16] Other animators who stepped up during production were Glen Keane, Ron Clements, and Andy Gaskill, who would all play an important role in the Disney Renaissance.[18]
Music
The Rescuers
Film score Vinyl LP by Various Artists
Released
1977
Recorded
1977
Label
Disneyland
Producer
Artie Butler
The songs were written by Sammy Fain, Carol Connors, and Ayn Robbins, and performed by Shelby Flint. For the first time since Bambi, all the most significant songs were sung as part of a narrative, as opposed to by the film's characters as in most Disney animated films.
"The Journey" (also known as "Who Will Rescue Me?") – Sung during the film's opening credits, the song follows Penny's bottle as it floats out of the Devil's Bayou and into the Atlantic Ocean.
"Rescue Aid Society" – Sung by the Chairman (Bernard Fox), Bernard (Bob Newhart), and Miss Bianca (Robie Lester, filling in for Eva Gabor), as well as the various international mouse delegates (the Disney Studio Chorus) during the R.A.S. meeting. A reprise of the song plays when Bernard and Bianca begin to lose their faith, and are reminded of the song and its meaning.
"Faith is a Bluebird" – Although not an actual song, it is a poem recited by Rufus and partially by Penny in a flashback the old cat has to when he last saw the small orphan girl, and comforted her through the poem, about having faith. The titular bluebird that appears in this sequence originally appeared in Alice in Wonderland (1951).
"Tomorrow is Another Day" – Sung as Bernard and Bianca travel to Devil's Bayou upon Orville's back. The song plays again at the film's closure, as Bernard and Bianca, assisted by Evinrude and Orville, set out on a new rescue mission.
"Someone's Waiting For You" – Sung as Penny begins to lose her faith, after Medusa cruelly speaks to her. During this segment, the star of faith, that Rufus mentioned earlier lights up the night sky. Bambi and his mother appear during this segment. The song was originally entitled "The Need to Be Loved" and featured different lyrics, with recorded versions by Jennifer Paz and Paul Francis Webster.
"For Penny's a Jolly Good Fellow" – Sung by the orphan children at the end of the film, as a variation of the song "For He's a Jolly Good Fellow".
Track list
Side A
01. "The Journey" – Shelby Flint
02. "Rescue Aid Society" – Bernard Fox, Bob Newhart, and Robie Lester
03. "Tomorrow Is Another Day" – Shelby Flint
Side B
04. "Someone's Waiting For You" – Shelby Flint
05. "Tomorrow Is Another Day (Reprise)" – Shelby Flint
Release
The Rescuers was re-released to theaters on December 16, 1983 along with a new Mickey Mouse featurette, Mickey's Christmas Carol, Mickey's first theatrical appearance after a 30-year absence. In anticipation of its upcoming theatrically released sequel in 1990, The Rescuers Down Under, The Rescuers saw another successful theatrical run on March 17, 1989.
Marketing
To tie in with the film's 25th Anniversary, The Rescuers debuted in the Walt Disney Classics Collection line in 2002, with three different figures featuring three of the film's biggest stars, as well as the opening title scroll. The three figures were sculpted by Dusty Horner and they were: Brave Bianca, featuring Miss Bianca the heroine and priced at $75,[19] Bold Bernard, featuring hero Bernard, priced also at $75[20] and Evinrude Base, featuring Evinrude the dragonfly and priced at $85.[19] The title scroll featuring the film's name, The Rescuers and from the opening song sequence "The Journey," was priced at $30. All figures were retired in March 2005, except for the opening title scroll which was suspended in December 2012.[19]
The Rescuers was the inspiration for another Walt Disney Classics Collection figure in 2003. Ken Melton was the sculptor of Teddy Goes With Me, My Dear, a limited edition, 8-inch sculpture featuring the evil Madame Medusa, the orphan girl Penny, her teddy bear "Teddy" and the Devil's Eye diamond. 1,977 of these sculptures were made, in reference to the film's release year, 1977. The sculpture was priced at $299 and instantly declared retired in 2003.[20]
In November 2008, a sixth sculpture inspired by the film was released. Made with pewter and resin, Cleared For Take Off introduced the character of Orville into the collection and featured Bernard and Bianca a second time. The piece, inspired by Orville's take-off scene in the film, was sculpted by Ruben Procopio.[21]
Home media
The Rescuers premiered on VHS and Laserdisc on September 18, 1992 as part of the Walt Disney Classics series. It was re-released on VHS as part of the Walt Disney Masterpiece Collection on January 5, 1999, but was recalled three days later and reissued on March 23, 1999 (see "Controversy").
The Rescuers was released on DVD on May 20, 2003, as a standard edition, which was discontinued in November 2011.
On August 21, 2012, a 35th anniversary edition of The Rescuers was released on Blu-ray alongside its sequel in a "2-Movie Collection".[22][23]
Controversy
One of the frozen frames containing a picture of a topless woman in the window.
On January 8, 1999, three days after the film's second release on home video, The Walt Disney Company announced a recall of about 3.4 million copies of the videotapes because there was an objectionable image in one of the film's backgrounds.[24][25][26][27]
The image in question is a blurry image of a topless woman that appears in two out of the film's more than 110,000 frames. The image appears twice in non-consecutive frames during the scene in which Miss Bianca and Bernard are flying on Orville's back through New York City. The two images could not be seen in ordinary viewing because the film runs too fast — at 24 frames per second.[28]
On January 10, 1999, two days after the recall was announced, the London press site The Independent reported:
A Disney spokeswoman said that the images in The Rescuers were placed in the film during production, but she declined to say what they were or who placed them... The company said the aim of the recall was to keep its promise to families that they can trust and rely on the Disney brand to provide the best in family entertainment.[29]
The Rescuers video was reissued March 23, 1999, with the offending image edited out.
Reception
Box office
The Rescuers was successful upon its original theatrical release earning $48 million at the box office and becoming Disney's most successful film to that date.[30] During its initial release in France, it out-grossed Star Wars and became the highest-grossing film in West Germany at the time.[31] The distributor rentals accumulated $19 million while its international rentals grossed $41 million.[32] The film broke a record for the largest financial amount made for an animated film on opening weekend, a record it kept until 1986, when An American Tail broke the record. The Rescuers was Disney's first significant success since The Jungle Book (1967) and the last until The Little Mermaid (1989). The Rescuers was re-issued in theaters in 1983 and 1989. The Rescuers has had a lifetime gross of $71.2 million across its original release and several reissues.[33]
Critical reaction
The Rescuers was said to be Disney's greatest film since Mary Poppins (1964), and seemed to signal a new golden age for Disney animation.[34] The review aggregator website Rotten Tomatoes reported that the film received a 83% approval rating with an average rating of 6.6/10 based on 26 reviews. The website's consensus states that "Featuring superlative animation, off-kilter characters, and affectionate voice work by Bob Newhart and Eva Gabor, The Rescuers represents a bright spot in Disney's post-golden age."[35] TV Guide gave the film three stars out of five, saying that "Four years in the making, costing nearly $8 million, THE RESCUERS is a beautifully animated film that showed Disney still knew a lot about making quality children's fare even as their track record was weakening. [...] Comic relief is provided by a bird named Orville, who transports the mice as they search for the girl. The voices are all well suited to the characters, and the film is a delight for children as well as adults who appreciate good animation and brisk storytelling."[36] Ellen MacKay of Common Sense Media gave the film four out of five stars, writing, "Great adventure, but too dark for preschoolers".[37]
In his book, The Disney Films, film historian Leonard Maltin refers to The Rescuers as "a breath of fresh air for everyone who had been concerned about the future of animation at Walt Disney's," praises its "humor and imagination and [it is] expertly woven into a solid story structure [...] with a delightful cast of characters." Finally, he declares the film "the most satisfying animated feature to come from the studio since 101 Dalmatians." He also briefly mentions the ease with which the film surpassed other animated films of its time.[38]
Jack Shaheen, in his study of Hollywood portrayals and stereotypes of Arabs, noted the inclusion of delegates from Arab countries in the Rescue Aid Society.[39]
Accolades
The Rescuers was nominated in 1978 for an Academy Award for the song "Someone's Waiting for You" at the 50th Academy Awards.[40] The song lost to "You Light Up My Life" from the film of the same name.
The film is recognized by American Film Institute in these lists:
2008: AFI's 10 Top 10:
Nominated Animation Film[41]
Sequel
Main article: The Rescuers Down Under
The Rescuers was the first Disney animated film to have a sequel. After three successful theatrical releases of the original film, The Rescuers Down Under was released theatrically on November 16, 1990.
The Rescuers Down Under takes place in the Australian Outback, and involves Bernard and Bianca trying to rescue a boy named Cody and a giant golden eagle called Marahute from a greedy poacher named Percival C. McLeach. Both Bob Newhart and Eva Gabor reprised their lead roles. Jim Jordan, the voice of Orville, had since died, so a new albatross character, Wilbur, was voiced by John Candy.
References
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^ Jump up to: a b c d e f Koenig, David (January 28, 2001). Mouse Under Glass: Secrets of Disney Animation & Theme Parks. Irvine, California: Bonaventure Press. pp. 153–55. ISBN 978-0964060517.
Jump up ^ Beck, Jerry (August 15, 2011). "Lost Louis Prima Disney Song". Cartoon Brew. Retrieved December 10, 2012.
Jump up ^ "This Day in Disney History – August 24". This Day in Disney History. Retrieved December 10, 2012.
Jump up ^ Knowles, Rebecca; Bunyan, Dan (August 23, 2002). "Animal Heroes". Disney: The Ultimate Visual Guide. Dorling Kindersley. p. 80. ISBN 978-0789488626.
Jump up ^ Ghez, Didier (December 17, 2013). Walt's People – Volume 12: Talking Disney With the Artists Who Knew Him. Xlibris. ISBN 9781477147900. Retrieved February 28, 2015.
Jump up ^ Doty, Meriah (February 10, 2015). "Cruella de Vil's Comeback That Wasn't: See Long-Lost Sketches of Iconic Villain in 'The Rescuers' (Exclusive)". Yahoo! Movies. Retrieved February 28, 2015.
Jump up ^ Beck, Jerry (October 28, 2005). The Animated Movie Guide. Chicago Review Press. p. 225. ISBN 978-1556525919. Retrieved February 28, 2015.
Jump up ^ "Madame Medusa". Disney Archives: Villains. Archived from the original on March 2, 2011. Retrieved April 23, 2009.
Jump up ^ "The Rescuers DVD Fun Facts". Disney.go.com. Archived from the original on April 8, 2009. Retrieved April 12, 2009.
Jump up ^ Johnston, Ollie; Thomas, Frank (November 1, 1993). "The Rescuers". The Disney Villain. Disney Editions. pp. 156–63. ISBN 978-1562827922.
Jump up ^ Sharp, Margery (1959). The Rescuers. Illustrated by Garth Williams. Boston, Toronto: Little, Brown and Company.
Jump up ^ Sharp, Margery (1962). Miss Bianca. Illustrated by Garth Williams. Boston, Toronto: Little, Brown and Company.
Jump up ^ "James MacDonald". Variety. February 17, 1991. Retrieved February 28, 2015.
^ Jump up to: a b Thomas, Bob (March 7, 1997). "Carrying on the Tradition". Art of Animation: From Mickey Mouse to Hercules. Disney Editions. pp. 111–12. ISBN 978-0786862412.
Jump up ^ Deja, Andreas (May 20, 2014). "Deja View: Xerox". Blogger. andreasdeja.blogspot.com. Retrieved February 28, 2015.
Jump up ^ Finch, Christopher (May 27, 1988). "Chapter 9: The End of an Era". The Art of Walt Disney: From Mickey Mouse to the Magic Kingdoms. Portland House. p. 260. ISBN 978-0517664742.
^ Jump up to: a b c "The Rescuers". Secondary Price Guide. Retrieved April 12, 2007.
^ Jump up to: a b "The Rescuers". Secondary Price Guide. Retrieved April 12, 2007.
Jump up ^ "2008 Limited Edition-Orville with Bernard & Bianca". WDCC Duckman. Retrieved November 17, 2008.
Jump up ^ Burger, Dennis. "The Rescuers Slated for 2012 Blu-ray Release! (Along with Over 30 Other Disney Flicks)". Technologytell. www.technologytell.com. Retrieved March 23, 2012.
Jump up ^ Josh Katz (February 3, 2012). "Disney Teases 2012 Blu-ray Slate". Blu-ray.com. Retrieved June 26, 2012.
Jump up ^ "Photographic images of a topless woman can be spotted in The Rescuers". Urban Legends Reference Pages. Retrieved April 12, 2007.
Jump up ^ Davies, Jonathan (January 11, 1999). "Dis Calls in 'Rescuers' After Nude Images Found". The Hollywood Reporter.
Jump up ^ Howell, Peter (January 13, 1999). "Disney Knows the Net Never Blinks". The Toronto Star.
Jump up ^ Miller, D.M. (2001). "What Would Walt Do?". San Jose, CA: Writers Club Press. p. 96.
Jump up ^ "Disney Recalls 'The Rescuers' Video". Associated Press. January 8, 1999.
Jump up ^ "Disney recalls "sabotaged" video". The Independent (London). Retrieved September 24, 2017. [dead link]
Jump up ^ King, Susan (June 22, 2012). "Disney's animated classic 'The Rescuers' marks 35th anniversary". Los Angeles Times. Retrieved July 22, 2015.
Jump up ^ Harmetz, Aljean (August 10, 1978). "Disney film far behind schedule". The New York Times. Eugene Register-Guard. Retrieved May 11, 2016.
Jump up ^ Thomas, Bob (September 19, 1984). "Walt Disney Productions returns to animation". Lewison Daily Sun. Retrieved May 11, 2016.
Jump up ^ "The Rescuers Release Summary". Box Office Mojo. Internet Movie Database. Retrieved May 11, 2016.
Jump up ^ Cawley, John. "The Rescuers". The Animated Films of Don Bluth. Cataroo.com. Retrieved April 12, 2007.
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Jump up ^ "The Rescuers Review". Movies.tvguide.com. September 3, 2008. Retrieved May 27, 2012.
Jump up ^ Ellen MacKay. "The Rescuers – Movie Review". Commonsensemedia.org. Retrieved May 27, 2012.
Jump up ^ Maltin, Leornard (2000). The Disney Films, p.265. JessieFilm Ltd., New York. ISBN 0-7868-8527-0. Quotations from this same source were used in the 1998 home video promotional trailer for the film found in the VHS release of Lady and the Tramp (1955) of the same year.
Jump up ^ Jack G., Shaheen (2001). Reel Bad Arabs: How Hollywood Vilifies a People. Olive branch Press (an imprint of Interlink publishing group). p. 393. ISBN 1-56656-388-7.
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Jump up ^ "AFI's 10 Top 10 Nominees" (PDF). Archived from the original on 2011-07-16. Retrieved 2016-08-19. CS1 maint: BOT: original-url status unknown (link)
External links
Wikiquote has quotations related to: The Rescuers
Official website
The Rescuers at AllMovie
The Rescuers at The Big Cartoon DataBase
The Rescuers on IMDb
The Rescuers at the TCM Movie Database
The Rescuers at Rotten Tomatoes
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Disney theatrical animated features
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Snow White and the Seven Dwarfs (1937)
Pinocchio (1940)
Fantasia (1940)
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Bambi (1942)
Saludos Amigos (1942)
The Three Caballeros (1944)
Make Mine Music (1946)
Fun and Fancy Free (1947)
Melody Time (1948)
The Adventures of Ichabod and Mr. Toad (1949)
Cinderella (1950)
Alice in Wonderland (1951)
Peter Pan (1953)
Lady and the Tramp (1955)
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One Hundred and One Dalmatians (1961)
The Sword in the Stone (1963)
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The Aristocats (1970)
Robin Hood (1973)
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The Rescuers (1977)
The Fox and the Hound (1981)
The Black Cauldron (1985)
The Great Mouse Detective (1986)
Oliver & Company (1988)
The Little Mermaid (1989)
The Rescuers Down Under (1990)
Beauty and the Beast (1991)
Aladdin (1992)
The Lion King (1994)
Pocahontas (1995)
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Tarzan (1999)
Fantasia 2000 (1999)
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Atlantis: The Lost Empire (2001)
Lilo & Stitch (2002)
Treasure Planet (2002)
Brother Bear (2003)
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Chicken Little (2005)
Meet the Robinsons (2007)
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Winnie the Pooh (2011)
Wreck-It Ralph (2012)
Frozen (2013)
Big Hero 6 (2014)
Zootopia (2016)
Moana (2016)
Ralph Breaks the Internet: Wreck-It Ralph 2 (2018)
Frozen 2 (2019)
Live-action films
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The Reluctant Dragon (1941)
Victory Through Air Power (1943)
Song of the South (1946)
So Dear to My Heart (1948)
Mary Poppins (1964)
Bedknobs and Broomsticks (1971)
Pete's Dragon (1977)
Who Framed Roger Rabbit (1988)
Enchanted (2007)
DisneyToon Studios
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DuckTales the Movie: Treasure of the Lost Lamp (1990)
A Goofy Movie (1995)
The Tigger Movie (2000)
Return to Never Land (2002)
The Jungle Book 2 (2003)
Piglet's Big Movie (2003)
Pooh's Heffalump Movie (2005)
Bambi II (2006)
Planes (2013)
Planes: Fire & Rescue (2014)
Other Disney units films
The Nightmare Before Christmas (1993)
James and the Giant Peach (1996)
Doug's 1st Movie (1999)
Recess: School's Out (2001)
Teacher's Pet (2004)
A Christmas Carol (2009)
Gnomeo & Juliet (2011)
Mars Needs Moms (2011)
Frankenweenie (2012)
Strange Magic (2015)
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List of feature films
Released
Snow White and the Seven Dwarfs (1937)
Pinocchio (1940)
Fantasia (1940)
Dumbo (1941)
Bambi (1942)
Saludos Amigos (1942)
The Three Caballeros (1944)
Make Mine Music (1946)
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Starland Vocal Band
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014) (Learn how and when to remove this template message)
Starland Vocal Band
Starland Vocal Band : June 1977
Background information
Origin
Washington, D.C., US
Genres
Pop, folk rock, country, soft rock
Years active
1976–1981
Labels
RCA, Windsong Records
Associated acts
John Denver
Past members
Bill Danoff
Taffy Danoff
Jon Carroll
Margot Chapman
Starland Vocal Band was an American pop band, known primarily for "Afternoon Delight", one of the biggest-selling singles of 1976.
Contents
[hide]
1 Career
2 Discography
2.1 Studio albums
2.2 Singles
3 Awards and nominations
3.1 Grammy Awards
4 Trivia
5 References
6 External links
Career[edit]
The group began as Fat City, a husband/wife duo of Bill Danoff and Taffy Nivert.
Danoff and Nivert co-wrote the song "I Guess He'd Rather Be in Colorado" and then, with John Denver, "Take Me Home, Country Roads" which became a hit single in 1971. The duo recorded two albums as Fat City, and two more as Bill & Taffy, all released from 1969-1974. In the mid 70s, Starland Vocal Band was formed and subsequently signed to Denver's label Windsong Records.
Starland Vocal Band was also composed of Jon Carroll (keyboards, guitar, vocals) and Margot Chapman (vocals).[1] Carroll and Chapman married after meeting as members of the group, but later divorced. Their son Ben Carroll is also a musician.
The group's debut album was the self-titled Starland Vocal Band and included "Afternoon Delight". The song was a US #1 hit and the album also charted. They were nominated for four Grammy Awards and won two: Best Arrangement for Voices and Best New Artist. The song also reached #18 in the UK. The follow-up album, Rear View Mirror, did not fare as well, with 13 weeks on the Billboard 200 and a peak of #104.
The band hosted a variety show, The Starland Vocal Band Show, that ran on CBS for six weeks in the summer of 1977. David Letterman was a writer and regular on the show, which also featured Mark Russell, Jeff Altman, and Proctor and Bergman. April Kelly was a writer for the series.
The band broke up in 1981, unable to match their previous success. Danoff and Nivert divorced shortly afterward. Each of the band members went on to a solo career.
In 1998 the Starland Vocal Band reunited for a few concerts, often featuring the children of the four original members as vocalists. In 2007, they appeared on a 1970s special on the New Jersey Network (NJN), singing "Afternoon Delight".
In 2010 Billboard named "Afternoon Delight" the 20th sexiest song of all time.[2]
Discography[edit]
Studio albums[edit]
Year
Album details
Peak chart
positions
US
1976 Starland Vocal Band
Release date: 1976
Label: Windsong 1351
20
1977 Rear View Mirror
Release date: April 15, 1977
Label: Windsong 2239
104
1978 Late Nite Radio
Release date: March 1978
Label: Windsong 2598
208
1980 4 X 4
Release date: March 11, 1980
Label: Windsong 3536
—
1980 Christmas at Home
Release date: November 25, 1980
Label: Breaker 100
—
A CD compilation album, Afternoon Delight: The Best of the Starland Vocal Band, was released in 1995 by K-tel. Also in 1995, Collectables released Afternoon Delight: A Golden Classics Edition which included all tracks from the first two albums.
Singles[edit]
Year
Single
Catalog #
(Windsong)
Peak chart positions
Album
US
CAN
CAN AC
1976 "Afternoon Delight" / "Starland" 10588 1 1 6 Starland Vocal Band
"California Day" / "War Surplus Baby" 10785 66 — 22
"Hail! Hail! Rock and Roll!" / "Ain't It The Fall" 10855 71 92 —
1977 "Afternoon Delight" / "California Day" 10943 — — —
"Liberated Woman" / "Fallin' In A Deep Hole" 10992 — — — Rear View Mirror
"The Light of My Life" / "Prism" 11067 — — 36
"Mr. Wrong" / Too Long A Journey" 11168 — — 33
1978 "Late Nite Radio" / "Please Ms. Newslady" 11261 — — — Late Nite Radio
1980 "Loving You with My Eyes" / "Apartment For Rent" 11899 71 — 26 4 X 4
"(Love) Thought I Would Never Find Love" / "Love Stuff" 12011 — — —
Awards and nominations[edit]
Grammy Awards[edit]
The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. The band won two awards from four nominations.
Year
Nominee/work
Award
Result
1977 Starland Vocal Band Best New Artist Won
"Afternoon Delight" Record of the Year Nominated
Best Pop Performance by a Duo or Group with Vocals Nominated
Best Arrangement for Voices (duo, group or chorus) Won
Trivia[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2013) (Learn how and when to remove this template message)
The March 8, 2011 episode of Glee featured "Afternoon Delight".
In The Simpsons episode "'Round Springfield", Homer Simpson suggests that Lisa get a tattoo of Bleeding Gums Murphy (who died after Lisa performed "Stars and Stripes Forever" at school) just like he did with Starland Vocal Band (to which Homer realizes his mistake and says that the band sucked); another Simpsons episode ("The Fat and the Furriest") had Lenny, Carl, and Bart dance to and sing "Afternoon Delight" as Homer is attacked by a bear.
In the 1997 film Good Will Hunting, the main character Will Hunting is forced to visit a hypnotherapist; he pretends to be under hypnosis by telling a youthly trauma, soon converts his story into the lyrics of "Afternoon Delight", and finishes by singing it, showing he was pretending to be hypnotized; the song is played over the closing credits.
In the movie PCU, Jeremy Piven's character selects the Starland Vocal Band's CD from a group and puts it into the player on repeat and then locks the entertainment center forcing the party goers to hear it over and over again.
An episode of Arrested Development involves two different references to "Afternoon Delight": one involved a mixup between a playful term for sex and marijuana; the other was an awkward rendition of the song between relatives Maeby and Michael Bluth and afterwards a duet by George Michael Bluth and Lindsay Bluth.
A Sports Night episode refers to Starland Vocal Band winning a Best New Artist award for 1978, beating out Elvis Costello; however, the year they won was 1977 and they did not compete against Costello—the other nominees were Boston, The Brothers Johnson, Dr. Buzzard's Original Savannah Band, and Wild Cherry.
In the 2004 film Anchorman: The Legend of Ron Burgundy, a scene in Ron's office with Ron Burgundy (Will Ferrell), Brian Fantana (Paul Rudd), Brick Tamland (Steve Carell) and Champ Kind (David Koechner), where Ron explains the concept of love by breaking out into a rendition of "Afternoon Delight".
References[edit]
Jump up ^ discogs.com Starland Vocal Band - Albums
Jump up ^ billboard.com - the 50 Sexiest Songs of All Time
External links[edit]
Starland Vocal Band at AllMusic
Starland Vocal Band at TV.com
Starland Vocal Band on IMDb
The Starland Vocal Band Show on IMDb
Bill Danoff official website
Jon Carroll official website
[hide]
v
t
e
Grammy Award for Best New Artist
Bobby Darin (1960)
Bob Newhart (1961)
Peter Nero (1962)
Robert Goulet (1963)
The Swingle Singers (1964)
The Beatles (1965)
Tom Jones (1966)
No award given (1967)
Bobbie Gentry (1968)
José Feliciano (1969)
Crosby, Stills & Nash (1970)
The Carpenters (1971)
Carly Simon (1972)
America (1973)
Bette Midler (1974)
Marvin Hamlisch (1975)
Natalie Cole (1976)
Starland Vocal Band (1977)
Debby Boone (1978)
A Taste of Honey (1979)
Rickie Lee Jones (1980)
Christopher Cross (1981)
Sheena Easton (1982)
Men at Work (1983)
Culture Club (1984)
Cyndi Lauper (1985)
Sade (1986)
Bruce Hornsby and the Range (1987)
Jody Watley (1988)
Tracy Chapman (1989)
Milli Vanilli (1990; withdrawn)
Mariah Carey (1991)
Marc Cohn (1992)
Arrested Development (1993)
Toni Braxton (1994)
Sheryl Crow (1995)
Hootie & the Blowfish (1996)
LeAnn Rimes (1997)
Paula Cole (1998)
Lauryn Hill (1999)
Christina Aguilera (2000)
Shelby Lynne (2001)
Alicia Keys (2002)
Norah Jones (2003)
Evanescence (2004)
Maroon 5 (2005)
John Legend (2006)
Carrie Underwood (2007)
Amy Winehouse (2008)
Adele (2009)
Zac Brown Band (2010)
Esperanza Spalding (2011)
Bon Iver (2012)
Fun (2013)
Macklemore & Ryan Lewis (2014)
Sam Smith (2015)
Meghan Trainor (2016)
Chance the Rapper (2017)
Awards and achievements
Preceded by
Natalie Cole Grammy Award for Best New Artist
1977 Succeeded by
Debby Boone

Authority control
WorldCat Identities
VIAF: 145583962
MusicBrainz: 2dd30f18-241e-44b3-8bb3-950380f22dfa
Retrieved from "https://en.wikipedia.org/w/index.php?title=Starland_Vocal_Band&oldid=807763806"
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Metonymy
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Not to be confused with meronymy or meronomy.
Metonymy (/mɪˈtɒnɪmi/ mi-TON-i-mee)[1] is a figure of speech in which a thing or concept is referred to by the name of something closely associated with that thing or concept.[2] The words metonymy and metonym come from the Greek μετωνῠμία, metōnymía, "a change of name", from μετά, metá, "after, beyond", and -ωνυμία, -ōnymía, a suffix that names figures of speech, from ὄνῠμα, ónyma or ὄνομα, ónoma, "name".[3]
A place is often used as a metonym for a government or other official institutions, for example, Brussels for the institutions of the European Union, The Hague for the International Court of Justice or International Criminal Court, Nairobi for the government of Kenya, or the White House and Capitol Hill for the executive and legislative branches, respectively, of the United States federal government. A place can represent an entire industry: for instance Wall Street is often used metonymically to describe the entire U.S. financial and corporate banking sector.[4] Common nouns and phrases can also be metonyms: red tape can stand for bureaucracy, whether or not that bureaucracy actually uses red tape to bind documents. In Commonwealth realms, The Crown is a metonym for the state in all its aspects.[5]
Metonymy and related figures of speech are common in everyday speech and writing. Synecdoche and metalepsis are considered specific types of metonymy. Polysemy, multiple meanings of a single word or phrase, sometimes results from relations of metonymy. Both metonymy and metaphor involve the substitution of one term for another.[6] In metaphor, this substitution is based on some specific analogy between two things, whereas in metonymy the substitution is based on some understood association or contiguity.[7][8]
American literary theorist Kenneth Burke described metonymy as one of four "master tropes", each a substitute[ambiguous] for respective broader concepts:
metaphor, a substitute for perspective;
metonymy, a substitute for reduction;
synecdoche, a substitute for representation; and
irony, a substitute for dialectic.
He described these tropes and the way they overlap in A Grammar of Motives.[9]
In addition to its use in everyday speech, metonymy is a figure of speech in some poetry and in much rhetoric. Greek and Latin scholars of rhetoric made significant contributions to the study of metonymy.
Contents
[hide]
1 Meaning relationships
1.1 Metaphor and metonymy
1.2 Examples
2 Rhetoric in ancient history
3 Jakobson, structuralism, and realism
4 See also
5 References
5.1 Notes
5.2 Bibliography
6 Further reading
Meaning relationships[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2014) (Learn how and when to remove this template message)
Synecdoche, in which a specific part of something is used to refer to the whole, is usually understood as a specific kind of metonymy. Sometimes an absolute distinction is made between a metonymy and a synecdoche, treating metonymy as different from, rather than inclusive of, synecdoche. There is a similar problem with the terms 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 or if B is a component of A, and a metonym if A is commonly associated with B but not part of its whole or a whole of its part. Thus, "20,000 hungry mouths to feed" is a synecdoche because mouths (A) are a part of the people (B) referred to. "Australia votes" is also a synecdoche because Australia is a whole of which the people who voted are a part. On the other hand, "The White House said" is metonymy, but not synecdoche, for the president and his staff, because, although the White House is associated with the president and his staff, the building is not a part of the people.
Similarly, metalepsis is closely related to metonymy, and is sometimes understood as a specific kind of metonymy. Metalepsis is a figure of speech in which a word or a phrase from figurative speech is used in a new context. The new figure of speech refers to an existing one.[10] For example, in the idiom "lead foot", meaning someone who drives fast, lead is a heavy substance, and a heavy foot on the accelerator pedal would cause a vehicle to go quickly. The use of "lead foot" to describe a person follows the intermediate substitution of "lead" for "heavy".[11] The figure of speech is a "metonymy of a metonymy".[10]
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 bird, as well as its meat; "crown" for the object, as well as the institution). Other cases where the meaning is polysemous, however, may turn out to be more metaphorical, e.g., "eye" as in the "eye of the needle".
Metaphor and metonymy[edit]
Main article: Metaphor and metonymy
Metonymy works by the contiguity (association) between two concepts, whereas the term "metaphor" is based upon their analogous similarity. When people use metonymy, they do not typically wish to transfer qualities from one referent to another as they do with metaphor.[12] There is nothing press-like about reporters or crown-like about a monarch, but "the press" and "the crown" are both common metonyms. Some uses of figurative language may be understood as both metonymy and metaphor; for example, the relationship between "a crown" and a "king" could be interpreted metaphorically (i.e., the king, like his gold crown, could be seemingly stiff yet ultimately malleable, over-ornate, and consistently immobile).
Two examples using the term "fishing" help clarify the distinction.[13] The phrase "to fish pearls" uses metonymy, 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 metonymy. In contrast, the metaphorical 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, metaphor works by presenting a target set of meanings and using them to suggest a similarity between items, actions, or events in two domains, whereas metonymy calls up or references a specific domain (here, removing items from the sea).
Examples[edit]
Main article: List of metonyms
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 U.S. presidential staff or the military leadership, respectively.
A physical item, place, or body part used to refer to a related concept, such as "the bench" for the judicial profession, "stomach" or "belly" for appetite or hunger, "mouth" for speech, various terms for the genitalia for sexual desire or satisfaction of said desire, being "in diapers" for infancy, "palate" for taste, "the altar" or "the aisle" for marriage, "hand" for someone's responsibility for something ("he had a hand in it"), "head" or "brain" for mind or intelligence, or "nose" for concern about someone else's affairs, (as in "keep your nose out of my business"). A reference to Timbuktu, as in "from here to Timbuktu," usually means a place or idea is too far away or mysterious.
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 proverb, "The pen is mightier than the sword."
Product for process: This is a type of metonymy where the product of the activity stands for the activity itself. For example, in "The book is moving right along," the book refers to the process of writing or publishing.[14]
Punctuation marks often stand metonymically for a meaning expressed by the punctuation mark. For example, "He's a big question mark to me" indicates that something is unknown.[15]
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." An example of this is the Canadian dollar, referred to as the loonie for the image of a bird on the one-dollar coin. The United States one hundred-dollar bill is often referred to as "Bens", "Benjamins" or "Franklins" because it bears the portrait of Benjamin Franklin. Also, the whole of something is used for a part, as when people refer to a municipal employee as "the council" or police officers as "the law".
Toponyms: A country's capital city or some location within the city is frequently used as a metonymy for the country's government, such as Washington, D.C., in the United States; Ottawa in Canada; Tokyo in Japan; New Delhi in India; Downing Street or Whitehall in the UK; and the Kremlin in Russia. Similarly, other important places, such as Wall Street, Madison Avenue, Silicon Valley, Hollywood, Negril, Vegas, and Detroit are commonly used to refer to the industries that are located there (finance, advertising, high technology, entertainment, tourism, gambling, and motor vehicles, respectively). Such usage may persist even when the industries in question have moved elsewhere, for example, Fleet Street continues to be used as a metonymy for the British national press, though it is no longer located in the physical street of that name.
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 analyses above most closely represents the way a listener interprets the expression, and it is possible that different listeners analyse the phrase in different ways, or even in different ways at different times. Regardless, all three analyses yield the same interpretation. Thus, metaphor and metonymy, though different in their mechanism, work together seamlessly.[16]
Rhetoric in ancient history[edit]
This section relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (December 2013)
Western culture studied poetic language and deemed it to be rhetoric. A. Al-Sharafi supports this concept in his book Textual Metonymy, "Greek rhetorical scholarship at one time became entirely poetic scholarship."[17] Philosophers and rhetoricians thought that metaphors were the primary figurative language used in rhetoric. Metaphors served as a better means to attract the audience’s attention because the audience had to read between the lines in order to get an understanding of what the speaker was trying to say. Others did not think of metonymy as a good rhetorical method because metonymy did not involve symbolism. Al-Sharafi explains, "This is why they undermined practical and purely referential discourse because it was seen as banal and not containing anything new, strange or shocking."[17]
Greek scholars contributed to the definition of metonymy. For example, Isocrates worked to define the difference between poetic language and non-poetic language by saying that, "Prose writers are handicapped in this regard because their discourse has to conform to the forms and terms used by the citizens and to those arguments which are precise and relevant to the subject-matter. In other words, Isocrates proposes here that metaphor is a distinctive feature of poetic language because it conveys the experience of the world afresh and provides a kind of defamiliarisation in the way the citizens perceive the world."[17] Democritus described metonymy by saying, "Metonymy, that is the fact that words and meaning change."[17] Aristotle discussed different definitions of metaphor, regarding one type as what we know to be metonymy today.
Latin scholars also had an influence on metonymy. The treatise Rhetorica ad Herennium states metonymy as, "the figure which draws from an object closely akin or associated an expression suggesting the object meant, but not called by its own name."[17] The author describes the process of metonymy to us saying that we first figure out what a word means. We then figure out that word’s relationship with other words. We understand and then call the word by a name that it is associated with. "Perceived as such then metonymy will be a figure of speech in which there is a process of abstracting a relation of proximity between two words to the extent that one will be used in place of another."[17] Cicero viewed metonymy as more of a stylish rhetorical method and described it as being based on words, but motivated by style.
Jakobson, structuralism, and realism[edit]
Metonymy became important in French structuralism through the work of Roman Jakobson. In his 1956 essay "The Metaphoric and Metonymic Poles", Jakobson relates metonymy to the linguistic practice of [syntagmatic] combination and to the literary practice of realism. He explains:
The primacy of the metaphoric process in the literary schools of Romanticism and symbolism has been repeatedly acknowledged, but it is still insufficiently realized that it is the predominance of metonymy which underlies and actually predetermines the so-called 'realistic' trend, which belongs to an intermediary stage between the decline of Romanticism and the rise of symbolism and is opposed to both. Following the path of contiguous relationships, the realistic author metonymically digresses from the plot to the atmosphere and from the characters to the setting in space and time. He is fond of synecdochic details. In the scene of Anna Karenina's suicide Tolstoy's artistic attention is focused on the heroine's handbag; and in War and Peace the synecdoches "hair on the upper lip" or "bare shoulders" are used by the same writer to stand for the female characters to whom these features belong.[18]
Jakobson's theories were important for Claude Lévi-Strauss, Roland Barthes, Jacques Lacan, and others.[19]
See also[edit]
Look up metonymy in Wiktionary, the free dictionary.
-onym
Antonomasia
Deferred reference
Eggcorn
Eponym
Enthymeme
Euphemism by comparison
Generic trademark
Kenning
Meronymy
Newspeak
Pars pro toto
Slang
Sobriquet
Social stereotype
Totum pro parte
References[edit]
Notes[edit]
Jump up ^ "metonymy". Cambridge University Press. Retrieved 2017-06-17.
Jump up ^ "Metonymy - Definition and More from the Free Merriam-Webster Dictionary". Merriam-webster.com. 2012-08-31. Retrieved 2013-08-13.
Jump up ^ Welsh, Alfred Hux; James Mickleborough Greenwood (1893). Studies in English Grammar: A Comprehensive Course for Grammar Schools, High Schools, and Academies. New York City: Silver Burdett. p. 222.
Jump up ^ Gibbs, Jr., Raymond W. (1999). "Speaking and Thinking with Metonymy", in Pattern and Process: A Whiteheadian Perspective on Linguistics, ed. Klaus-Uwe Panther and Günter Radden. Amsterdam: John Benjamins Publishing. pp. 61–76. ISBN 9027223564.
Jump up ^ Jackson, Michael D (2013), The Crown and Canadian Federalism, Toronto: Dundurn Press, p. 20, ISBN 9781459709898
Jump up ^ Dirven, René; Pörings, Ralf (2002). Metaphor and Metonymy in Comparison and Contrast. Walter de Gruyter. ISBN 978-3-11-017373-4.
Jump up ^ Wilber, Ken (2000). Sex, Ecology, Spirituality. Shambhala Publications. ISBN 978-0-8348-2108-8.
Jump up ^ Tompkins, Penny; James Lawley. "Metonymy and Part-Whole Relationships". www.cleanlanguage.co.uk. Retrieved 19 December 2012.
Jump up ^ Burke, Kenneth. (1945) A Grammar of Motives. New York: Prentice Hall Inc. pp. 503–09.
^ Jump up to: a b Bloom, Harold (2003). A Map of Misreading. Oxford University Press. ISBN 978-0-19-516221-9.
Jump up ^ "metalepsis". Silva Rhetoricae. Retrieved 2013-12-05.
Jump up ^ Chandler, Daniel. "Rhetorical Tropes". Semiotics for Beginners. Aberystwyth University. Retrieved 19 December 2012.
Jump up ^ Example drawn from Dirven, 1996
Jump up ^ Lakoff and Johnson 1999, p. 203
Jump up ^ Lakoff and Johnson 1999, p. 245
Jump up ^ Geeraerts, Dirk (2002). "The interaction of metaphor and metonymy in composite expressions". In R. Dirven and R. Pörings. Metaphor and Metonymy in Comparison and Contrast (PDF). Walter de Gruyter. pp. 435–465. ISBN 978-3-11-017373-4. Retrieved 30 November 2013.
^ Jump up to: a b c d e f Al-Sharafi, Abdul Gabbar (2004). Textual Metonymy: A Semiotic Approach.
Jump up ^ Jakobson, Roman (1956). "The Metaphoric and Metonymic Poles". In Dirven, René; Pörings, Ralf. Metaphor and Metonymy in Comparison and Contrast (revised ed.). de Gruyter. pp. 41–48. ISBN 9783110173741. Retrieved 14 May 2016.
Jump up ^ Dirven, René (2003). "Metonymy and Metaphor: Different Mental Strategies of Conceptualisation". In Dirven, René; Pörings, Ralf. Metaphor and Metonymy in Comparison and Contrast (revised ed.). de Gruyter. pp. 75–112. ISBN 9783110173741. Retrieved 14 May 2016.
Bibliography[edit]
Blank, Andreas (1997). Prinzipien des lexikalischen Bedeutungswandels am Beispiel der romanischen Sprachen. Walter de Gruyter. ISBN 978-3-11-093160-0.
Corbett, Edward P.J. (1998) [1971]. Classical Rhetoric for the Modern Student (4th ed.). New York: Oxford University Press. ISBN 978-0-19-511542-0.
Dirven, René (1999). "Conversion as a Conceptual Metonymy of Event Schemata". In K.U. Panther and G. Radden. Metonymy in Language and Thought. John Benjamins Publishing. pp. 275–288. ISBN 978-90-272-2356-2.
Fass, Dan (1997). Processing Metonymy and Metaphor. Ablex. ISBN 978-1-56750-231-2.
Grzega, Joachim (2004). Bezeichnungswandel: Wie, Warum, Wozu? Ein Beitrag zur englischen und allgemeinen Onomasiologie. Heidelberg: Universitätsverlag Winter (de). ISBN 978-3-8253-5016-1.
Lakoff, George; Johnson, mark (1999). Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. Basic Books. ISBN 978-0-465-05674-3.
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.
Warren, Beatrice (2006). Referential Metonymy. Publications of the Royal Society of Letters at Lund. Lund, Sweden: Almqvist & Wiksell International. ISBN 978-91-22-02148-3.
Further reading[edit]
Fass, Dan (1988). "Metonymy and metaphor: what's the difference?". Proceedings of the 12th conference on Computational linguistics. 1. pp. 177–81. ISBN 963-8431-56-3. doi:10.3115/991635.991671.
Gaines, Charles (2003). "Reconsidering Metaphor/Metonymy: Art and the Suppression of Thought" (64).
Jakobson, Roman (1995) [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.
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.
Pérez-Sobrino, Paula (2014). "Meaning construction in verbomusical environments: Conceptual disintegration and metonymy" (PDF). Journal of Pragmatics. Elsevier. 70: 130–151. doi:10.1016/j.pragma.2014.06.008.
Peters, Wim (2003). "Metonymy as a cross-lingual phenomenon" (PDF). Proceedings of the ACL 2003 Workshop on Lexicon and Figurative Language. 14: 1–9. doi:10.3115/1118975.1118976.
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values: كناية – Arabic

values: Метанімія – Belarusian

values: Мэтанімія – Belarusian (Taraškievica orthography)

values: Метонимия – Bulgarian

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https://cs.wikipedia.org/wiki/Metonymie
Metonymie – Czech
cs
cs
interlanguage-link-target

values:
https://da.wikipedia.org/wiki/Metonymi
Metonymi – Danish
da
da
interlanguage-link-target

values:
https://de.wikipedia.org/wiki/Metonymie
Metonymie – German
de
de
interlanguage-link-target

values: Μετωνυμία – Greek

values:
https://es.wikipedia.org/wiki/Metonimia
Metonimia – Spanish
es
es
interlanguage-link-target

values:
https://eo.wikipedia.org/wiki/Metonimio
Metonimio – Esperanto
eo
eo
interlanguage-link-target

values:
https://eu.wikipedia.org/wiki/Metonimia
Metonimia – Basque
eu
eu
interlanguage-link-target

values:
https://gl.wikipedia.org/wiki/Metonimia
Metonimia – Galician
gl
gl
interlanguage-link-target

values: उपलक्षण – Hindi

values:
https://io.wikipedia.org/wiki/Metonimio
Metonimio – Ido
io
io
interlanguage-link-target

values:
https://id.wikipedia.org/wiki/Metonimia
Metonimia – Indonesian
id
id
interlanguage-link-target

values:
https://ia.wikipedia.org/wiki/Metonymia
Metonymia – Interlingua
ia
ia
interlanguage-link-target

values:
https://it.wikipedia.org/wiki/Metonimia
Metonimia – Italian
it
it
interlanguage-link-target

values: מטונימיה – Hebrew

values: Метонимия – Kazakh

values: Метонимия – Kyrgyz

values:
https://la.wikipedia.org/wiki/Metonymia
Metonymia – Latin
la
la
interlanguage-link-target

values: Метонимија – Macedonian

values:
https://nl.wikipedia.org/wiki/Metonymie
Metonymie – Dutch
nl
nl
interlanguage-link-target

values:
https://no.wikipedia.org/wiki/Metonymi
Metonymi – Norwegian
no
no
interlanguage-link-target

values:
https://nn.wikipedia.org/wiki/Metonymi
Metonymi – Norwegian Nynorsk
nn
nn
interlanguage-link-target

values: ਮੈਟੋਨਮੀ – Punjabi

values:
https://pl.wikipedia.org/wiki/Metonimia
Metonimia – Polish
pl
pl
interlanguage-link-target

values:
https://ro.wikipedia.org/wiki/Metonimie
Metonimie – Romanian
ro
ro
interlanguage-link-target

values: Метонимия – Russian

values:
https://sco.wikipedia.org/wiki/Metonymy
Metonymy – Scots
sco
sco
interlanguage-link-target

values:
https://sq.wikipedia.org/wiki/Metonimia
Metonimia – Albanian
sq
sq
interlanguage-link-target

values:
https://sk.wikipedia.org/wiki/Metonymia
Metonymia – Slovak
sk
sk
interlanguage-link-target

values:
https://fi.wikipedia.org/wiki/Metonymia
Metonymia – Finnish
fi
fi
interlanguage-link-target

values:
https://sv.wikipedia.org/wiki/Metonymi
Metonymi – Swedish
sv
sv
interlanguage-link-target

values: ஆகு பெயர் – Tamil

values: Метонимия – Tatar

values: Метонімія – Ukrainian

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