It is likewiſe witty, for […] a trope familiar to this author, you have here a compariſon of—a woman's chaſtity to a piece of porcelain,—her honour to a gaudy robe,—her prayers to a fantaſtical diſguiſe,—her heart to a trinket; and all theſe together to her lap-dog, and that founded on one lucky circumſtance (a malicious critic would perhaps diſcern or imagine more) by which theſe things, how unlike ſoever in other reſpects, may be compared, the impreſſion they make on the mind of a fine lady.

You have to give director Colm McCarthy, a Scottish TV veteran making his feature film debut, and writer Mike Carey, adapting his own novel, credit for attempting the seemingly impossible task of doing something new with the zombie subgenre. And by blending it with the common YA [young adult] trope of a young female protagonist who leads the world into a new revolutionary era, they almost get there—largely thanks to newcomer [Sennia] Nanua, who presents her character's grappling with complex themes of identity and original sin with a childlike guilelessness.

They have completely supported the Russians diplomatically, they’ve abstained in key votes at the United Nations, they’ve absolutely cynically repeated all the Russian tropes, particularly in places like Africa and Latin America – [by] blaming Nato and all of this stuff.

Usually known as 'tropes,' these interpolations consisted at first of but a few words; those of the Introit at the beginning of Mass on great festivals, however, often took the form of dialogues.

In the broadest sense tropes are all the later musical and textual accretions to the Franco-Roman nucleus of antiphonal and responsorial chants for mass and offices that we call Gregorian chant, a repertoire primarily fixed by the early 9th century. A trope might be a newly added textless melody (a melisma), text added to a preexistent melisma (a prosula), or newly composed text and melody added to an older item as an introduction or interpolation (a trope per se).

[T]hese four cauſes concurring, the admiration of ancient authors, the hate of the ſchoolmen, the exact ſtudy of languages, and the efficacy of preaching, did bring in an affected ſtudy of eloquoence, and copia of ſpeech, which then began to flouriſh. This grew ſpeedily to an exceſs; for men began to hunt more after words than matter; and more after the choiceneſs of the phraſe, and the round and clean compoſition of the ſentence, and the ſweet falling of the clauſes, and the varying and illuſtration of their works with tropes and figures, than after the weight of matter, worth of ſubject, ſoundneſs of argument, life of invention, or depth of judgment.

Law is the rule of human conduct. When this term is applied in reference to the governing principles of all actions, inanimate as well as animate, and arising from impulse or necessity, as well as from volition, it is used figuratively, as a trope, rather than in its true and literal signification—as when we say, the laws of motion, the laws of gravitation, the laws of vegetable or animal life.

Hence the section must be a conic passing through six nodes, that is, the plane touches the surface all along a conic, and is therefore a trope. The complete section of the surface by a trope is a conic counted twice; since this passes through six nodes, the trope must touch the six quadric tangent cones along generators which are tangents to the singular conic.

Is not the trope of muſic, to avoid or ſlide from the cloſe or cadence, common with the trope of rhetoric, of deceiving expectation? Is not the delight of the quavering upon a ſtop in muſic, the ſame with the playing of light upon the water?

If the antiphon comes to an end with the “Praeparatio” trope, a musical difficulty is presented by the trope’s cadence. Although the antiphon is in the E-plagal mode and the first three trope elements cadence on E, this trope cadences on G, a rare cadence tone in this mode.

The Torah was chanted in a loud and strong voice so that all could hear. This cantillation of the Torah—trope—is shown by musical notation which serves grammatical and exegetical functions, ta'amay hamikra or ta'amay n'ginah. They put down in a final form an oral tradition that had been maintained for centuries. The Ashkenazim today have six systems of cantillation, each reflective of the texts and time of chanting. For example, on Tishah B'av the tunes are sad and doleful; on Purim the trope resembles a speedy narrative; the readings of Yamim Nora'im are quite majestic, and so on.

The trope does not appear on the handwritten Torah scroll, but the assignment of notes for each word was fixed long ago and is accepted by Jewish communities around the world; the trope now appears in nearly every Jewish printed Bible. […] The symbols that signify the trope for the Hebrew text were introduced at the end of the 10th century of the Common Era.

For [Georg Wilhelm Friedrich] Hegel, ancient skepticism preserved the essence of the skeptical principle, and the tropes express this principle. In the earlier ten tropes, there is, according to Hegel, a lack of abstraction that becomes obvious in the fact that their diversity could be grasped under more general points of view. […] Sextus [Empiricus] explains that the first four tropes are based on the judging subject; these deal with the differences among animals, the differences among human beings, the differences that distinguish the various senses, and, finally, circumstantial differences.

Trope theory, though a minority view today, has been popular at various times throughout the history of philosophy, especially among medieval philosophers. Trope theory holds that properties and relations are themselves (unrepeatable) particulars. (Tropes are also called 'abstract particulars' – 'abstract' in the sense of fine, partial and diffuse, not in the sense of outside space and time.) Thus the redness of a particular billiard ball is a trope, located where the ball is and nowhere else. A different but exactly resembling billiard ball has a numerically different but exactly resembling redness trope. There is no colour property common to, or instantiated in, both balls (similarly all other properties and relations).

The motive for troping the introit was twofold. Firstly there was the desire to add colour, mystical fervour, to the restrained, matter-of-fact Roman rite. Besides this psychological reason there was a practical one. The introit was sung by the choir while the celebrants proceeded towards the altar to officiate at mass. This part of the ritual lent itself very readily to embellishment and expansion.

The specific outcome of that 'story-telling' largely derives from how managers 'figure' their world – how they trope or 'figuratively turn' meanings. So, management decision(s) making is about figurative synthesis – troping literal meaning – as much as it might be analysis.

"So clomb this first grand Thief into God's Fold" (4.192), [John] Milton writes, thus troping Satan's transgression as neither deception, seduction, nor disobedience, though he presents it in those terms elsewhere, but rather as robbery.

It suggests that the "masculine" (or exaggeratedly masculine) style of Death in the Afternoon [by Ernest Hemingway] is not a formal or immanent attribute of the text but must be "engendered" through acts of interpretation. And it suggests that what was at stake in this "engendering" was nothing less than the preservation of powerful forms of authentic masculinity in the face of a work that, puzzlingly, seemed to trope the very notions of masculinity and modernism.

By acting in loco parentis, the written word performs its own usurpations of generating authority and generated meanings. Therefore, after the brothers demolish the authority of the word as written, they ar able to substitute alternative authorities: the word as spoken, the word as added, the word as troped, the word as altered, the word as hidden.

Trope

Meaning

Noun

Verb

Origin

Related

Rhymes