Applying linguistic tropes to the deep structure which underlay the 19th century historical imagination Hayden White derived from the vault of philosophical richness contained in Giambattista Vico’s La Scienza Nuova. Now the treasure trove becomes a source of one more illuminating analogy. The following study demonstrates how metaphor, metonymy, synecdoche and irony can be identified with five major theories of truth: the correspondence, pragmatic, coherence, deflationary and the semantic one. Theories are evoked on the basis of texts by philosophers themselves (Bertrand Russell, Charles Sanders Peirce, Brand Blanshard et al.). Moreover, a numerical mismatch between them and the four tropes should be seen as everything but unwanted. The concept of irony has multiple interpretations, and so mapping it onto the semantic theory will expose the relation between truth accounts and the principle of their development. In the end, there emerges a pattern in the shape of a circle or a spiral—two models of infinity along which runs the human quest for meaning of truth.

The Author analyses tropes of historical narration in academic lectures on history underlining the need and usefulness of research on this topic.

The story of Princess Antonomasia is one of the relatively autonomous tales interpolated into the string of adventures centered round the title character of Don Quixote. The fact that the Princess is named after the rhetorical device of antonomasia ( pronominatio), well known from ancient and early modern textbooks (Cicero, Quintilian, Erasmus, Juan Luis Vives, Cypriano de Soarez), is also one of the many signals alerting the reader to the multilevel significance of names and naming in Cervantes’ fictional world. So, in this case, Antonomasia functions as a regular proper name and, once its figurative potential is factored in, as an alias, hiding or replacing the Princess’s real name.
In Don Quixote Cervantes uses antonomasia, i.e. the trope of calling a person by a descriptive tag different from his or her given name, not only to multiply new, straightforwardly appropriate epithets, but also to open to metaphor, metonymy, synecdoche, allegory, irony or paradox.

In this paper I take up one of the fundamental themes of ontology concerning the proper understanding of such ontological objects as ideal qualities, properties (features) and tropes. These objects, i.e. properties, qualities and tropes, help us understand more fully what an object in itself (substance, being, object) happens to be. The aim of this work is to present Ingarden’s position on this subject, but also to present a certain new formal solution that uses tools of topological ontology. The background for the problems here is to be found in the works of Aristotle, Ch. Wolff and N. Hartmann.