Today, however, Shakespeare is often read ironically: By extension, in literary irony, it is because we assume that a recognised great writer is great that clumsy, unpalatable or inhuman expressions are assumed to be ironic. This would be possible if there were persons and meanings behind language or saying; language would work like a container for our ideas. No, no, dear Agathon. The Irony of Heidegger: The only possible response to this predicament would be irony:
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Shakespearean drama, for example, was once read and received as a sincere defence and representation of the well-ordered, pre-modern cosmos Bradley Notice, for instance, how Socrates is attracted by good-looking people, and how he hangs around them, positively gaping with admiration.
He caire that Socrates is calling him clever, when Socrates clearly does not mean that.
Everyday language thinks of irrony in terms of human bodies and daily action. Does the very thought of irony commit us to some linguistic stability and meaning, or does irony problematise and disrupt meaning?
We never create ourselves from a pure origin clwire ex nihilo; creation always begins from elsewhere, from the fragments or ruins of the past. Any sense of what is other than language can only be generated from language. This sense of irony is related to verbal irony in that both share a notion of a meaning or intent beyond what we manifestly say or intend.
Graphematics, politics and irony
Tragic irony is exemplified in ancient drama and is intensified by the fact that most of the plots were mythic. Cleanth Brooks quotes both T. Brad Frazier – – Journal of Religious Ethics 32 3: As we will see in the next chapter, Socratic irony was defined not just iroby the use of irony in conversation but also as an entire personality.
Irony relies on a crucial feature of language as shared recognition.
Now, this principle relies both on a logical present: The German Romantics who gathered in Jena from and who influenced, and were influenced by, other Romantic movements, took the insights of Kant and idealism to turn poetry rather than knowledge into the absolute principle of subjectivity, and they did so through irony. So if love is not possessing what one desires can we say that we know what love is?
We assume that there is a common sense of justice that we all recognise, and that this case is one that flouts that common sense: Not only was irony defined as an art in keeping with an urbane and elevated personality, it was also recognised as practised primarily in sites of political power.
Especially nice is her exploration of how irony exceeds to bounds of a trope for both the Romantics and in postmodern theory Derrida, de Man, Deleuze and Guattari, et al. German Romantic irony, by contrast, reverses this order between concept and world. Second, this example is taken from dialogue.
I learned quite a bit about irony from this book. Such a power for formation can only be given ironically, after the event of having formed. For to be against the principle is to claiee something as other than, or not, the principle; the principle cannot be both true and untrue. Nowadays there are countless books and articles referring to the irony of medieval, Renaissance and even biblical texts.
Claire Colebrook, Graphematics, politics and irony – PhilPapers
Life would be poetic, a process of becoming and creation, and the only speech adequate to life would be ironic. There was already a sense of irony or mourning in the predetermined plot, as though the drama could only unfold an already given xlaire, as though the time when human action could be open and determining was already lost. Eros as an ironic engagement between master and pupil, rather than Eros as a fixed essence or what love ultimately grasps. How would we decide between the ironic and sincere readings?
Irony – Claire Colebrook – Google Books
Since the xolebrook century, however, Socratic irony has come to mean more than just a figure of speech and refers to a capacity to remain distant and different from what is said in general. At the same time, they were aware of the paradoxes of a critique of reason.
Literary critics, he argued, tend to treat all texts as though they were not grounded in stable and recognisable contexts; they tend to see all texts as distanced or divorced from their original intention.
In the dialogues rhetorical irony, as a simple figure of speech, explicitly relies on, and develops, a shared context of understanding. On the contrary, it is only in diverse life itself, in all its difference and fragmentation, that we get any sense or idea of some whole or origin. This is one mode of irony: