Irony

In this handy volume, Claire Colebrook offers an overview of the history and structure of irony, from Socrates to the present.Students will welcome this clear, concise guide, which:*traces the use of the concept through history, from Greek times to the Romantic period and on to the postmodern era*looks closely at the work of Socrates and the more contemporary theorists Jacques Derrida and Gilles Deleuze*explores the philosophical, literary and political dimensions of irony*applies theories of irony to literary textsMaking even the most difficult debates accessible and clear, this is the ideal student introduction to the many theories of irony.

The edge of irony, says Linda Hutcheon, is always a social and political edge. Irony depends upon interpretation; it happens in the tricky, unpredictable space between expression and understanding. Irony's Edge is a fascinating, compulsively readable study of the myriad forms and the effects of irony. It sets out, for the first time, a sustained, clear analysis of the theory and the political contexts of irony, using a wide range of references from contemporary culture. Examples extend from Madonna to Wagner, from a clever quip in conversation to a contentious exhibition in a museum. Irony's Edge outlines and then challenges all the major existing theories of irony, providing the most comprehensive and critically challenging account of irony to date, from one of today's most brilliant and persuasive critics.

This pathbreaking study integrates the histories of rhetoric, literacy, and literary aesthetics up to the time of Augustine, focusing on Western concepts of rhetoric as dissembling and of language as deceptive that Swearingen argues have received curiously prominent emphasis in Western aesthetics and language theory. Swearingen reverses the traditional focus on rhetoric as an oral agonistic genre and examines it instead as a paradigm for literate discourse. She proposes that rhetoric and literacy have in the West disseminated the interrelated notions that through learning rhetoric individuals can learn to manipulate language and others; that language is an unreliable, manipulable, and contingent vehicle of thought, meaning, and communication; and that literature is a body of pretty lies and beguiling fictions. In a bold concluding chapter Swearingen aligns her thesis concerning early Western literacy and rhetoric with contemporary critical and rhetorical theory; with feminist studies in language, psychology, and culture; and with studies of literacy in multi- and cross-cultural settings.

How do we learn to produce and comprehend non-literal language? Competing theories have only partially accounted for the variety of language comprehension evoked in metaphor, irony, and jokes. Rachel Giora has developed a novel and comprehensive theory, the Graded Salience Hypothesis, to explain figuative language comprehension. Giora contends that the salience of meanings (i.e., the cognitive priority we ascribe to words encoded in our mental lexicon) has the primary role inlanguage comprehension and production.

Putting aside questions of truth and falsehood, the old 'talk is cheap' maxim carries as much weight as ever. Indeed, perhaps more. For one need not be an expert in irony or sarcasm to realize that people don't necessarily mean what they say. Phrases such as 'Yeah, right' and 'I could care less' are so much a part of the way we speak - and the way we live - that we are more likely to notice when they are absent (for example, Forrest Gump). From our everyday dialogues and conversations ('Thanks a lot!') to the screenplays of our popular films (Pulp Fiction), what is said is frequently very different from what is meant. Talk is Cheap begins with this telling observation and proceeds to argue that such 'unplain speaking' is fundamentally embedded in the way we now talk. Author John Haiman traces this sea-change in our use of language to the emergence of a postmodern 'divided self' who is hyper-conscious that what he or she is saying has been said before; 'cheap talk' thus allows us to distance ourselves from a social role with which we are uncomfortable. Haiman goes on to examine the full range of these pervasive distancing mechanisms, from clichés and quotation marks to camp and parody. Also, and importantly, Haiman highlights several ways in which language is evolving (and has evolved) from non-linguistic behaviour. In other words, this study shows us how what we are saying is continually separating itself from how we say it. As provocative as it is timely, the book will be fascinating reading for students of linguistics, literature, communication, anthropology, philosophy, and popular culture.

This analytical survey of contemporary fiction is a study of more than twenty-five novels written by women during a twenty-year period of rapid socio-cultural change resulting from the philosophy & goals of the contemporary women's movement. Winner of the 1990 Eudora Welty Prize.