Zeitschriftenartikel zum Thema „Irony – fiction“
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1
Ajdačić, D. „IRONY AND FANTASY“. Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, Nr. 36 (2020): 116–26. http://dx.doi.org/10.17721/2075-437x.2020.36.11.
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The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world – it distorts, destroys or completes, or builds new worlds, and irony already adds a different vision to the ideas and views presented, regardless of whether they are real or fictional. The terminological and literary-theoretical aspects of the use of irony in works of literary fiction are discussed in the text. Dragan Stojanović’s book “Irony and Meaning” and the author’s terms “Ironical Focus” and “Meaning Pressure” are used as a theoretical starting point. After highlighting the touchpoints of irony and fiction and their special qualities and roles, is proposed a typology of the use of irony in fiction that separates ironic actions concerning the real world, the marvelous world and problematizing the relationship between the real and the marvelous world.
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Antonyan, Zaruhi. „IRONY IN FAN FICTION“. Armenian Folia Anglistika 17, Nr. 2 (24) (08.12.2021): 40–52. http://dx.doi.org/10.46991/afa/2021.17.2.040.
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Irony is a broad concept with many cultural and artistic manifestations of criticism, sarcasm, humor, parody, and even tragedy. It can represent various intellectual and emotional states, such as criticism, self-criticism, curiosity, entertainment, disappointment, anger, boasting, etc. The tone, intensity and frequency of sound are sufficient to convey irony in speech. However, in writing authors use a number of linguistic and stylistic means to be able to convey irony to the reader. This also refers to fanfic (fan fiction) – a work of art/fiction written by book fans, TV series, films, etc. – which is based on an original creation and uses irony widely. The language we perceive when reading fan fiction influences our language and our own production of speech. Hence, the present case study aims at revealing ways and means as well as reasons of expressing irony in fan fiction – a discourse variety that has attracted great interest in the modern world especially among the younger generation.
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Linder, Daniel. „Translating Irony in Popular Fiction“. Babel. Revue internationale de la traduction / International Journal of Translation 47, Nr. 2 (31.12.2001): 97–108. http://dx.doi.org/10.1075/babel.47.2.02lin.
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Raymond Chandler published his first novel, The Big Sleep, in 1939. There are two Spanish translations of the novel, both titled El sueño eterno, one published in 1958 by Aguilar (Madrid) and the other in 1972 by Barral (Barcelona). This study analyzes irony in the two Spanish translations and concludes that both translations fail to reflect the degree of irony present in Chandler’s original, especially with respect to the translation of two key words, cute and giggle, and the dramatic effect of the novel’s climax is dampened as a consequence. Also, it is demonstrated that the 1972 version is, if not an outright plagiarism of the earlier 1958 version, at the very least a version which does not meet the criteria for originality.
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Petrova, Olga Gennadyevna. „Types of Irony in Fiction: Conceptual and Contextual Irony“. Izvestiya of Saratov University. New Series. Series: Philology. Journalism 11, Nr. 3 (2011): 25–30. http://dx.doi.org/10.18500/1817-7115-2011-11-3-25-30.
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Wojciechowska, Sylwia Janina. „Politics and the Inadequacy of Words in Joseph Conrad’s Non-Fiction“. Multidisciplinary Journal of School Education 10, Nr. 1 (19) (08.06.2021): 47–64. http://dx.doi.org/10.35765/mjse.2021.1019.03.
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The Polish-born English novelist, Joseph Conrad, once challenged the general public with a statement which stigmatized the printed word in wartime coverage as being cold, silent, and colorless. The aim of this article is to investigate the manner in which the writer himself applied words in his wartime non-fictional works in order to bestow a lasting effect on his texts. It is argued that irony renders his non-fiction memorable. Thus, the focus is first placed on the manner in which irony features in Conrad’s political essays, collected in Notes on Life and Letters, from 1921. It is argued that irony applied in his non-fiction represents what Wayne C. Booth termed stable irony. Further, it is claimed that, as a spokesman for a non-existent country, Conrad succeeded in transposing the Polish perspective into a discourse familiar to the British public. This seems possible due to the application of the concept of the body politic and the deployment of Gothic imagery. Finally, the paper examines the manner in which words are effectively used to voice the stance of a moralist on truth and the lie of the printed word in the turbulent times around the end of the 19th century.
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Gautam, Bimal. „Subversive Humanism in Manto’s Partition Fiction“. Interdisciplinary Journal of Innovation in Nepalese Academia 1, Nr. 1 (31.12.2022): 79–86. http://dx.doi.org/10.3126/idjina.v1i1.51970.
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Ironizing the violence to convey the political message about minority, Saadat Hasan Monto uses humanistic radical irony as a vehicle for political commentary by demystifying the politics of the representation of violence in official texts of both modern India and Pakistan. Partition affected every sector of human affairs badly. So, partition stories depict the irreplaceable loss displacement, dispossession, abduction, rape, painful death and other forms of violence that common people suffered from all three communities: Hindu, Sikh and Muslim. Manto counts the prime position who dealt with reality of the existing violence by showing it at various levels as familial, social, economic, political, religious others. In that course Manto also subverts the limited and biased notion of partition, which took partition of India as only the partition of territory and people. In the light of Hutcheon’s notion of ‘radical use of irony’, I argue that Manto’s use of irony in “Cold Meat” and “Open it” shows the utter cruelty of the people in power and authority at the time of partition violence and humanity shown by the marginalized section of society. His writing encapsulates his empathy for the victims and his belief in the essential goodness of humanity. The humanity that shines through in his writings about the down-trodden people living in the fringes of society, and the victims of partition violence of 1947 are an integral part of his stories.
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Qusnaini, Asmaul, M. Misbahul Amri und Inayatul Fariha. „Problematizing Situational Irony: A Critical Study on Hardy’s An Imaginative Woman“. JoLLA: Journal of Language, Literature, and Arts 1, Nr. 11 (30.11.2021): 1607–26. http://dx.doi.org/10.17977/um064v1i112021p1607-1626.
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Abstract: The purpose of this paper is to comprehend how situational irony in Thomas Hardy’s short fiction entitled An Imaginative Woman conceptualized a tension of irony in readers’ perceptiveness. To this aim, this study tries to examine the relation among aspects: the story plot, characterizations, focalizations, and narrator’s comments. The narration of this short story shows there are two representation levels of irony: (1) the story level which contains: the sequence of Ella’s ironic events and portrayal of victimized characters; (2) the narrative level consists of: numerous focalizations that are entangled with formulation of perspective and narrator’s intrusive comments that becomes the embodiment of narrator’s unreliability. This paper suggests that situational irony signifies the dynamic strategy of narrative in order to manifest the tension of irony within the story and its representation. Additionally, this strategy emphasizes readers’ compatibility with the irony of the narrative. Keywords: narrative; situational irony; focalization; intrusive narrator Abstrak: Makalah ini bertujuan untuk memahami bagaimana ironi situasional dalam cerita pendek An Imaginative Woman karya Thomas Hardy mengkonseptualisasikan ketegangan ironi dalam persepsi pembaca. Untuk itu, penelitian ini mencoba mengkaji secara kritis hubungan antar aspek berikut: alur cerita, penokohan, fokalisasi, dan komentar narator. Narasi cerpen ini menunjukkan terdapat dua tingkat dalam representasi ironi: (1) tingkat cerita, yakni memuat: urutan peristiwa ironis yang terjadi terhadap Ella dan penggambaran karakter yang dijadikan korban; (2) tingkat naratif, terdiri dari: beberapa macam fokalisasi yang berhubungan dengan perumusan perspektif dan komentar narator yang mengganggu sebagai perwujudan ketidakpercayaan pada narator. Makalah ini menunjukkan bahwa ironi situasional menandakan kedinamisan strategi dalam narasi dalam mewujudkan ketegangan ironi baik di dalam cerita maupun cara merepresentasikan cerita. Selain itu, strategi ini menekankan kompatibilitas pembaca yang berperan penting untuk menjangkau ironi narasi. Kata kunci: naratif; ironi situasional; fokalisasi; intrusi narrator
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Мadina H., Tokmakova, und Bizhoev Boris Ch. „Irony in the emotive vocabulary of the Kabardian-Circassian language“. Kavkazologiya 2024, Nr. 1 (30.03.2024): 317–33. http://dx.doi.org/10.31143/2542-212x-2024-1-317-333.
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This article explores irony in the emotive vocabulary of the Kabardian-Circassian language. The connection between the expression and perception of irony and the cultural prerequisites of socie-ty has been noted. The dual function performed by irony in emotive vocabulary is noted. Using examples from Kabardian fiction, the main ways and means of expressing irony (metaphor, hy-perbolic comparison, personification, various stylistic figures, graphic symbols), its types (irony, self-irony, author’s irony) are considered. Mention is made of the frequent proximity of irony to lies and their use in manipulation. It is shown how in emotive texts the implementation of diction-ary emotive semantics occurs, but most often how vocabulary units not marked with emotivity “acquire” emotive-connotative meanings. The influence of irony on the development of metaphor-ical meanings of polysemantic words and enantiosemy has been revealed.
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KUZNETSOVA, E. V. „REPRESENTATIONS OF IRONY IN ARTISTIC TEXT“. HUMANITARIAN RESEARCHES 4, Nr. 80 (2021): 148–52. http://dx.doi.org/10.21672/1818-4936-2021-80-4-148-152.
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The interpretation of irony in works of art, as well as the disclosure of the mechanism of its action, are not without difficulties. Irony is often quite difficult to understand, especially in the works of fiction by foreign writers. The question of the context necessary for the functioning and implementation of irony also remains unresolved. Obviously, an ironic message can be localized in one word at the lexical level, but there is no single answer to the question of whether it can be read in the context of the entire work. This raises the problem of interpreting the context of irony.
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Eiríksdóttir, Sigrún A. „Some Examples of Irony in Carpentier's Earlier Fiction“. Chasqui 16, Nr. 2/3 (1987): 3. http://dx.doi.org/10.2307/29739992.
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SUN, YAJIE. „An Analysis on Irony in Pride and Prejudice from the Perspective of Speech Act Theory“. Pacific International Journal 5, Nr. 2 (30.06.2022): 73–77. http://dx.doi.org/10.55014/pij.v5i2.161.
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Pride and Prejudice, as Jane Austen’s most representative novel, has high literary value and research significance.
The most notable feature of this novel is irony, which is employed to depict character images and highlight psychological activities and relationships among the characters. Irony is closely related to speech act theory, this article in the framework of speech act theory analyzes irony form the macro and micro perspective, thus proves the feasibility of application of theory of general linguistics to the analysis of fiction texts.
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Bazimaziki, Gabriel. „The synergic interface between narrative techniques and other elements of fiction: Dramatic irony and Betrayal in NGugi's A Grain of Wheat.“ International journal of linguistics, literature and culture 8, Nr. 2 (19.03.2022): 61–66. http://dx.doi.org/10.21744/ijllc.v8n2.2008.
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The author’s goal to successfully impart a thought through fiction depends largely on the synergetic relationship between narrative techniques and other literary elements. This paper explores the synergic alliance between the authors’ choice of methods or literary devices to reveal the audience how characters and themes affecting them cannot be disconnected. The study hinges on a qualitative document analysis involving Ngugi’s novel A Grain of Wheat. Discussion was guided by three study questions concerning the place that narrative techniques hold among the fictional generic elements; the use of dramatic irony in A Grain of Wheat; and what can be learnt from that situation. Analysis revealed that dramatic irony is used in that novel to show the reader that people could be cautious to decide on heroes and traitors before the story conflict resolution. It was also confirmed that the interface between elements of literature cannot be doubted.
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Eilon, Daniel. „Swift's Satiric Logic: On Parsimony, Irony, and Antinomian Fiction“. Yearbook of English Studies 18 (1988): 18. http://dx.doi.org/10.2307/3508187.
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Williams, Iain. „Cool Characters: Irony and American Fiction by Lee Konstantinou“. American Studies 56, Nr. 3-4 (2018): 115–17. http://dx.doi.org/10.1353/ams.2018.0010.
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Baker, Raquel. „Shaken wisdom: irony and meaning in postcolonial African fiction“. Canadian Journal of African Studies / Revue canadienne des études africaines 47, Nr. 1 (April 2013): 134–36. http://dx.doi.org/10.1080/00083968.2013.765281.
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Basniak, Tetiana. „The Creative Indifference of a “Shifter of Registers” (Epochenverschleppe) – Gregor Von Rezzori“. Pitannâ lìteraturoznavstva, Nr. 102 (28.12.2020): 74–87. http://dx.doi.org/10.31861/pytlit2020.102.074.
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The body of the article goes on to highlight the problem of Gregor von Rezzori’s extravagant, lavish and idiosyncratic style entwined with his innate exquisite irony and scepticism, sometimes sarcasm, which can be inferred from his stance of indifference to social norms and trends.In the given context, the most expressive and illustrious are Rezzori’s novels “Oedipus Prevails at Stalingrad” (1954) and “On My Own Traces” (1997), which reflect the author’s ambitious venture into his autobiographical mythologizing from a perspective of the category of time and shed the light on how the artist’s negative experience can be turned into creative indifference. Of particular value, for our research, is the convergence of timeless themes and the ideological intertextuality created in two different surroundings, and provoked by fateful historical events. Rezzori’s irony of his own search for self-identity, a distinguishing feature for postmodern poetics, is one of the most critical topics to perceive the author’s personal experience. Transforming his childhood memories of his lost homeland into the imaginative artistic style, the author succeeded in creating a mythical topos, derived from the personal author’s mythologies (his autobiographical fiction “An Ermine in Czernopol” serves as an excellent example). It should be articulated, that pervasive irony and self-irony are key features of the author’s style. With his novel “Oedipus at Stalingrad”, Rezzori prior to postmodernism in art, foreshadowed his conceptual principles, philosophical fundamentals and worldview. In time, his fiction “On My Own Traces” picked up the threads of the ideas of “Oedipus” quintessence. To conclude, Rezzori’s mystical experiences of his childhood are preserved in his fiction like the most precious treasures that reveal the childish fragile soul seeking for its recognition. To grasp Rezzori’s philosophy, we should realize the author’s key concept – the category of time, which enables him to recognize himself as “Epochenverschlepper”: in his fiction, time lines are blurred, to some extent they become meaningless and functionally typify human history continuity. Consequently, in periods when everything seems rickety and unsettled: the past, the present, and the unpredictable future, the author dares to delve into in-depth psychology of human feelings and knowing thy-self.
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Woods, Derek. „Genre at Earth Magnitude: A Theory of Climate Fiction“. New Literary History 54, Nr. 2 (März 2023): 1143–67. http://dx.doi.org/10.1353/nlh.2023.a907162.
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Abstract: What critics and publishers now call climate fiction is a growing genre that captures significant critical attention. This essay theorizes the relation between two of the genre's features, one formal and one political, in the scale frame they address: the planetary scale of climate, or what many scientists call the Earth system. The archive that articulates these features consists of a popular, digital discourse about climate fiction, much of which appeared since Hurricane Sandy. Instead of looking at individual works or narrating their history, I read this popular "metagenre" to draw out its implicit theory of the genre. According to the metagenre, climate fiction's abstract features consist of a didactic purpose and a normative form. Climate fiction's purpose, whatever its social effects, is ultimately to contribute to planetary climate stability. Second, the genre's definitive form is (or should be) extrapolative realism. Extrapolative realist narrative builds on scientific consensus to imagine plausible futures. The striking thing about climate fiction is that its purpose and form exist in a contradictory or inversely proportional relationship. If the genre fulfills its goal by contributing to the equilibrium of the climate, then its verisimilitude will diminish. If the climate continues to destabilize, then the genre's realism will have been vindicated at the expense of its purpose. Climate fiction is unique because it promises extrapolative realism in the content of individual novels and films but does so in the constitutive and paradoxical presence of a goal that would prevent such future climates from materializing. The point of analyzing climate fiction's constitutive paradox between purpose and realism is not to revel in irony, leave the final word to ideology critique, or dismiss the popular aesthetics of climate fiction. Rather, this paradox can be generalized to the worldview or grand narrative of the Anthropocene: the contradiction between climate fiction's purpose and form sheds light on a more general temporal structure bound up with technocracy and scientific legitimation.
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Smushchynska, Iryna, Iryna Tsyrkunova und Oksana Wronska. „IRONY AS DISCURSIVE CERTAINLY / UNCERTAINLY“. PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, Nr. 41 (2022): 164–77. http://dx.doi.org/10.17721/2663-6530.2022.41.17.
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This article launches some considerations about irony like a linguistic resource full of uncertainty and an instrument for excellence to express author’s critical attitude about some political, social and moral phenomenon in a way that is vague and veiled. The theorical aspect explained in the introduction are illustrated with fragments of the literary works of Honoré de Balzac, Théophile Gautier, Claude Roy, Camilo José Cela, Carlos Ruiz Zafón and Mia Couto. The personal contribution of the authors consists in examine the irony like universal linguistic category that is immanent for the different languages (the article analyses Spanish, French and Portuguese), for the different styles of language (fiction, mass media) and for the different literary schools (romantism, realism, modernism, postmodernism).
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Ekasani, Kadek Ayu. „The Verbal Irony found in English Novel “Twilight”“. Humanis 27, Nr. 4 (27.11.2023): 414. http://dx.doi.org/10.24843/jh.2023.v27.i04.p04.
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Talking irony as one of the figures of speech has been commonly discussed not only in daily conversation but also in social media, contemporary fiction, and different works of literature. However, the study of irony itself is not widely discussed in the novel. This study aims to find the verbal irony that occurs in the novel and in what situations it occurs. The data were taken from the novel “Twilight” written by Stephenie Meyer. The theory is adapted from Winokur (2007) about the definition of verbal irony. This study uses a qualitative approach and data are collected by note-taking and classified into the types of irony. The findings of this study, there are 14 data of verbal irony occur in this study. This study also found that the ironic criticism in the novel appears to minimize the negative meaning of the message. So, it may reduce the level of criticism for the addressee to save face. Explaining Verbal Irony in the Novel is really different from what we communicate in real situations. We have to read the whole text to find the implicit meaning of the irony. For the next study, we can analyze the comparison between irony and humor in literary work, such as novels to have more sight into those signals.
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Foster, Shirley. „Flannery O'Connor's Short Stories: The Assault on the Reader“. Journal of American Studies 20, Nr. 2 (August 1986): 259–72. http://dx.doi.org/10.1017/s002187580001505x.
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Writing in her autobiography about Southern fiction at the turn of the century, Ellen Glasgow argued that it needed more violence and toughness to counteract its tendency towards “insidious” sentimentality; as she defined it later, such literature could be redeemed only by “Blood and irony.” Nearly fifty years later, she might have been gratified to see how a fellow Southern woman writer had answered this need. Violence and irony are endemic in O'Connor's short stories, which depict brutality, physical abuse, murder, and betrayal perpetrated by characters who are often termed “grotesques” –physical freaks, idiots, and maniacs. But they owe their striking impact not only to the violence which they embody in terms of character and event, but also to the violence which they enact on the reader. They implement a shock technique, dependent not so much on the nature of the fictional material, whose horrorsare objectified by a skilfully controlled comic/ironic tone, as on exploitation of the reader's preconceptions.The disjunctions of the stories, which "work," in O'Connor's words, by portraying "an action that is totally unexpected,"are reproduced in the reader's subjection to an abrupt shattering of expectation, producing a profound sense of unease or bewilderment. Thus the most exceptional and original aspect of the violence in O'Connor's fiction is found in its manipulative relationship with the audience who,as one critic has expressed it, may feel "cheated,"4 not to say victimized,by the author's mocking tyranny.
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Mangrum, Benjamin. „Flannery O’Connor, the Phenomenology of Race, and the Institutions of Irony“. Twentieth-Century Literature 65, Nr. 3 (01.09.2019): 237–60. http://dx.doi.org/10.1215/0041462x-7852075.
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This essay argues that the representation of race in O’Connor’s short story “The Artificial Nigger” (1955) owes a debt to the continental tradition of phenomenology. Rather than being an abstract philosophical position, this debt signals O’Connor’s self-positioning within the postwar institutions facilitating the production and consumption of literary fiction. In particular, O’Connor’s engagement with the phenomenological tradition and her use of irony are interrelated attempts to negotiate her position within the creative writing institutions of the postwar literary marketplace. O’Connor’s story thus uses irony and philosophical self-inquiry as attempts to disentangle the narrative from the systems and norms of the program era. How should we understand O’Connor’s attempts to negotiate the institutionality of her fiction? And what are the racial politics of using an “artificial” stereotype as a symbol for artistic self-reflexivity? By addressing such issues in O’Connor’s work, this essay in turn poses questions for the discipline and institutionalized procedures of literary criticism.
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Yang, Yikuan. „On Translating Artistic Form of Ironical Style in Lu Xun’s Fiction“. English Language Teaching 11, Nr. 10 (14.09.2018): 66. http://dx.doi.org/10.5539/elt.v11n10p66.
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In response to an age of turmoil and oppression, Lu Xun’s fiction features irony and it is manifested in artistic form which should be retained in English translation to achieve equivalence. Failure to do so would weaken or lose the ironical effect intended by Lu Xun and result in Western readers’ inclination to neglect historical and social contexts of his time and to miss the thematic significance of his works. In view of inadequate research in this, the thesis explores the artistic form of ironical style in Lu Xun’s fiction, the preservation of form and ironical effect in William A. Lyell’s, the YANGs’ and Julia Lovell’s English translations and their strategies of compensation for inevitable loss due to cultural and linguistic differences between Chinese and English. However, over-compensation is to be avoided, for it would spoil the delicacy of irony, and so is under-compensation which would reduce the artistic value of the form of irony and cut the ironical effect. Sometimes even if compensation is applied, the ironical effect could hardly be kept intact. Behind Lu Xun’s ironical style is his concern for the future of China and the Chinese people, his indignation against oppression, his disappointment at some people’s numbness and stupidity and his sorrow toward the failure of the Xinhai Revolution. Translators should bear this in mind when rendering his ironical style from Chinese into English, otherwise they will miss the thematic significance of Lu Xun’s fiction.
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WEST. „Romantic Irony in the Short Fiction of Rebecca Harding Davis“. American Literary Realism 47, Nr. 3 (2015): 235. http://dx.doi.org/10.5406/amerlitereal.47.3.0235.
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Elder, Nicholas A. „Joseph and Aseneth: An Entertaining Tale“. Journal for the Study of Judaism 51, Nr. 1 (17.02.2020): 19–42. http://dx.doi.org/10.1163/15700631-12511267.
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Abstract This article argues that whatever else Joseph and Aseneth is and for whatever other reason that it might have been written, the narrative is an entertaining tale. The starting point for this thesis is an assessment of the extent to which Joseph and Aseneth can be characterized as “fan fiction.” The article suggests that because both fan fiction and Joseph and Aseneth are “archontic,” fan theory can profitably inform Joseph and Aseneth. This theory is then applied to Joseph and Aseneth to throw new light on the motivation for which Joseph and Aseneth was written, specifically suggesting that, like fan fiction, the narrative is the result of the simultaneous adoration of and frustration with a specific cultural text, namely the Joseph Cycle. The article further contends that the narrative makes extensive use of irony, humor, and adventure as it displays various tendencies of fan fiction.
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Bray, Suzanne. „Disease, detection and diagnosis: The medical short story and the struggle for literary success in the 1890s“. Short Fiction in Theory & Practice 12, Nr. 2 (01.10.2022): 155–67. http://dx.doi.org/10.1386/fict_00059_1.
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After the first death of Sherlock Holmes in 1893, both Arthur Conan Doyle and L. T. Meade turned to the medical short story in order to fill the gap in the popular market. While Meade’s series in The Strand (1893–96), in collaboration with Dr Clifford Halifax, were extremely popular and created a new, sub-genre of detective fiction, Doyle’s stories, published in Round the Red Lamp (1894) were not well-received. The irony in this comes from the fact that Meade managed to adapt the Sherlock Holmes formula to medical fiction, while Doyle did not learn from his own success.
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Park, In-seong, und Dae-won Noh. „A Study on the Irony of In-Hoon Choi’s Serial Fiction“. Literary Criticism 70 (31.12.2018): 85–111. http://dx.doi.org/10.31313/lc.2018.12.70.85.
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Neimneh, Shadi. „The Anti-Hero in Modernist Fiction: From Irony to Cultural Renewal“. Mosaic: a journal for the interdisciplinary study of literature 46, Nr. 4 (2013): 75–90. http://dx.doi.org/10.1353/mos.2013.0036.
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Doyle, Jon. „The changing face of post-postmodern fiction: Irony, sincerity, and populism“. Critique: Studies in Contemporary Fiction 59, Nr. 3 (14.12.2017): 259–70. http://dx.doi.org/10.1080/00111619.2017.1381069.
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Hadden, Richard W. „Artful Fiction and Adequate Discourse Irony and Social Theories of Science“. Philosophy of the Social Sciences 22, Nr. 4 (Dezember 1992): 421–39. http://dx.doi.org/10.1177/004839319202200401.
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Nikolenko, Olha. „THE HOLOCAUST AS AN ETERNAL LESSON FOR MANKIND (Education of resistance to racism and xenophobia on the basis of contemporary foreign fiction and cinema)“. Aesthetics and Ethics of Pedagogical Action, Nr. 18 (09.09.2018): 84–94. http://dx.doi.org/10.33989/2226-4051.2018.18.176323.
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The theme of the Second World War and the Holocaust is one of the topical themes of contemporary fiction and cinema. Outstanding writers and directors of our time are turning to the embodiment of this tragic topic. They set themselves the task of comprehending the past and giving the third millennium generation spiritual experience that will help young people combat the manifestations of racism and xenophobia in the modern world. The article deals with the novel “Schindler’s Ark” by Th. Keneally, “The Children of Noah” by E.-E. Schmitt, “The Boy in the Striped Pajamas” by J. Boyne, “The Book Tief” by M. Zuzak and movies that are based on these books. In the genres of a historic novel and psychological story based on the documents, the writers revealed the complicated social processes in Europe during 1930-1940. The writers described the historic events within the life of ordinary people who lived in the terrible circumstances of the totalitarian system. The symbols playedthe main role in revealing the subject of the Holocaust in the novels and films about the Second World War and the Holocaust. Thomas Keneally continued the traditions of romantic irony and added to it some social, psychological and philosophical meanings. The irony in the novel by Thomas Keneally “Schindler’s Ark” plays an important role in the investigation of European society in the tragic period of the 20thcentury. In the novels by Thomas Keneally irony takes place on the different levels such as plot, composition, imagology, time and space, style and language. T. Keneally broadens the meaning of irony and its function in the documentary and historic novel. The irony in the novel “Schindler’s Ark” maintains some main functions: social for explaining the anti-humanistic essence of fascism, war, racial hatred, research in investigating the tragedy of the Holocaust and its consequences, psychological in revealing the psychology of people of different social class, philosophical in discussing the important issues of human life in the word, axiological dealing with the values of mercy, morality, the ability to resist violence. T. Kenealy represents different forms of irony such as the irony of the narrator, the irony of the author, the combination of controversial documentary facts, the contradiction of phenomenon and notions, the comparison of the different points of view, self-irony, irony as inner enlightenment, catharsis. In the novel “Schindler’s Ark” by T. Kenealy the author of the article analyzed the traditions of world literature such as B. Brecht within the motive of personal financial profit from the war, N. Gogol within the motive of buying and selling the dead souls. The writer represented these motives in his own way as the events took place during the real historic time, and he found the inner power in people of past century to keep their life, humanity and culture on the Earth. The irony is a unique feature of T. Keneally’s individual style and it enriched the genre of novel.
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Sheveleva, M. S. „Stylistics and Pragmatics of Artistic Ironic Discourse (English and French Languages)“. Nauchnyi dialog 11, Nr. 7 (01.10.2022): 151–73. http://dx.doi.org/10.24224/2227-1295-2022-11-7-151-173.
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The article is devoted to the display of the stylistic peculiarities of literary ironic discourse in modern English and French prose. The empirical basis of the research is built on the corpus of text fragments containing ironic statements selected from literary works in English and French. The relevance of the study is accounted for by the insufficient study of the interconnections between verbal components and conceptual background of irony — the mental mechanism of second-order empathy — as well as the need to confirm the status of irony as a speech strategy of encouragement, incentive, self-defense, censure, ridicule, discredit, self-justification, self-representation or self-abasement, which is verbalized in fiction literature, thanks to the involvement of a number of stylistic devices of a semantic and syntactic sense. It is shown that in addition to linguistic means that objectify the conceptual structure of an ironic utterance and deictic units that reveal the order and logic of organizing information at the level of second-order empathy, fictional ironic discourse (both English and French) is brightly colored with figurative and expressive means of language, which actualize through ambiguous, voluminous, image-forming semantics and expressive syntax. In the course of comparative analysis, it has also been found out that the French-language fictional ironic discourse has a higher density of stylistic devices and is more expressive than the English-language one.
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Styrina, Elena V., und Anna A. Martirosyan. „Elements of Fictionality in Media Texts: Facts vs Fiction“. NSU Vestnik. Series: Linguistics and Intercultural Communication 19, Nr. 1 (2021): 92–105. http://dx.doi.org/10.25205/1818-7935-2021-19-1-92-105.
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The current article is dedicated to the analysis of fictionality in modern English media texts. Fictionality is a term applied in narrative theory, and traditionally associated with the belles-lettres style (i.e. fictional narrative). In brief, fictionality is an intentional use of invented stories, which is opposed to factuality. We found that, being a fiction-specific narratological category, fictionality may appear in some kinds of media texts in the shape of separate pieces of text of different length - fictional inclusions. In our study we relied on the works by W. Schmid, J. Jenette, R. Walsh, Paul Dawson, H. S. Nielsen, J. Phelan etc. The main aim of the work is to prove that narratological analysis may be applied not only to the belles-lettres style, but also to media texts, along with other types of analysis. Also, we focused on the types, features and functions of the phenomenon under study. Investigation showed that opinion articles are more prone to contain fictional inclusions than others, which accounts for the fact that this type of articles possesses many features of the belles-lettres style. The application of stylistic and narratological analysis to fictional inclusions led us to the following conclusions. Functions of fictionality in media texts may be numerous, including attracting attention, setting up a contact with the addressee, avoiding judgment, sharing opinion, discrediting of an opponent etc. Fictional inclusions may help in creating such stylistic devices as metaphor, irony, hyperbole, implication. Altogether, the devices and functions mentioned above contribute to language manipulation of the recipient. Also, textual markers of fictionality in media texts were found, among which there were such language means as the change of narrative modes, along with modal constructions, conditional mood, negation, change of register and hyperbolization. The given means help the reader identify fictional inclusions in media texts. The results of the research support the idea voiced by modern narratologists about blurring boundaries between fiction and other cultural spheres.
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Spasić Jakovljević, Tijana R. „KRITIKA POSTMODERNISTIČKE IRONIJE U DOKUMENTARNOJ PROZI DEJVIDA FOSTERA VOLASA“. Nasledje Kragujevac XX, Nr. 56 (2023): 207–2018. http://dx.doi.org/10.46793/naskg2356.207sj.
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His criticism and efforts to overcome the negative consequences of postmodern irony – mostly as a worldview that has had a profound impact on contemporary American society and literature – are central to understanding David Foster Wallace’s literary work. Unlike his highly influential fiction (novels and short stories), his nonfiction (essays and articles) still remains understudied, in spite of the volume and importance of his essays in the Ameri- can culture and beyond. The paper analyses Wallace’s criticism of postmodern irony in his nonfiction by considering three selected essays, with the aim of examining the possibility that Wallace’s nonfiction succeeds in even further articulating his artistic intentions, which have in recent analyses been qualified as post-ironic.
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Pakhsaryan, Natalia. „CYRANO DE BERGERAC AS A PREDECESSOR OF SCIENCE FICTION PROSE“. RZ-Literaturovedenie, Nr. 1 (2021): 113–24. http://dx.doi.org/10.31249/lit/2021.01.11.
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The article considers the genre of Cyranoʼs novel «Another world», widely discussed in both domestic and foreign literary studies. It explores the elements of science fiction in contrast to those of the miraculous, as they appear in the 17th-century literature, and identifies the features of utopianism and the peculiarities of scientific forecasting in the work. Both parts of «Another world» are examined in their similarities and differences from one another, as well as combination of universalism and topical issues of the novel with narrative irony and burlesque.
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Safrina, Raden. „Staying local in a global discourse: A study of comments on selected minifictions by a Sundanese woman writer in Fiksimini Basa Sunda Facebook Group“. Indonesian Journal of Applied Linguistics 12, Nr. 2 (30.09.2022): 511–20. http://dx.doi.org/10.17509/ijal.v12i2.51092.
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This paper examines the social meanings from interactions of a Facebook group which posts mini fictions in the Sundanese language. The examination was more specifically focused on comments for mini fiction posts written by a woman writer. Following the idea of locality as essentially ‘a situatedness’ (Ahmed, 2000), the study framed the interactions as locality and situated the locality as it intertwines and intersects with more global issues. The study began by selecting mini-fictions in the Sundanese language that received at least 100 comments from their readers. Interactions arising from comments about the selected texts were examined to situate the intertwine of locality in the texts and the more global responses in the comment sections. Selected interactions were then examined using a Hallidayan critical discourse analysis. Taking situatedness as the focus, the analysis indicates that interpersonal themes attracted comments where locality and globality are situated to construct irony where locality pales in the face of globality. Therefore, it seems that more efforts should be made to strategically situate locality in a more vantage point in the global world.
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Justine, Abel. „Humor or Black Humor? The Use of Humor and Irony in The Financial Expert“. SMART MOVES JOURNAL IJELLH 9, Nr. 4 (28.04.2021): 32–36. http://dx.doi.org/10.24113/ijellh.v9i4.10983.
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K. Narayan was one of the pioneers of Indo Anglian fiction along with Mulk Raj Anand and Raja Rao. Their heydays were marked by complicated social issues such as India’s struggle for Independence and the more stressful period afterwards. Among the three, many consider R. K. Narayan as the most realistic in fiction considering Indian settings. The Financial Expert is again considered as Narayan’s masterpiece by many. It’s a well-constructed novel in five parts. The story is focused on three main aspects relating to the central character of Margayya. They are; Margayya’s determination to acquire wealth, his love for his own son Balu and his relationship with his brother and sister in law. It is at times mesmerizing to analyze Narayan’s use of humor and irony in crafting the fate of a normal middle class individual.
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HOXHA, Ballsor. „Societies with a Mission and the Traitor“. Polis 19, Nr. 1 (2020): 87–100. http://dx.doi.org/10.58944/ases7808.
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The work is a confronting of the phenomenon of – societies with a mission – as in Enver Hoxha’s Communism, with the question of the traitor. In fact, it is a blend of irony and interpretative and theoretical deliberation upon the “lack” of traitors in our collective, this having for a background the recent collective confusion raised upon the “treason” of Martin Camaj and Ernest Koliqi, two key figures of Albanian struggle against this regime, since the initiation of the very same regime. The work takes for an interpretative and theoretical basis three key fiction novels connoting the complex of the traitor and the society with a mission, confronting this phenomenon.” The Journey to The End of The Night” Ferdinand Louis Celine; “Vajza e Agamemnonit” (Agamemnon’s Daughter) Ismail Kadare; “Pasardhesi” (“Successor”) Ismail Kadare. The work is concluded by e graduation of these three fictions to an anti-heroic reality.
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Bibi, Dr Naeema. „“Zindagi aik naraz matan”: A postmodern study“. DARYAFT 15, Nr. 02 (26.12.2023): 71–84. http://dx.doi.org/10.52015/daryaft.v15i02.370.
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Shahida Dilawar's novel “Zindagi aik naraz Matan” was published in 2023 by Akas Publications Lahore. In the story of this novel, three main characters include Anum (Anu), Ali (narrator) and Sarwar Javed The story is structured through these three characters. The contemporary social situation and the life spent in offices is the prominent theme of this novel. The use of postmodern techniques of fiction is very common in the novel Zindagi aik naraz matan, Which makes this novel postmodern . In this novel, the post-modern technique of fiction is the use of irony, palyfullness, black humour, faction, Metafiction, Historiographic Metafiction, Pastiche, Intertextuality, Paranoia ،Temporal Distortion, Maximalism techniques. In this paper, by studying these postmodern techniques, this novel has been declared as postmodern
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MacDowell, James. „Interpretation, Irony and “Surface Meanings” in Film“. Film-Philosophy 22, Nr. 2 (Juni 2018): 261–80. http://dx.doi.org/10.3366/film.2018.0076.
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In theories of interpretation, the artwork's “surface” is frequently cast as something to be looked past in our quest for meaning. As such, the “surface” has also understandably been the focus of several polemics against the excesses of interpretive criticism – in film scholarship and beyond. This article explores what role concepts of the “surface” and “surface meaning” might fruitfully play in the interpretation of fiction films by thinking about a particular kind of expression-by-implication available to the medium: irony. An under-theorised phenomenon, filmic irony could seem to require interpretation in order to grasp meanings that reside precisely elsewhere than the “surface”. Yet, can we even distinguish between a “surface meaning” and an “implied” meaning in a non-linguistic medium like film? This article addresses such questions by exploring the possibility of separating the explicit and implicit, as well as interpretation and comprehension, in a medium whose very capacity for ironic expression has sometimes been doubted.
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Simbor Roig, Vicent. „Francesc Trabal: l'aposta pel narrador revoltat“. Zeitschrift für Katalanistik 26 (01.07.2013): 249–74. http://dx.doi.org/10.46586/zfk.2013.249-274.
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Summary: During the interwar and post-war period, Francesc Trabal was commited to renewing the realist-naturalist fiction pattern from a parodic-ironic perspective. Trabal’s narrator undertakes to programmatically break up the rules of realist verisimilitude. The author does not cease to appear in the story, while the characters are able to leave it through the splendid use of a metalepsis. This paper shows how Trabal’s novels achieve a unique appearance due to intertextual relationships (quotation, allusion and reference), mentions of cinema techniques, the incorporation of historical characters in the fictional world, the narrator’s transformation in an unreliable storytelling machine, the paratextual potential and the reciprocal invasion of both author’s and characters’ dominions by means of the metalepsis, which leads to metafictional practice and reflection. [Keywords: Irony; parody; metafiction; narratology; narrator; author; history of the novel]
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Tripathi, Prof Shubhra. „Sensitive Relationships, Subtle Satire and Startling Irony: Keki N Daruwalla’s Short Fiction“. SMART MOVES JOURNAL IJELLH 9, Nr. 1 (28.01.2021): 110–22. http://dx.doi.org/10.24113/ijellh.v9i1.10884.
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Erazo, Adrienne. „The Fiction of Juan Rulfo: Irony, Revolution and Postcolonialism by Amit Thakkar“. Romance Notes 54, Nr. 1 (2014): 129–31. http://dx.doi.org/10.1353/rmc.2014.0003.
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Dawsey, J. „The Literary Unity of Luke-Acts: Questions of Style – a Task for Literary Critics“. New Testament Studies 35, Nr. 1 (Januar 1989): 48–66. http://dx.doi.org/10.1017/s0028688500024498.
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Joseph Tyson's The Death of Jesus in Luke-Acts and Robert Tannehill's The Narrative Unity of Luke-Acts, published in 1986, are good examples of the interpretive wealth being mined by scholars who are adopting literary-critical methods for approaching the Lukan writings. What most distinguishes these critics' approaches from older, more familiar ones is the claim that the Bible's historical narratives are imaginative re-enactments of history – thus, in form, more akin to fiction than to theology, biography, or history. Robert Alter called the Biblical stories ‘historicized fiction’, meaning in our case that the author of Luke and Acts employed the artifices of fiction-writing, among others, supplying feeling and motives and creating speeches and dialogue for his characters. Professors Tyson and Tannehill, and other literary scholars like them, are helping us better discern how these techniques were used in Luke and Acts, thus opening new windows to the characters, the way that the author ascribes intentions to them, the plot, themes, nuances, points of view, uses of irony, and word-plays and associations in the writings.
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Rodríguez-Salas, Gerardo. „Communitarian Theory and Andalusian Imagery in Carmel Bird’s Fiction. An Interview“. IRIS, Nr. 35 (30.06.2014): 123–39. http://dx.doi.org/10.35562/iris.1803.
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Australian writer Carmel Bird writes fiction that, while being highly individual and varied, settles within the Australian traditions of both Peter Carey’s fabulism and Thea Astley’s humane wit. As William H. Wilde, Joy Hooton and Barry Andrews state (1994), Bird is a “witty writer with a wide but always highly original tonal range”, who “raises what is often potentially sinister or horrific to something approaching comedy. Disease, deaths and violence are staples in her fictional world, which has similarities with Barbara Hanrahan’s Gothic sensuality and feminist irony, although Bird’s deadpan humour is a distinctive, determining element”. The present interview focuses on an unexplored area in Bird—Andalusia, Spain—which, paradoxically, becomes the backcloth of some of her fiction—like the recent Child of the Twilight (2010)—and a prolific source of inspiration. The following pages explore Bird’s Andalusian/Spanish visions as regards nationalistic, religious, and cultural constructions. To that end, the theoretical communitarian discussion of figures like Ernest Gellner, Ferdinand Tönnies, Benedict Anderson, Jean-Luc Nancy and Maurice Blanchot will prove useful in the structural framework of this interview. Bird herself clarifies that her contribution is not offered from an academic perspective; she speaks about herself as a writer largely unaffected by academic bias. However, communitarian theorisation will prove useful in clarifying her depiction of nationalistic and religious values, while, in the process, she sheds some light on the slippery concept of “Australian writing” and the construction of Spanish cultural values from the perspective of an Australian writer. This interview offers a fresh rendition marked by the humorous, spontaneous and truthful tone that characterises Bird’s fiction.
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Janis, Michael. „“The Bet” against Nihilism: The Intellectual Journey in Chekhov’s Short Fiction“. Interdisciplinary Literary Studies 23, Nr. 4 (01.09.2021): 477–502. http://dx.doi.org/10.5325/intelitestud.23.4.0477.
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Abstract Anton Chekhov’s “The Bet” (1889) may be considered a latter-day conte- philosophique, as a symbolic engagement with the philosophical challenges presented by nihilism and anarchism that reverberated through Russia since the 1860s. Occasionally assigned in literature classes and alluded to by political pundits, the story nonetheless has not been recognized by critics as a masterpiece of irony and existential inquiry, influenced by countervailing currents of nineteenth-century philosophy. Considered in this article in the broader context of the Chekhovian intellectual journey, the fascinating yet unsettling quest for wisdom described in “The Bet” reflects a pivotal era of the Russian elite, suspended between bourgeois indifference and philosophical recognition.
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Gregori Soldevila, Carme. „Memòria i ficció: metaficció historiogràfica en la narrativa de Jesús Moncada“. Zeitschrift für Katalanistik 30 (01.07.2017): 315–32. http://dx.doi.org/10.46586/zfk.2017.315-332.
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Summary: The critical reception of Jesus Moncada’s work has been determined by critical debate that opposed rural literature and urban literature in the eighties of the twentieth century. From this perspective, the narrative of Moncada has been identified with the desire to preserve the memory of Mequinensa, disappeared under the water. The paper proposes a reading of author’s work from the historiographic metafiction in which the exercise of memory is not to be understood as the desire to preserve against forgetting a lost world, but as a question about mechanisms of understanding of the real one, about conditionings and limits on access to knowledge of history and about relationship between fiction and reality. The main resources of historiographic metafiction analysed are: disrepute of memory, fantastic elements, fragmentation of narrative by marginal characters of story, intertextuality, loss of reliance on narrator and irony. Keywords: Historiographic metafiction, Jesús Moncada, contemporary Catalan narrative, irony
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Zavrumov, Zaur Aslanovich. „Cognitive and pragmatic potential of the fiction text: intentionality and implication of irony“. Proceedings of Southern Federal University. Philology 2016, Nr. 3 (24.09.2016): 79–86. http://dx.doi.org/10.18522/1995-0640-2016-3-79-86.
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Clavin, Keith. „Fagin's Coin of Truth: Economic Belief and Representation inOliver Twist“. Victoriographies 4, Nr. 2 (November 2014): 122–38. http://dx.doi.org/10.3366/vic.2014.0166.
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This essay examines Fagin from Oliver Twist as a villain whose construction joins Victorian anxieties about counterfeiting and economic deceptiveness with separate yet related concerns about the author's role in representing criminal life. Dickens triangulates Fagin's identity through cultural fears about Jewish participation within secondary markets, increased distance between purchaser and seller in an expanding credit economy, and moral ambiguities in respect to fiction-making. Read against non-literary Victorian writing about counterfeiters and crime, Fagin can be understood as a forger of identities and narratives. His ability to exploit interpersonal belief and economic value is a central feature of his villainy and one with precedent in other aspects of Victorian financial life. Dickens critiques capitalist culture by associating it with the imitative, fictional, and Jewish culture. In contrast, he aligns sincerity and truth with the middle-class, normative characters. Throughout, he marks the distinction between these two groups with comic incidence. The marginalised figures are fodder for humour and irony, while the conventional heroes are earnest.
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King, Don. „The Early Writings of Joy Davidman“. Journal of Inklings Studies 1, Nr. 1 (April 2011): 47–67. http://dx.doi.org/10.3366/ink.2011.1.1.6.
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Joy Davidman’s place in the canon of twentieth century American literature deserves more attention than it has heretofore received. For instance, in her role in the late 1930’s as poetry editor for New Masses (the weekly voice of the Communist Party of the United States of America), Davidman published poets such as Langston Hughes, Margaret Walker, Alexander Bergman, and Aaron Kramer. At the same time, her poems in Letter to a Comrade (1938) touting a Communist agenda, while clearly written in the tradition of “proletarian literature,” are nonetheless well done; although a political agenda drives her selection of subject matter in these poems, they are not simply set pieces. She uses irony effectively and her imagery is evocative and striking. In fact, Davidman was very much a conscious craftswoman, spending the summers of 1938, 1940, 1941, and 1942 at the MacDowell Colony, a writers’ retreat in New Hampshire, where she honed her skills. For instance, her best piece of fiction, Anya (1940), is a direct result of her time at the colony. She understood the intellectual energy it takes to become an effective writer of poetry, fiction, and non-fiction, and she never backed away from hard work. Her commitment to writing—especially her voice, her rhetoric, her style, and the literary influences informing her work—merit more scholarly attention. In this essay I explore Davidman’s early devotion and commitment to the craft of writing; in addition, I evaluate the poems, fiction, and non-fiction she produced before she wrote for New Masses and published Letter to a Comrade.
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Juříčková, Miluše. „Homo viator Olav Audunssøn“. Studia Scandinavica, Nr. 7(27) (15.12.2023): 40–47. http://dx.doi.org/10.26881/ss.2023.27.03.
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Sigrid Undset published the historical novel entitled Olav Audunssøn (The Master of Hestviken) relatively shortly after the international success of her trilogy Kristin Lavransdatter. The reception process of the second work was strongly affected by the reader’s expectation horizon, which turned out to be inadequate in view of the complexity of artistic values of the text and its psychological aspects. The article focuses on the structure of the fiction and points out the function of so called romantic irony. It also provides a brief overview of Czech translations of Undset’s works.