Post irony

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The term post-irony ( Latin : post : behind, after; Greek εἰρωνεία , eironeía : deception, disguise) denotes a differentiated attitude towards the figure of irony .

term

Analogous to the deconstruction of the “great narratives” (e.g. progress, reason, art) of modernity in the course of postmodern discourses, especially with a view to Jean-François Lyotard's report Postmodern Knowledge , the form of postirony takes a critical look at the implications of one relativized concept of truth apart. While the traditional figure of irony could always refer to a positive, its relativization inevitably and logically also has consequences for its ironic complement : irony loses its original ambivalent function and, as a mere rhetorical figure to immunize individual speech acts, is increasingly becoming a trivial trickery : By referring to the possibility of irony, commitment and responsibility for what is said can be avoided. Post-irony, on the other hand, is neither to be misunderstood as the articulation of the desire for pre-ironic simplicity nor as strict anti-irony; rather, it is to be understood as a meaningful recommendation for posture. A responsible attitude that takes irony seriously - and promises to use it again productively under the conditions of the present. None of that excludes a sense of humor .

Examples

The Savage Girl (2001)

In Alex Shakar's debut novel The Savage Girl from 2001, set in the trend scout and advertising milieu , the age of post-irony is heralded, which is characterized by the phenomenon of doubt about doubt. Irony, which has always been the most powerful weapon of counterculture , has degenerated into the central stylistic device of advertising and has thus lost its oppositional power. The paralysis caused by the omnipresent doubt , which sometimes even turns cynical, can be countered through “ironic seriousness” . With his concept of post-irony, Shakar presents a possible solution to the dilemma: "post-irony, the whole new era to come. And if I'm right, everybody wins."

Com & Com (2008)

In 2008 the Swiss artist duo Com & Com published a so-called “Post-ironic Manifesto”. Since the artists up until then appeared in particular with ironic, provocative art of communication and action , the recipient was forced to relate to the form of irony itself . This circumstance opened up new approaches for art and philosophy to questions and topics supposedly belonging to the past (such as beauty, simplicity, creativity, creation of meaning or responsibility).

literature

  • Lukas Hoffmann: Postirony: The Nonfictional Literature of David Foster Wallace and Dave Eggers , transcript Verlag, Bielefeld 2016, ISBN 978-3-8376-3661-1 .
  • Markus Heinzelmann, Stefanie Kreuzer (Ed.): New Rhineland. The post-ironic generation, Berlin 2010, ISBN 978-3-942405-20-1 .
  • Diana Porr: Postironie, in: Johannes M. Hedinger, Marcus Gossolt (ed.): "Lexicon for Contemporary Art. La réalité dépasse la fiction", Sulgen / Zurich 2010, ISBN 978-3-721-20734-7 , p. 135.
  • Sebastian Plönges: Post-irony as development, in: Torsten Meyer, Wey-Han Tan, Christina Schwalbe, Ralf Appelt (eds.): "Media and education. Institutional contexts and cultural change", Wiesbaden 2011, ISBN 978-3-531-17708 -3 , pp. 438-446.

Web links

Individual evidence

  1. ^ Lyotard , Das postmoderne Wissen , Vienna: Passagen 1999; orig .: La Condition postmoderne: Rapport sur le savoir , Paris 1979.
  2. ↑ Alex Shakar , The Savage Girl , New York: Harper 2001.
  3. ↑ Shakar, p. 140: "What is postirony? Postirony is ironic earnestness."
  4. ↑ Shakar, p. 124.
  5. ↑ Com & Com , First Postironic Manifesto , http://www.postirony.com/ .