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Tapping into selected works of Erasmus of Rotterdam, this book offers a series of philosophical meditations designed to retrieve and deploy a distinctively Erasmian manner of thinking - one that is capacious in its perception, agile in its judgments, and unsettling in its irony. In purpose, it takes a philosophical route, addressing perennial questions of self-knowledge - what we can know and how best to communicate what we take to be true, what we ought to do or how we should live, and what we might hope for or what would offer us fulfilment. In method, however, this work taps into the various strategies of irony at play in the works of Erasmus, looking for guidance in handling these age-old questions. What readers will find in Erasmus is a knack for playfully reversing appearances and realities, a penchant for pushing disturbing questions relentlessly to the limit, and a skill for juxtaposing oddly matched opposites. Again and again, Erasmus presses readers to rethink these fundamental questions with dexterity and nuance, ever ready to appreciate the surprising and unsettling upshot of ironic insight.
This book offers fresh perspectives on untruthfulness entailed in various forms of irony, deception and humour, which have so far constituted independent foci of linguistic and philosophical investigation. These three distinct (albeit sometimes co-occurring) notions are brought together within a neo-Gricean framework and consistently discussed as representing overt or covert untruthfulness. The postulates that represent the interface between language philosophy and pragmatics are illustrated with scripted interactions culled from the series House, which help appreciate the complexities of the three concepts at hand. Apart from affording new insights into the nature of irony, deception and humour, this book critically examines previous literature on these notions, as well as relevant aspects of Grice's philosophy of language. Giving a state-of-the-art picture of untruthfulness, this publication will be of interest to both experienced and inexperienced researchers studying Grice’s philosophy, irony, deception and/or humour.
In this 1989 book Rorty argues that thinkers such as Nietzsche, Freud, and Wittgenstein have enabled societies to see themselves as historical contingencies, rather than as expressions of underlying, ahistorical human nature or as realizations of suprahistorical goals. This ironic perspective on the human condition is valuable on a private level, although it cannot advance the social or political goals of liberalism. In fact Rorty believes that it is literature not philosophy that can do this, by promoting a genuine sense of human solidarity. A truly liberal culture, acutely aware of its own historical contingency, would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. The book has a characteristically wide range of reference from philosophy through social theory to literary criticism. It confirms Rorty's status as a uniquely subtle theorist, whose writing will prove absorbing to academic and nonacademic readers alike.
While many studies of On the Concept of Irony treat Kierkegaard's "irony" primarily from a literary perspective,The Isolated Self also examines irony with an eye to the fundamental problem in Kierkegaard's authorship, namely, the challenge of becoming a "self." Kierkegaard's "irony" is a cavalier way of life that seeks isolation from the other - an isolation he considers necessary to becoming a self. At the same time, irony is said to be a hindrance to selfhood because the self fails to become a part of the social world in which it resides. The Isolated Self thus puts the existential tension of On the Concept of Irony into relief and suggests how it sets the stage for the rest of Kierkegaard's authorship. The Isolated Self reconstructs the horizon of understanding during Kierkegaard's time, including Hegel's interpretation of both Socratic irony and Friedrich Schlegel's romantic irony. In addition, the work explores material from the little-known Danish discussion of irony in the works of Poul Martin Møller, Johan Ludvig Heiberg and Hans Lassen Martensen.
"Gardner's reading of a wide range of published and unpublished texts recovers a multifaceted vision of the South. For example, during the war, while its outcome was not yet a foregone conclusion, women's writings sometimes reflected loyalty and optimism; at other times, they revealed doubts and a wavering resolve. According to Gardner, it was only in the aftermath of defeat that a more unified vision of the southern cause emerged. By the beginning of the twentieth century, however, white women - who remained deeply loyal to their southern roots - were raising fundamental questions about the meaning of southern womanhood in the modern era."--BOOK JACKET.
Three lives saved by the Elixir; three lives bound by it. The Elixir entwines the lives of those it touches. Once upon a time, Kylene, Zelenka, and Devon tasted it and escaped death. None were left without scars. Now, a shocking message from the Ice Queen—one of Mother Nature’s higher beings—sends each survivor on a quest. Kylene travels to the frozen depths of Blanchardwood, Zelenka heads back to the wilds of Faway Forest, and Devon journeys to a reclusive mountain temple. The three paths converge in a war against an ancient and tricky foe. And even the Elixir cannot save everyone. The fate of the world balances on the edge of a sword, and the outcome depends on whether the survivors will sacrifice their second chances. Escape back into the world of the Great Peninsula in this much-anticipated sequel to the award-winning ELIXIR BOUND. Perfect for fans of the Thrones of Glass series by Sarah J. Maas.
A biography of two troublesome words. Isn't it ironic? Or is it? Never mind, I'm just being sarcastic (or am I?). Irony and sarcasm are two of the most misused, misapplied, and misunderstood words in our conversational lexicon. In this volume in the MIT Press Essential Knowledge series, psycholinguist Roger Kreuz offers an enlightening and concise overview of the life and times of these two terms, mapping their evolution from Greek philosophy and Roman rhetoric to modern literary criticism to emojis. Kreuz describes eight different ways that irony has been used through the centuries, proceeding from Socratic to dramatic to cosmic irony. He explains that verbal irony—irony as it is traditionally understood—refers to statements that mean something different (frequently the opposite) of what is literally intended, and defines sarcasm as a type of verbal irony. Kreuz outlines the prerequisites for irony and sarcasm (one of which is a shared frame of reference); clarifies what irony is not (coincidence, paradox, satire) and what it can be (among other things, a socially acceptable way to express hostility); recounts ways that people can signal their ironic intentions; and considers the difficulties of online irony. Finally, he wonders if, because irony refers to so many different phenomena, people may gradually stop using the word, with sarcasm taking over its verbal duties.
Illusion, Disillusion, and Irony in Psychoanalysis explores and develops the role of illusion and daydream in everyday life, and in psychoanalysis. Using both clinical examples and literary works, idealised illusions and the inevitable disillusion that is met when reality makes an impact, are carefully explored. Idealised phantasies which involve a timeless universe inevitably lead to disillusion in the face of reality which introduces an awareness of time, ageing, and eventually death. If the illusions are recognised as phantasy rather than treated as fact, the ideal can be internalised as a symbol and serve as a measure of excellence. Steiner shows that the cruelty of truth needs to be recognised, as well as the deceptive nature of illusion, and that relinquishing omnipotence is a critical and difficult developmental task that is relived in analysis. Illusion, Disillusion, and Irony in Psychoanalysis will be of great use to the psychoanalyst or psychotherapist seeking to understand the patient’s withdrawal into a phantasy world, and the struggle to allow the impact of reality.