He was also an incorrigible ironist who festooned his scores with unperformable instructions.
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Like Roth, though less raucously, he is an ironist, a comedian, and an experimenter.
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Mr. Theroux is an ironist by nature, and his instincts tilt toward the meta.
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David Brooks Faith seems to come in two personalities, the purist and the ironist.
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If you don't see Holmes the ironist, you see only Holmes's poses, not the complexity that lay beneath.
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For the ironist, ultimate truth exists, but day-to-day life is often about balance and trade-offs.
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He was an ironist and a professional, and as such a pretty good role model for post-'60s preadolescents.
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When I got into college and I was an ironist, I thought, O.K., bad balloon animals will be my staple.
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But he was also known for the Malkmus persona, a haughty, bored ironist whose sarcasm was so sharp it could wound.
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I began by suggesting that Shields is an ironist or a humorist or both, but there's something more going on here.
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Not everything is terrible, and Nathalie is too stoical, too analytical and too much of an ironist to engage in self-pity.
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She has learned to play both parts: the person caught up in her feelings and the ironist who sees them from above.
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The writer who could create both Sir John and Hamlet, that quintessential ironist torn between thought and action, could be treated only with awe.
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The gentle romantic blossomed into a wicked ironist whose authorial intrusions, jump cuts and sheer mischief influenced American experimentalists like John Barth and Donald Barthelme.
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With their subversive charm, free of self-conscious irony, this is the kind of art a tired ironist-entertainer like Jeff Koons could not even imagine creating.
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While Salena Zito's oft-quoted article in The Atlantic, "Taking Trump Seriously, Not Literally," suggested that the Republican nominee should not be taken at his word, he is hardly an ironist.
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Milo is a jester and an ironist—he says things for attention and shock value—and if you let yourself get upset by them, you've just proven yourself to be his plaything.
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Harari weirdly sees Duchamp, that cool arch-ironist, as an "Anything goes!" romantic, pouring his heart out in defiance of convention, rather than as the precise deadpan satirist he so obviously was.
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He's our elusive, humorous ironist, something like a 21st-century Socrates, who happens to be particularly interested in sex, sports, selfhood, actors and fiction (all of which Plato's character Socrates also discusses, for that matter).
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Unlike his predecessor, Barack Obama, a low-key ironist from the mellow shores of Oahu, the incumbent is a fast-talking agitator from New York, a city of 19903 million people and, seemingly, three million shrinks.
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This German ironist may be the art world's most compelling investigator of technology, politics and war, but she comes up short with "Drill," a major new three-screen video that fills the armory's huge central hall.
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Shields is our elusive, humorous ironist, something like a 21st-century Socrates, who happens to be particularly interested in sex, sports, selfhood, actors and fiction (all of which Plato's character Socrates also discusses, for that matter).
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What Altman, the indomitable ironist, wants us to bear in mind is the start of his film, set in 1987, in a real sale room at Christie's, where one of van Gogh's "Sunflowers" is up for grabs.
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Arbus is possibly the closest thing America has to Kafka, a profound ironist who simply did not see the world in conventional terms and was — when you strip away the nice-making, the wheedling for money or support and the expressions of garden-variety depression — incapable of saying anything uncompelling.
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DARK WATERS One of the more intriguing questions hovering over this holiday movie season is what brought Todd Haynes (the ironist behind "I'm Not There" and "Far From Heaven") to what looks like a foursquare social-issue drama, inspired by a New York Times Magazine article about a corporate lawyer who sued DuPont in an environmental case.
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A well-regarded ironist with a bleak comic outlook who writes obliquely about race, Whitehead has a sensibility that feels, if not at odds with Winfrey's, then certainly at a remove; with The Underground Railroad, Whitehead takes on the specter of American human bondage with hints of Marquez's magic realism, DeLillo's insidious intelligence, and the playful postmodern systems analysis of Pynchon.
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Religions are, by definition, metaphors, after all: God is a dream, a hope, a woman, an ironist, a father, a city, a house of many rooms, a watchmaker who left his prize chronometer in the desert, someone who loves you — even, perhaps, against all evidence, a celestial being whose only interest is to make sure your football team, army, business, or marriage thrives, prospers, and triumphs over all opposition.
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George Orwell, especially in Nineteen Eighty-Four and Animal Farm, represents public, or institutional cruelty. Rorty argues that Orwell deprived the liberal community of their hopes for liberal utopia without providing them with an alternative. For Rorty, Orwell represents a liberal who is not an ironist, while Heidegger represents an ironist who is not a liberal.
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He portrays himself as the hidden ironist whose appointed maieutic task is to deliver the reader of the latent existential truths suppressed within their hidden interiority.
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For Rorty, Derrida most perfectly typifies the ironist. In his The Post Card: From Socrates to Freud and Beyond, especially, Derrida free-associates about theori"zers" instead of theories, thus preventing him from discussing metaphysics at all. This keeps Derrida contingent, and maintains Derrida's ability to recreate his past so that his past does not create him. Derrida is, therefore, autonomous and self-creating, two properties which Rorty considers most valuable to a private ironist.
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Richard Eder wrote in the Los Angeles Times that "Saunders can be wickedly ingenious and very funny. He takes a conversational line and disrupts it into comic disquiet. [...] Saunders is an imaginative ironist and an inventive absurdist".
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Socrates: Ironist and Moral Philosopher (p. 33). Cambridge University Press. Kindle Edition. Socrates tells of a conversation he had with a woman from Mantinea, called Diotima, who plays the same inquiring/instructing role that Socrates played with Agathon.
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Rorty views Proust, Nietzsche, and Heidegger each as different types of ironists. In Remembrance of Things Past, Proust almost perfectly exemplifies ironism by constantly recontextualizing and redefining the characters he meets along the way, thus preventing any particular final vocabulary from becoming especially salient. Nietzsche is an ironist because he believes all truths to be contingent, but he tends to slip back into metaphysics, especially when discussing his superman. Heidegger is an ironist because he has mostly rejected metaphysics, but his discussion of elementary words forces him to propose a generality that cannot be considered contingent or ironic.
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John Pettegrew (Rowman & Littlefield, 2000), 85. His colleague Jürgen Habermas's obituary for Rorty points out that Rorty's contrasting childhood experiences, such as beautiful orchids versus reading a book in his parents' house that defended Leon Trotsky against Stalin, created an early interest in philosophy. He describes Rorty as an ironist: > Nothing is sacred to Rorty the ironist. Asked at the end of his life about > the 'holy', the strict atheist answered with words reminiscent of the young > Hegel: 'My sense of the holy is bound up with the hope that some day my > remote descendants will live in a global civilization in which love is > pretty much the only law.
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Nikolas Kompridis, "Reorienting Critique: From Ironist Theory to Transformative Practice", Philosophy and Social Criticism, Volume 26, Number 4, 2000, pp. 23 – 47.Nikolas Kompridis, "So We Need Something Else for Reason to Mean", International Journal of Philosophical Studies, Volume 8, Number 3, 2000, pp. 271–295.
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In the Tractatus coislinianus (which may or may not be by Aristotle), Ancient Greek comedy is defined as involving three types of characters: the buffoon (bômolochus), the ironist (eirôn), and the imposter or boaster (alazôn).Carlson (1993, 23) and Janko (1987, 45, 170). All three are central to Aristophanes' "old comedy".
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Nathan began producing music in 2009, and their first project was Zonotope™, a four-album "propaganda series" promoting a Southern California-based "alternative spiritual community" named the Temple of Pure Information and Mainframe Devotion.Gallego, Miguel (February 11, 2014). "To Be An Ironist is a Beautiful Thing: A Conversation with Jerry Paper". AdHoc. Retrieved December 17, 2017.
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Richard Hurd believed that Burke's imitation was near-perfect and that this defeated his purpose, arguing that an ironist "should take care by a constant exaggeration to make the ridicule shine through the Imitation. Whereas this Vindication is everywhere enforc'd, not only in the language, and on the principles of L. Bol., but with so apparent, or rather so real an earnestness, that half his purpose is sacrificed to the other".
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Ironism (n. ironist; from Greek: eiron, eironeia) is a term coined by Richard Rorty, for the concept that allows rhetorical scholars to actively participate in political practices. It is described as a modernist literary intellectual's project of fashioning the best possible self through continual redescription. With this concept, Rorty argues for a contingency which rejects necessity and universality in relation to the ideas of language, self, and community.
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Erik Satie The Trois Mélodies (Three Songs) is a 1916 song cycle for voice and piano by Erik Satie. One of Satie's rare excursions in mélodies (French art songs), it lasts under 4 minutes in performance. The composer's first English- language biographer, Rollo H. Myers (1948), thought this work contained "the essence of Satie the ironist, the wit, and the skillful parodist".Rollo H. Myers, "Erik Satie", Dover Publications, Inc.
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Powys was deeply, if unconventionally, religious; the Bible was a major influence, and he had a special affinity with writers of the 17th and 18th centuries, including John Bunyan, Miguel de Cervantes, Jeremy Taylor, Jonathan Swift, and Henry Fielding.Frank Kermode, "The Art of Theodore Powys, Ironist". The Welsh Review VI:3 (Autumn 1947); Gervais, David. "T. F. Powys: Invention and Myth. English". The Journal of the English Association 45.181 (Spring 1996): 62–78.
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Hutcheon argues that irony relies heavily on knowledge shared within what she calls discursive communities. There is a vital relationship between ironist, interpreter and cultural context that allows irony to happen. By way of example, she discusses visiting an art show in Germany where she missed the artist’s ironic intents. After several years of living in Germany, she revisited the exhibit and got much more out of it because of her insider knowledge of contemporary German culture.
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In his writings, Rorty cited three conditions that constitute the ironist perspective and these show how the notion undercuts the rationality of conservative, reactionary, and totalitarian positions by maintaining the contingency of all beliefs. These conditions are: In Contingency, Irony, and Solidarity, Rorty argues that Proust, Nietzsche, Foucault, Heidegger, Derrida, and Nabokov, among others, all exemplify ironism to different extents. It is also said that ironism and liberalism are compatible, particularly if such liberalism has been altered by pragmatic reductionism.
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"Ostriker (1977: 876) Peter Ackroyd refers to it as a "satirical burlesque," and also likens it to an afterpiece. Northrop Frye, S. Foster Damon and David V. Erdman all refer to it as simply a "prose satire." Frye elaborates upon this definition, calling it "a satire on cultural dilettantism."Frye (1947: 191) Erdman argues that the piece is a natural progression from Blake's previous work; "out of the sly ironist and angry prophet of Poetical Sketches emerges the self professed Cynic of An Island.
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Churchill modelled much of his own literary style on Gibbon's. Like Gibbon, he dedicated himself to producing a "vivid historical narrative, ranging widely over period and place and enriched by analysis and reflection."Roland Quinault, "Winston Churchill and Gibbon," in Edward Gibbon and Empire, eds. R. McKitterick and R. Quinault (Cambridge: 1997), 317–332, at p. 331; Pocock, "Ironist," ¶: "Both the autobiography...." Unusually for the 18th century, Gibbon was never content with secondhand accounts when the primary sources were accessible (though most of these were drawn from well-known printed editions).
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Entering a vast symbolist world (of light and illumination, season and clime, lover and beloved, alchemy and transfiguration, Istanbul and the Bosphorus, etc.), the reader is never made to forget that he is accessing a world through the perspective of a voyeur, a flâneur, an ironist, a tourist of one's native city, an aesthete, and one who has learned to see life from the outside through a self-Orientalizing gaze. Tanpınar treats language as an object around which memory coalesces. For lest it be forgotten, Tanpınar's Turkish audience alone represents a readership estranged from its own immediate cultural heritage and history.
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The future writer was born in the town of Piatra Neamț, in Moldavia region, the son of Simon Rotman. "Sergiu Dan - 'un ironist sentimental' ", in Timpul de Gorj, Nr. 51 (355), December 22–28, 2008 His first steps in cultural journalism happened before 1926, when he was affiliated with the newspaper Cugetul Românesc; his earliest poems were published in cultural magazines such as Chemarea and Flacăra, Boris Marian, "Lăudabil demers: reeditarea unui roman al lui Sergiu Dan", in Realitatea Evreiască, Nr. 262-263 (1062-1063), December 2006, p.19 and a debut novella, Iudita și Holofern ("Judith and Holofernes"), saw print in 1927. Moșteniri ale culturii iudaice.
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Rorty felt these anti-humanist positions were personified by figures like Nietzsche, Heidegger, and Foucault. Such theorists were also guilty of an "inverted Platonism" in which they attempted to craft overarching, metaphysical, "sublime" philosophies—which in fact contradicted their core claims to be ironist and contingent. Rorty's last works, after his move to Stanford University, focused on the place of religion in contemporary life, liberal communities, comparative literature and philosophy as "cultural politics". Shortly before his death, he wrote a piece called "The Fire of Life", (published in the November 2007 issue of Poetry magazine), in which he meditates on his diagnosis and the comfort of poetry.
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As a poet Lucas was a polished ironist. Early collections (Time and Memory, 1929, Marionettes, 1930, Poems, 1935) were mostly personal lyrics or satires, but he came to specialise in dramatic monologues and narrative poems based on historical episodes "that seem lastingly alive" (Messene Redeemed, 1940; From Many Times and Lands, 1953)."I try to find episodes in history that seem lastingly alive: and try to make them live on paper" (Lucas, Journal [1939], p.229) His First World War poems, including 'Morituri – August 1915, on the road from Morlancourt' (1935) and (below) ' "The Night is Chilly but not Dark" ' (1935), offer a retrospect of his experiences at the front.
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The Broadway production received fairly positive reviews. For instance, Elysa Gardner, in her review in USA Today, wrote: > "...Martin, a master ironist, captures some of that old-school spirit with a > book that's as forthright as it is smart, funny and charming....Martin and > Brickell refuse to condescend to their own characters, from the small- > townspeople Billy grows up with to the wry, knowing employees at Alice's > highly regarded journal in the city of Asheville....The tone in which that > story is delivered can also wobble a bit, especially later on, when what > seems destined to be a majestic, Hammerstein-esque resolution is mitigated > by zany musical-comedy flourishes. Still, in what may well prove to be the > richest Broadway season for new musicals in decades, this gently shining > Star holds its own."Gardner, Elysa.
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However, politically, he aligned himself with the conservative Edmund Burke's rejection of the radical egalitarian movements of the time as well as with Burke's dismissal of overly rationalistic applications of the "rights of man".Burke supported the American rebellion, while Gibbon sided with the ministry; but with regard to the French Revolution they shared a perfect revulsion. Despite their agreement on the FR, Burke and Gibbon "were not specially close," owing to Whig party differences and divergent religious beliefs, not to mention Burke's sponsorship of the Civil List and Secret Service Money Act 1782 which abolished, and therefore cost Gibbon his place on, the government's Board of Trade and Plantations in 1782. see Pocock, "The Ironist," ¶: "Both the autobiography...." Gibbon's work has been praised for its style, his piquant epigrams and its effective irony.
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They also collaborated on the books Ma Vie, Life, High Life and Var, le Département dont vous êtes le Heros. Floc'h and François Rivière collaborated on the novel Les Chroniques d'Oliver Alban, Diary of an Ironist (2006), in which they explored the art and literature from two decades: the 1940s and the 1970s. The two wrote the texts, with Floc'h also creating the art for the book. In 2007, Floc'h published a very personal work in the form of his book Une vie de rêve: Fragments d’une autobiographie idéale, in which he lives a long life that extends from 360 BC to May 4, 2046, during the course of which he fulfills various fantasies (for example, he becomes a student of Plato and poses for Philippe Halsman). Known mainly for cartoons and illustrations, Floc’h has however exhibited his art at various galleries, including the Pixi gallery in Paris and the Nicholas Davies Gallery in New York City.
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Author Peter Drucker suggested the transformation into a post-modern world happened between 1937 and 1957 and described it as a "nameless era" characterized as a shift to a conceptual world based on pattern, purpose, and process rather than a mechanical cause. This shift was outlined by four new realities: the emergence of an Educated Society, the importance of international development, the decline of the nation-state, and the collapse of the viability of non-Western cultures. In 1971, in a lecture delivered at the Institute of Contemporary Art, London, Mel Bochner described "post-modernism" in art as having started with Jasper Johns, "who first rejected sense-data and the singular point-of- view as the basis for his art, and treated art as a critical investigation." In 1996, Walter Truett Anderson described postmodernism as belonging to one of four typological world views which he identifies as: (a) Postmodern-ironist, which sees truth as socially constructed.
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Tyranny, G. Allmusic Review accessed June 7, 2011 The Penguin Guide to Jazz awarded it three and a half out of four stars, calling it "a hugely welcome reissue of an almost forgotten classic": > A collaborative trio no doubt this was, but both Zorn and Lewis have made > clear their admiration and debt to Bailey and it is the guitarist who as > often as not defines the parameters of these five excellent tracks. The two > long items, 'The Legend of Enos Slaughter' and 'On Golden Pond', are both > indicative of Zorn's great skills as an improviser; not just a pasticheur or > ironist, he is also a first-rate saxophone player, an aspect of his artistic > personality that tended to be overlooked in the period between this record > and the later Masada project. Lewis is a giant, a player with a huge tone, a > complex grasp of higher harmonics and, like Zorn, a dedicated deconstructor > of his instrument, constantly experimenting with his component elements: > mouthpiece, bell and slides. It's Bailey, though who makes things happen.
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The diptych Agamemnon's Daughter/The Successor is considered by Kadare's French publisher, Fayard's editor Claude Durand, "one of the finest and most accomplished of all Ismail Kadare's works to date". Characterizing it as "laceratingly direct" in its criticism of the totalitarian regime, in a longer overview of Kadare's works, James Wood describes the diptych as "surely one of the most devastating accounts ever written of the mental and spiritual contamination wreaked on the individual by the totalitarian state". Wood compares Kadare favourably to both Orwell and Kundera, considering him to be "a far deeper ironist than the first, and a better storyteller than the second". As an especially good example of Kadare's irony, he points out to one of the concluding passages of The Successor's third chapter, when the almost blind Guide, led by his wife, visits the Successor's renovated home for the first time and suddenly discovers a dimmer, a novelty in Albania at the time, the lavishness of which may be treated as a possible bourgeois trait by the paranoid leader: The same passage is excerpted by James Lasdun as representative of Kadare's power to chillingly portray fear and "the reptilian consciousness" of dictators.
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" Indeed, Erdman argues that Quid is an evolution of the character of 'William his man' from the unfinished play King Edward the Third, often interpreted as being a self-portrait of Blake himself.Erdman (1977: 92) Martha W. England also believes it represents part of Blake’s artistic development and is something of a snapshot of his search for an authentic artistic voice; "we can watch a great metrist and a born parodist searching for his tunes, trying out dramatic systems and metrical systems, none of which were to enslave him. Here he cheerfully takes under his examining eye song and satire, opera and plague, surgery and pastoral, Chatterton and science, enthusiasm and myth, philanthropy and Handelian anthem, the Man in the Street and those children whose nursery is the street – while he is making up his mind what William Blake shall take seriously [...] here, a master ironist flexes his vocal cords with a wide range of tone."England (1974: 505) Similarly, Robert N. Essick, Joseph Viscomi and Morris Eaves see it as foreshadowing much of Blake's later work; "An Island in the Moon underscores the importance of the extensive stretches of humour and satire that show up frequently among his other writings.
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