The richness and vastness of Palma's narrative contribution have long demanded a more illustrative approach, such as that employed by Rosenblat and Hatzfeld in their studies of Cervantes' language. Accordingly, I have endeavored to buttress each point of analysis with a representative variety of examples. This format, of course, permits the reader to skim the examples and to focus on the analytical observations if the latter is of prime interest to him.
From Petrarch and Dante to Pound and Eliot, the influence of the troubadours on European poetry has been profound. They have rightly stimulated a vast amount of critical writing, but the majority of modern critics see the troubadour tradition as a corpus of earnestly serious and confessional love poetry, with little or no humour. Troubadours and Irony re-examines the work of five early troubadours, namely Marcabru, Bernart Marti, Peire d'Alvernha, Raimbaut d'Aurenga and Giraut de Borneil, to argue that the courtly poetry of southern France in the twelfth century was permeated with irony and that many troubadour songs were playful, laced with humorous sexual innuendo and far from serious; attention is also drawn to the large corpus of texts that are not love poems, but comic or satirical songs.
The use of irony in music is just beginning to be defined and critiqued, although it has been used, implied and decried by composers, performers, listeners and critics for centuries. Irony in popular music is especially worthy of study because it is pervasive, even fundamental to the music, the business of making music and the politics of messaging. Contributors to this collection address a variety of musical ironies found in the ’notes themselves,’ in the text or subtext, and through performance, reception and criticism. The chapters explore the linkages between irony and the comic, the tragic, the remembered, the forgotten, the co-opted, and the resistant. From the nineteenth to twenty-first centuries, through America, Europe and Asia, this provocative range of ironies course through issues of race, religion, class, the political left and right, country, punk, hip hop, folk, rock, easy listening, opera and the technologies that make possible our pop music experience. This interdisciplinary volume creates new methodologies and applies existing theories of irony to musical works that have made a cultural or political impact through the use of this most multifaceted of devices.
The debate on literature and the arts provoked by the Italian neoavant-garde (neoavanguardia) is undoubtedly one of the most animated and controversial the country has witnessed from World War II to the present. Comprising the period between the late 1950s and the late 1960s, the phenomenon of the neoavanguardia involved key writers, critics, and artists, both as insiders - Sanguineti, Balestrini, Guglielmi, Eco, and others - and adversaries such as Pasolini, Calvino, and Moravia. In The New Avant-Garde in Italy - the first book in English to document the movement - John Picchione's objective is twofold: to provide a comprehensive analysis of the theoretical tenets that inform the works of the neoavanguardia and to show how they are applied to the poetic practices of its authors. The neoavanguardia cannot, Picchione argues, be defined as a movement with a unified program expressed in the form of manifestos or shared theoretical principles. It experiences irreconcilable internal conflicts that are explored as a split between two main blocs - one that is tied to the project of modernity, the other to post-modern aesthetic postures. This study suggests that some of the contentious views proposed by the neoavanguardia anticipated a wide range of issues that continue to be significant and pressing to this day.
In this handy volume, Claire Colebrook offers an overview of the history and structure of irony, from Socrates to the present. Students will welcome this clear, concise guide, which: *traces the use of the concept through history, from Greek times to the Romantic period and on to the postmodern era *looks closely at the work of Socrates and the more contemporary theorists Jacques Derrida and Gilles Deleuze *explores the philosophical, literary and political dimensions of irony *applies theories of irony to literary texts Making even the most difficult debates accessible and clear, this is the ideal student introduction to the many theories of irony.
I chose the title “A Poemers’ Poemerings” because it means (for me), that of someone to whom is always writing, about something, anything, and its odd and catchy at the same time, and it’s the main title for the series that I am writing in volumes, too many to put all into one book. I think of my poems, “all”, as individual artworks, all their own, a completeness – from start to finish, a journey, a path, a message that will inspire, mesmerize, intrigue, and take you to that deepness that hasn’t been felt or known of your own self. Allow yourself to think for out there to see what each one is telling you! Envision the poem and let yourself see the answers to your own thoughts of these pieces of artworks.
Examination of the role played by irony in one particular medieval genre: the romance. The author discusses the themes to which irony is applied, the types of irony most commonly employed, and the reasons, social and aesthetic, for the prevalence of irony in this genre.
