Irony - Knowledge

2136:. This work is a play within a play set in a lunatic asylum, in which it is difficult to tell whether the players are speaking only to other players or also directly to the audience. When The Herald says, "The regrettable incident you've just seen was unavoidable indeed foreseen by our playwright", there is confusion as to who is being addressed, the "audience" on the stage or the audience in the theatre. Also, since the play within the play is performed by the inmates of a lunatic asylum, the theatre audience cannot tell whether the paranoia displayed before them is that of the players, or the people they are portraying. Muecke notes that, "in America, Romantic irony has had a bad press", while "in England... is almost unknown." 521: 2037: 1914: 2297:

verbal irony. For example, a woman reports to her friend that rather than going to a medical doctor to treat her cancer, she has decided to see a spiritual healer instead. In response her friend says sarcastically, "Oh, brilliant, what an ingenious idea, that's really going to cure you." The friend could have also replied with any number of ironic expressions that should not be labeled as sarcasm exactly, but still have many shared elements with sarcasm.

1857:, Plato's disconcerting Socrates — rather than to any one device". In these contexts, what is expressed rhetorically by cosmic irony is ascribed existential or metaphysical significance. As Muecke puts it, such irony is that of "life itself or any general aspect of life seen as fundamentally and inescapably an ironic state of affairs. No longer is it a case of isolated victims.... we are all victims of impossible situations". 5217: 5227: 40: 1970:: "As allegory, the individual exceeds itself in the direction of the infinite, while as wit the infinite allows the unity that breaks from the wholeness of the series to appear selectively." According to Schlegel, allegory points beyond itself toward that which can be expressed only poetically, not directly. He describes wit as a "selective flashing" ( 2168:

has more than one mode. The style of romantic irony varies from writer to writer But however distinctive the voice, a writer is a romantic ironist if and when his or her work commits itself enthusiastically both in content and form to a hovering or unresolved debate between a world of merely man-made being and a world of ontological becoming.

2336:) can be quite subtle and relate to typical emotional reactions of listeners, and the goals of the speakers. Regardless of the various ways theorists categorize figurative language types, people in conversation who are attempting to interpret speaker intentions and discourse goals do not generally identify the kinds of tropes used. 171:. They advance a concept of irony that is not a mere "artistic playfulness", but a "conscious form of literary creation", typically involving the "consistent alternation of affirmation and negation". No longer just a rhetorical device, on their conception, it refers to an entire metaphysical stance on the world. 2167:

Romantic irony is both a philosophical conception of the universe and an artistic program. Ontologically, it sees the world as fundamentally chaotic. No order, no far goal of time, ordained by God or right reason, determines the progression of human or natural events Of course, romantic irony itself

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came to acquire a new sense of "an intended simulation which the audience or hearer was meant to recognise". More simply put, it came to acquire the general definition, "the expression of one's meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect".

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is: "Fiction in which the author self-consciously alludes to the artificiality or literariness of a work by parodying or departing from novelistic conventions (esp. naturalism) and narrative techniques." It is a type of fiction that self-consciously addresses the devices of fiction, thereby exposing

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Covert irony is "intended not to be seen but detected". The ironist feigns ignorance to achieve the intended effect, and so there is a real danger that it simply goes by unnoticed. This means that a comparatively larger rhetorical context is in play. This may involve, for instance, assumptions about

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writes, "any definition of irony—though hundreds might be given, and very few of them would be accepted—must include this, that the surface meaning and the underlying meaning of what is said are not the same." A consequence of this, he observes, is that an analysis of irony requires the concept of a

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This is why, when we misunderstand an intended ironic utterance, we often feel more embarrassed about our failure to recognize the incongruity than we typically do when we simply misunderstand a statement of fact. When one's deepest beliefs are at issue, so too, often, is one's pride. Nevertheless,

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An aggressively intellectual exercise that fuses fact and value, requiring us to construct alternative hierarchies and choose among them; demands that we look down on other men's follies or sins; floods us with emotion-charged value judgments which claim to be backed by the mind; accuses other men

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How best to organize irony into distinct types is almost as controversial as how best to define it. There have been many proposals, generally relying on the same cluster of types; still, there is little agreement as to how to organize the types and what if any hierarchical arrangements might exist.

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Psychology researchers Lee and Katz have addressed the issue directly. They found that ridicule is an important aspect of sarcasm, but not of verbal irony in general. By this account, sarcasm is a particular kind of personal criticism levelled against a person or group of persons that incorporates

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Almost all of Kierkegaard's post-dissertation publications were written under a variety of pseudonyms. Scholar K. Brian Söderquist argues that these fictive authors should be viewed as explorations of the existential challenges posed by such an ironic, poetic self-consciousness. Their awareness of

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Typically "irony" is used, as described above, with respect to some specific act or situation. In more philosophical contexts, however, the term is sometimes assigned a more general significance, in which it is used to describe an entire way of life or a universal truth about the human situation.

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In overt irony, the true meaning is clearly apparent to both parties, and the only thing that makes the utterance ironic is the "blatancy" of the "contradiction or incongruity". Those instances of sarcasm that may be classified as ironic are overt. Muecke notes that this form of irony has a short

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These two figures cannot exist together at once. What allegory attains indirectly by conjoining, wit attains only momentarily by total individuation, the fragmentary finitude of which contradicts the intended infinite content. Schlegel presents irony as the "structural whole" sought by these two

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Because irony involves expressing something in a way contrary to literal meaning, it always involves a kind of "translation" on the part of the audience. Booth identifies three principle kinds of agreement upon which the successful translation of irony depends: common mastery of language, shared

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Irony depends on a double-layered or two-story phenomenon for success: "At the lower level is the situation either as it appears to the victim of irony (where there is a victim) or as it is deceptively presented by the ironist." The upper level is the situation as it appears to the reader or the

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provides the audience with information of which characters are unaware, thereby placing the audience in a position of advantage to recognize their words and actions as counter-productive or opposed to what their situation actually requires. Three stages may be distinguished — installation,

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Impersonal irony is distinguished by deadpan blankness of the ironist, a sort of affected graveness or poker-face. It is associated with 'dry humor' quite generally, but also encompasses more specific ironic postures such as 'pretend agreement with the ironic victim', 'false ignorance',

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Self-disparaging irony is distinguished by the introduction of the personality of the ironist, often with a somewhat performative dimension. This, however, is intended to be transparent, and is done in the service of directing irony against another object. For instance, when

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Gesa Giesing writes that "the most common form of metafiction is particularly frequent in Romantic literature. The phenomenon is then referred to as Romantic Irony." Giesing notes that "There has obviously been an increased interest in metafiction again after World War II."

2102:. For Kierkegaard himself, this took the form of religious inwardness. What is crucial, however, is just to in some way move beyond the purely (or merely) ironic. Irony is what creates the space in which we can learn and meaningfully choose how to live a life worthy ( 2285:(2007), is quite clear that irony is where "the literal meaning is opposite to the intended" and sarcasm is "aggressive humor that pokes fun". He has the following examples: for irony he uses the statement "What a nice day" when it is raining. For sarcasm, he cites 369:

Building upon the double-level structure of irony, self-described "ironologist" D. C. Muecke proposes another, complimentary way in which we may typify, and so better understand, ironic phenomena. What he proposes a dual distinction between and among three

2062:, states that "irony as infinite and absolute negativity is the lightest and the weakest form of subjectivity". Although this terminology is Hegelian in origin, Kierkegaard employs it with a somewhat different meaning. Richard J. Bernstein elaborates: 1986:) between self-creation and self-destruction", in a "wonderful, eternal alternation between enthusiasm and irony", between "creation and destruction", an "eternal oscillation between self-expansion and self-limitation of thought", a "reciprocal play ( 2270:: "1 : a sharp and often satirical or ironic utterance designed to cut or give pain. 2 a : a mode of satirical wit depending for its effect on bitter, caustic, and often ironic language that is usually directed against an individual". 2230:, "For the first twelve chapters...the reader has been able to immerse him or herself in the story, enjoying the kind of 'suspension of disbelief' required of realist novels...what follows is a remarkable act of metafictional 'frame-breaking 2098:. Irony is not itself an authentic mode of life, but it is a precondition for attaining such a life. Although pure irony is self-destructive, it generates a space in which it becomes possible to reengage with the world in a genuine mode of 235:

Irony plays upon the innocence of a character or victim: "Either a victim is confidently unaware of the very possibility of there being an upper level or point of view that invalidates his own, or an ironist pretends not to be aware of

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are among the many literary examples of this technique. Muecke notes an increase in this type of irony beginning in the latter half of the eighteenth century when, he says, "irony began to be attended to for its intrinsic interest and

2234:". As evidence, chapter 13 "notoriously" begins: "I do not know. This story I am telling is all imagination. These characters I create never existed outside my own mind. if this is a novel, it cannot be a novel in the modern sense". 80:

Irony has been defined in many different ways, and there is no general agreement about the best way to organize its various types. This does not mean, however, that it is not a topic about which a great deal can be meaningfully said.

481:. Muecke writes, "the effectiveness of this kind of irony comes from its economy of means: mere common sense or even simple innocence or ignorance may suffice" to break through the targeted hypocrisy or foolishness of received ideas. 409:

prior knowledge, the ability of someone to detect an incongruity between what is being said and the manner in which it is said, or the perspicuity of the audience in spotting an internal contradiction in the content of the message.

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Nevertheless, seemingly against this, Thesis XV of the dissertation states that "Just as philosophy begins with doubt, so also a life that may be called human begins with irony". Bernstein writes that the emphasis here must be on

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A consequence of this element of in-group membership is that there is more at stake in whether one grasps an ironic utterance than there is in whether one grasps an utterance presented straight. As he puts it, the use of irony is

3719: 2261:: "A figure of speech in which the intended meaning is the opposite of that expressed by the words used; usually taking the form of sarcasm or ridicule in which laudatory expressions are used to imply condemnation or contempt". 1932:", yet never ceased in his pursuit of truth and virtue. According to Schlegel, instead of resting upon a single foundation, "the individual parts of a successful synthesis formation support and negate each other reciprocally". 342:

is closely related to cosmic irony, and sometimes the two terms are treated interchangeably. Romantic irony is distinct, however, in that it is the author who assumes the role of the cosmic force. The narrator in

221:"consisting of one party that hearing shall hear & shall not understand, & another party that, when more is meant than meets the ear, is aware both of that more & of the outsiders' incomprehension". 1928:, Schlegel presents irony as consisting in "the recognition that, even though we cannot attain truth, we still must forever strive toward it, because only then do we approach it." His model is Socrates, who " 244:, this uneven double-character of irony makes it a rhetorically complex phenomenon. Admired by some and feared by others, it has the power to tighten social bonds, but also to exacerbate divisions. 3661: 1902:") is to break down the distinction between art and life with the creation of a "new mythology" for the modern age. In particular, Schlegel was responding to what he took to be the failure of the 2090:

their own unlimited powers of self-interpretation prevents them from fully committing to any single self-narrative, and this leaves them trapped in an entirely negative mode of uncertainty.

2058: 2021:, however, Hegel's "misunderstanding" of Schlegel's concept of irony is "total" in its denunciation of a figure actually intended to preserve "our openness to a systematic philosophy". 2017:

approach to philosophy. Romantic irony, by contrast, Hegel alleges to be fundamentally trivializing and opposed to all seriousness about what is of substantial interest. According to

357:, and in their hands it assumed a metaphysical significance similar to cosmic irony in the hands of Kierkegaard. It was also of central importance to the literary theory advanced by 314:

exploitation, and resolution (often also called preparation, suspension, and resolution) — producing dramatic conflict in what one character relies or appears to rely upon, the

2006:. These readings overstate the irrational dimension of early Romantic thought at the expense of its rational commitments—precisely the dilemma irony is introduced to resolve. 2086:

ignorant. According to Kierkegaard, Socrates is the embodiment of an ironic negativity that dismantles others' illusory knowledge without offering any positive replacement.

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This presentation of Schlegel's account of irony is at odds with many 20th-century interpretations, which, neglecting the larger historical context, have been predominately

1990:) between the infinite and the finite", it is "the pulse and alternation between universality and individuality"—no matter how the contrasting pairs may be articulated. 328:, sometimes also called "the irony of fate", presents agents as always ultimately thwarted by forces beyond human control. It is strongly associated with the works of 5922: 1618: 1994:

In this way, according to Schlegel, irony captures the human situation of always striving towards, but never completely possessing, what is infinite or true.

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Private irony is not intended to be perceived at all. It is entirely for the internal satisfaction of the ironist. Muecke cites as an example Mr. Bennet from

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that he was drunk, "But I shall be sober in the morning, and you will still be ugly", as being sarcastic, while not saying the opposite of what is intended.

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is "a statement in which the meaning that a speaker employs is sharply different from the meaning that is ostensibly expressed". Moreover, it is produced

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Irony is not the only literary term to which Schlegel assigns extra-literary significance. Indeed, irony itself is presented as the uneasy synthesis of

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because it is directed not against this or that particular existing entity, but against the entire given actuality at a certain time. It is thoroughly

6251: 1978:"abstract" figures. It accomplishes this by "surpassing of all self-imposed limits". Frank cites Schlegel's descriptions from a variety of sources: 1529: 420:, who "enjoys seeing his wife or Mr Collins take his remarks at face value; that is to say, he enjoys the irony of their being impervious to irony". 520: 486:

Dramatized irony is the simple presentation of ironic situations for the enjoyment of an audience. The ironist remains out of sight. The novels of

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Tim Conley cites the following: "Philip Howard assembled a list of seven implied meanings for the word "ironically", as it opens a sentence:

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Even Booth, whose interest is expressly rhetorical, notes that the word "irony" tends to attach to "a type of character — Aristophanes' foxy

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even as it excludes its victims, irony also has the power to build and strengthen the community of those who do understand and appreciate.

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laments his misfortune of having a poor memory, the object of his irony is the overly long speech made by the fictionalized Protagoras in

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It is commonplace to begin a study of irony with the acknowledgement that the term quite simply eludes any single definition. Philosopher

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are often misused, though the more general casual usage of a contradiction between circumstance and expectation originated in the 1640s.

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Muecke's typology of modes are distinguished "according to the kind of relationship between the ironist and the irony". He calls these

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was a holy man" (he was anything but).Verbal irony is sometimes also considered to encompass various other literary devices such as

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was unfavorably contrasting Romantic irony with that of Socrates. On Hegel's reading, Socratic irony partially anticipates his own

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For example, Patricia Waugh quotes from several works at the top of her chapter headed "What is metafiction?". These include:

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Although Schlegel frequently does describe the Romantic project with a literary vocabulary, his use of the term "poetry" (

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Cross, Andrew (1998). "Neither either nor or: The perils of reflexive irony". In Alastair Hannay and Daniel Marino (ed.).

1974:); its content, he says, is "always paradoxical", its unifications of the finite and the infinite are always fragmentary. 1702: 2074:

because it is incapable of offering any positive alternative. Nothing positive emerges out of this negativity. And it is

1943:, which refers to any kind of making. As Beiser puts it, "Schlegel intentionally explodes the narrow literary meaning of 69:

of what on the surface appears to be the case and what is actually the case or to be expected. It typically figures as a

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by the speaker, rather than being a literary construct, for instance, or the result of forces outside of their control.

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Grades of irony are distinguished "according to the degree to which the real meaning is concealed". Muecke names them

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of which is known by observers (especially the audience, sometimes to other characters within the drama) to be true.

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Ingénue irony is distinguished by an assumed ignorance that is intended to be convincing. The canonical example is

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The thing is this. That of all the several ways of beginning a book I am confident my own way of doing it is best

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not only of wrong beliefs but of being wrong at their very foundations and blind to what these foundations imply

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From this basic feature, literary theorist Douglas C. Muecke identifies three basic characteristics of all irony:

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470BCE – 399BCE) has been central to discussions of irony from his time into the present (copy of bronze head by

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in nature itself." Poetry in the restricted literary sense is its highest form, but in no way its only form.

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Irony is a response to the apparent epistemic uncertainties of anti-foundationalism. In the words of scholar

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Most instances of verbal irony are labeled by research subjects as sarcastic, suggesting that the term

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You and I know, of course, though other less intelligent mortals walk benighted under the midday sun

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To consider irony from a rhetorical perspective means to consider it as an act of communication. In

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should all be considered forms of verbal irony. The differences between these rhetorical devices (

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Friedrich Schlegel was at the forefront of the intellectual movement that has come to be known as

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A fair amount of confusion has surrounded the issue of the relationship between verbal irony and

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as major types. The latter three types are sometimes contrasted with verbal irony as forms of

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seeks to answer the question of "how we manage to share ironies and why we so often do not".

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The ironist exploits a contradiction, incongruity, or incompatibility between the two levels.

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Söderquist, K. Brian (31 January 2013). "Irony". In Lippitt, John; Pattison, George (eds.).

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half-life; what is obvious to everyone quickly loses its rhetorical effect with repetition.

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with the observation that a survey of the literature on irony leaves the reader with the "

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Around the end of the 18th century, "irony" takes on another sense, primarily credited to

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and applied to "every trivial oddity" in situations where there is no double audience.

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impression" that the authors are simply "talking about different subjects". Indeed,

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near the beginning of the 1st century CE. "Irony" entered the English language as a

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Nevertheless, academic reference volumes standardly include at least all four of

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replacing the linguistic role of verbal irony as a result of all this confusion.

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In this way, contrary to traditional accounts, Kierkegaard portrays Socrates as

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is more widely used than its technical definition suggests it should be. Some

2132: 2003: 1429: 1308: 1293: 1288: 1067: 989: 950: 864: 755: 651: 149: 98: 4069:. Translated by Howard V. Hong and Edna H. Hong. Princeton University Press. 4050:. Translated by Howard V. Hong and Edna H. Hong. Princeton University Press. 6844: 6822: 6805: 6795: 6687: 6677: 6672: 6662: 6630: 6625: 6342: 6309: 6072: 5994: 5795: 5695: 5618: 5575: 5525: 5437: 5372: 5313: 5293: 5272: 5180: 4812: 4475: 2415: 2400: 2313: 2156: 1747: 1248: 1178: 1116: 1048: 962: 945: 926: 921: 707: 701: 680: 662: 477: 332:. This form of irony is also given metaphysical significance in the work of 300: 5454: 4720: 1830:

cultural values, and (for artistic ironies) a common experience of genre.

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Yet, it is Hegel's interpretation that would be taken up and amplified by

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Thesis VIII of the Danish philosopher Søren Kierkegaard's dissertation,

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Irony on Occasion: From Schlegel and Kierkegaard to Derrida and de Man

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Joyces Mistakes: Problems of Intention, Irony, and Interpretation

3654:"Learning to love Alanis Morissette's 'irony' – The Boston Globe" 2794: 2792: 2251:. For instance, various reference sources assert the following: 6194: 5989: 5350: 4445: 3773:

The Romantic Imperative: The Concept of Early German Romanticism

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The Art of Living: Socratic Reflections from Plato to Foucault

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Metafiction: The Theory and Practice of Self-Conscious Fiction

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Stanton, R (1956). "Dramatic Irony in Hawthorne's Romances".

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Irony and Idealism: Rereading Schlegel, Hegel and Kierkegaard

4067:

Concluding Unscientific Postscript to Philosophical Fragments

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is one early example. The term is closely associated with

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The Concept of Irony With Continual Reference to Socrates

3963:

The Philosophical Foundations of Early German Romanticism

3253:, p. 217 (in-text citations to the German texts omitted). 2377:

Oh hell! I've run out of words to start a sentence with."

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The Concept of Irony with Continual Reference to Socrates

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in the 16th century with a meaning similar to the French

3830:

The Well Wrought Urn: Studies in the Structure of Poetry

2836: 2834: 2028:, who further extends the critique to Socrates himself. 140:

was considered a part of rhetoric, usually a species of

2569: 2567: 2565: 2563: 3003: 3001: 2680: 2678: 464:; his memory, we are to understand, is perfectly fine. 1906:

enterprise, exemplified for him by the philosophy of

4239:

The New Princeton Encyclopedia of Poetry and Poetics

3984:. Translated by Knox, T. M. Oxford University Press. 1860:

This usage has its origins primarily in the work of

6746: 6586: 6401: 6373: 6308: 6052: 5943: 5841: 5746: 5681: 5604: 5416: 5279: 5076: 4984: 4890: 4755: 4673: 4637: 4630: 4621: 4524: 4493: 4484: 4383: 167:and other participants in what came to be known as 3906:A Dictionary of Literary Terms and Literary Theory 2114:Referring to earlier self-conscious works such as 4032:A Dictionary of the English Language (1755, 1773) 2344:Some speakers of English complain that the words 2203:Since I've started this story, I've gotten boils 3605:The Psychology of Humor: An Integrative Approach 3523:, Cambridge University Press, 2009, pp. 108–109. 3520:The Cambridge Introduction to Postmodern Fiction 2218:The Cambridge Introduction to Postmodern Fiction 3490:Metafictional Aspects in Novels by Muriel Spark 2798: 2699: 2554: 2479: 2201: 2186: 2165: 1947:by explicitly identifying the poetic with the 6564: 5257: 4361: 4237:Preminger, Alex; Brogan, Terry V. F. (1993). 3716:, University of Toronto Press, 2011, p. 81. 3466:, Harvard University Press, 1980, pp. 4, 187. 2855: 2813: 2711: 2467: 2289:, who is supposed to have said, when told by 2264:"Non-literary irony is often called sarcasm". 1799: 120:Although initially synonymous with lying, in 30:"Ironic" redirects here. For other uses, see 8: 4321:(6). Johns Hopkins University Press: 420–26. 2381:The term is sometimes used as a synonym for 3412: 3349: 1982:Irony consists in a "constant alternation ( 1848:General irony, or "irony as a way of life" 1440:A Dialogue Concerning Oratorical Partitions 6571: 6557: 6549: 5264: 5250: 5242: 4634: 4627: 4490: 4368: 4354: 4346: 3436: 3388: 3376: 1806: 1792: 499: 3752:Abrams, M. H.; Harpham, Geoffrey (2008). 3424: 3400: 3364: 3070: 2621: 2609: 2539: 2527: 2515: 2503: 3625:Bryant & Fox Tree, 2002; Gibbs, 2000 2210:The Death of the Novel and Other Stories 1530:Copia: Foundations of the Abundant Style 27:Rhetorical device and literary technique 4328:Socrates, Ironist and Moral Philosopher 4224:(3rd ed.). Oxford University Press 3980:Hegel, Georg Wilhelm Friedrich (1975). 3607:, Elsevier Academic Press, 2007. p. 13. 2825: 2771: 2457: 511: 5935:Types of fiction with multiple endings 3887:The Cambridge Companion to Kierkegaard 3448: 3334: 3322: 3310: 3298: 3274: 3178: 3166: 3142: 3130: 3118: 3106: 3094: 3082: 3055: 2956: 2944: 2932: 2920: 2908: 2896: 2884: 2872: 2840: 2783: 2759: 2747: 2735: 2723: 2669: 2657: 2645: 2585: 2573: 2374:Oddly enough, or it's a rum thing that 2126:, D. C. Muecke points particularly to 322:is a specific type of dramatic irony. 3664:from the original on 25 November 2016 3262: 3250: 3238: 3226: 3214: 3202: 3190: 3154: 3043: 3031: 3019: 3007: 2992: 2980: 2968: 2684: 2633: 2597: 1951:in human beings, and indeed with the 1733:Rhetoric of social intervention model 7: 3944:A Dictionary of Modern English Usage 3736:A Dictionary of Modern English Usage 3538:(1926; reprinted to at least 2015)". 3535:A Dictionary of Modern English Usage 3286: 2491: 2143:, Anne Mellor writes, referring to 1866:early 19th-century German Romantics 295:gives as an example the sentence, " 4296:The Oxford Handbook of Kierkegaard 4258:Contingency, Irony, and Solidarity 4183:. University of California Press. 2078:because Socrates refuses to cheat. 1998:G. W. F. Hegel's misinterpretation 25: 6338:Third-person omniscient narrative 4122:Mellor, Anne Kostelanetz (1980). 4107:. University of Minnesota Press. 4084:Kreuz, Roger (18 February 2020). 3694:from the original on 14 June 2017 2368:By a coincidence of no importance 1997: 475:. Another example is the Fool in 307:, conscious naïveté, and others. 160:, itself derived from the Latin. 144:, along the lines established by 5225: 5216: 5215: 4164:. Taylor & Francis Limited. 3982:Aesthetics: Lectures on Fine Art 519: 65:, in its broadest sense, is the 4298:. OUP Oxford. pp. 344–64. 3813:. University of Chicago Press. 2009:Already in Schlegel's own day, 5726:Conflict between good and evil 4260:. Cambridge University Press. 3927:. Princeton University Press. 3925:Anatomy of criticism: 4 essays 3889:. Cambridge University Press. 3851:. Cambridge University Press. 3790:Bernstein, Richard J. (2016). 1: 4088:(eBook ed.). MIT Press. 3942:Fowler, Henry Watson (1994). 3832:. Houghton Mifflin Harcourt. 3771:Beiser, Frederick C. (2006). 3548:The Oxford English Dictionary 3476:The Oxford English Dictionary 2362:By an exceptional coincidence 2227:The French Lieutenant's Woman 2110:Overlap with rhetorical irony 1703:List of feminist rhetoricians 89:'Irony' comes from the Greek 47: 4330:. Cornell University Press. 4202:. Fordham University Press. 4126:. Harvard University Press. 3775:. Harvard University Press. 3754:A Glossary of Literary Terms 2636:, ch. 9, § "Skunked Terms?". 1693:Glossary of rhetorical terms 336:, among other philosophers. 117:, a vain-glorious braggart. 4279:. Oxford University Press. 4179:Nehamas, Alexander (2000). 4065:Kierkegaard, Søren (1992). 4046:Kierkegaard, Søren (1989). 3849:The Innovations of Idealism 2799:Preminger & Brogan 1993 2700:Preminger & Brogan 1993 2555:Preminger & Brogan 1993 2480:Preminger & Brogan 1993 2046:Niels Christian Kierkegaard 2042:Sketch of Søren Kierkegaard 1540:Language as Symbolic Action 6986: 3866:Colebrook, Claire (2004). 3493:, GRIN Verlag, 2004, p. 6. 29: 6365:Stream of unconsciousness 5896:Falling action/Catastasis 5211: 4326:Vlastos, Gregory (1991). 4222:Oxford English Dictionary 3908:. John Wiley & Sons. 3643:Leggitt & Gibbs, 2000 2856:Abrams & Harpham 2008 2814:Abrams & Harpham 2008 2712:Abrams & Harpham 2008 2468:Abrams & Harpham 2008 2106:) of being called human. 1930:knew that he knew nothing 1450:De Optimo Genere Oratorum 472:The Emperor's New Clothes 175:The problem of definition 5733:Self-fulfilling prophecy 4027:Johnson, Samuel (2021). 4008:Inwood, Michael (1992). 3847:Bubner, Rudiger (2003). 3828:Brooks, Cleanth (1947). 3809:Booth, Wayne C. (1974). 3508:, Routledge, 2002, p. 1. 2365:By a curious coincidence 2283:The Psychology of Humour 2177:the fictional illusion. 1966:. Summarized by scholar 496:The rhetorical dimension 277:" we would instead say " 169:early German Romanticism 6360:Stream of consciousness 5823:Suspension of disbelief 4665:Theatre of ancient Rome 4256:Rorty, Richard (1989). 4198:Newmark, Kevin (2012). 3989:Hirsch, Edward (2014). 3961:Frank, Manfred (2004). 3946:. Wordsworth Editions. 3923:Frye, Northrop (1990). 3561:Encyclopædia Britannica 3121:, pp. 107–08, 130. 2359:By a tragic coincidence 2308:theorists suggest that 1390:De Sophisticis Elenchis 5901:Denouement/Catastrophe 5882:Rising action/Epitasis 4160:Muecke, D. C. (2023). 4141:Muecke, D. C. (2017). 4124:English Romantic Irony 3904:Cuddon, J. A. (2013). 3478:, entry "metafiction". 3463:English Romantic Irony 2214: 2200: 2170: 2141:English Romantic Irony 2080: 2053: 2050:Royal Library, Denmark 1992: 1921: 1908:Johann Gottlieb Fichte 1900:categorical imperative 1841: 1510:De doctrina Christiana 1500:Dialogus de oratoribus 1420:Rhetorica ad Herennium 646:Captatio benevolentiae 435:self-disparaging irony 355:early German Romantics 199:, observes a trend of 59: 32:Irony (disambiguation) 6960:Rhetorical techniques 6247:Utopian and dystopian 4872:Theatre of the Absurd 4315:Modern Language Notes 4103:Man, Paul De (1996). 3616:Lee & Katz, 1998. 2064: 2039: 1980: 1916: 1836: 1678:Communication studies 1520:De vulgari eloquentia 1380:Rhetoric to Alexander 382:Three grades of irony 378:of ironic utterance. 361:in mid-20th century. 42: 5801:Narrative techniques 5581:Story within a story 5393:Supporting character 4847:Shakespearean comedy 4645:Ancient Greek comedy 4162:The Compass of Irony 4143:Irony and the Ironic 3993:. Houghton Mifflin. 3870:. Psychology Press. 3756:. Cengage Learning. 3574:Webster's Dictionary 2322:rhetorical questions 1953:productive principle 1879:The Concept of Irony 275:he is being ironical 181:Richard J. Bernstein 6904:Rhetorical question 6506:Political narrative 6348:Unreliable narrator 6205:Speculative fiction 5913:Nonlinear narrative 5861:Three-act structure 5721:Deal with the Devil 4275:Rush, Fred (2016). 3811:A Rhetoric of Irony 2139:In a book entitled 1926:Frederick C. Beiser 1820:A Rhetoric of Irony 1683:Composition studies 1614:Health and medicine 1480:Institutio Oratoria 687:Eloquentia perfecta 425:Four modes of irony 417:Pride and Prejudice 279:it is ironical that 214:Henry Watson Fowler 197:lexical semantician 6484:Narrative paradigm 6479:Narrative identity 6409:Dominant narrative 6355:Multiple narrators 5639:Fictional location 5482:Dramatic structure 4835:Comédie larmoyante 4830:Sentimental comedy 4825:Restoration comedy 4788:Commedia dell'arte 4660:Corral de comedias 4217:OED staff (2016). 4105:Aesthetic Ideology 4010:A Hegel Dictionary 3722:2016-08-08 at the 3688:www.etymonline.com 3451:, pp. 178–80. 3439:, pp. 356–60. 3379:, pp. 252–53. 3313:, pp. 146–50. 3241:, pp. 216–17. 3229:, pp. 209–14. 3145:, pp. 207–08. 3133:, pp. 128–29. 3085:, pp. 119–22. 3046:, pp. 138–39. 2828:, pp. 420–26. 2786:, pp. 315–16. 2750:, pp. 42, 99. 2738:, pp. 371–73. 2726:, pp. 315–17. 2714:, pp. 165–68. 2702:, pp. 633–35. 2431:Meta-communication 2340:Misuse of the term 2054: 1922: 1886:Friedrich Schlegel 1862:Friedrich Schlegel 1768:Terministic screen 1550:A General Rhetoric 1080:Resignation speech 617:Studia humanitatis 599:Byzantine rhetoric 351:Friedrich Schlegel 303:and its opposite, 209:The King's English 165:Friedrich Schlegel 75:literary technique 60: 6927: 6926: 6698:Hysteron proteron 6580:Figures of speech 6546: 6545: 6489:Narrative therapy 5923:television series 5868:Freytag's Pyramid 5711:Moral development 5614:Alternate history 5324:False protagonist 5239: 5238: 5017:Musical comedians 4980: 4979: 4778:Comedy of manners 4773:Comedy of humours 4763:Boulevard theatre 4751: 4750: 4655:Comédie-Italienne 4650:Comédie-Française 4617: 4616: 4086:Irony and Sarcasm 3991:A Poet's Glossary 3634:e.g., Gibbs, 2000 3588:Usage and Abusage 3460:Mellor, Anne K., 3427:, pp. 98–99. 3022:, pp. xi, 1. 2959:, pp. 91–92. 2935:, pp. 87–88. 2923:, pp. 67–86. 2911:, pp. 64–65. 2899:, pp. 59–60. 2887:, pp. 56–59. 2875:, pp. 52–53. 2588:, pp. 14–15. 2426:Irony punctuation 2287:Winston Churchill 2277:The psychologist 2238:Related phenomena 2208:Ronald Sukenick, 2032:Søren Kierkegaard 1870:Søren Kierkegaard 1816: 1815: 1743:Rogerian argument 1490:Panegyrici Latini 582:The age of Cicero 334:Søren Kierkegaard 271:situational irony 101:(such as that of 71:rhetorical device 16:(Redirected from 6977: 6573: 6566: 6559: 6550: 6469:Literary science 6012:Narrative poetry 5908:Linear narrative 5818:Stylistic device 5813:Show, don't tell 5776:Figure of speech 5566:Shaggy dog story 5309:Characterization 5266: 5259: 5252: 5243: 5229: 5219: 5218: 5166:Self-referential 4783:Comedy of menace 4635: 4628: 4491: 4370: 4363: 4356: 4347: 4341: 4322: 4309: 4290: 4271: 4252: 4233: 4231: 4229: 4213: 4194: 4175: 4156: 4137: 4118: 4099: 4080: 4061: 4042: 4040: 4038: 4023: 4004: 3985: 3976: 3957: 3938: 3919: 3900: 3881: 3862: 3843: 3824: 3805: 3794:. 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6398: 6396: 6395: 6390: 6385: 6379: 6377: 6371: 6370: 6368: 6367: 6362: 6357: 6352: 6351: 6350: 6345: 6340: 6330: 6325: 6320: 6314: 6312: 6306: 6305: 6303: 6302: 6301: 6300: 6295: 6285: 6284: 6283: 6278: 6273: 6268: 6263: 6262: 6261: 6256: 6255: 6254: 6249: 6244: 6234: 6229: 6224: 6223: 6222: 6212: 6202: 6197: 6192: 6191: 6190: 6185: 6175: 6170: 6165: 6160: 6155: 6150: 6145: 6140: 6135: 6130: 6125: 6120: 6115: 6110: 6105: 6100: 6095: 6090: 6085: 6083:Action fiction 6075: 6070: 6064: 6062: 6050: 6049: 6047: 6046: 6041: 6036: 6031: 6026: 6021: 6020: 6019: 6009: 6004: 5999: 5998: 5997: 5992: 5987: 5982: 5977: 5967: 5962: 5955: 5949: 5947: 5941: 5940: 5938: 5937: 5932: 5927: 5926: 5925: 5920: 5910: 5905: 5904: 5903: 5898: 5893: 5884: 5879: 5865: 5864: 5863: 5858: 5847: 5845: 5839: 5838: 5836: 5835: 5830: 5825: 5820: 5815: 5810: 5809: 5808: 5798: 5793: 5788: 5783: 5778: 5773: 5768: 5763: 5758: 5752: 5750: 5744: 5743: 5741: 5740: 5735: 5730: 5729: 5728: 5723: 5713: 5708: 5703: 5698: 5693: 5687: 5685: 5679: 5678: 5676: 5675: 5670: 5665: 5664: 5663: 5662: 5661: 5651: 5646: 5636: 5631: 5626: 5621: 5616: 5610: 5608: 5602: 5601: 5599: 5598: 5593: 5588: 5583: 5578: 5573: 5568: 5563: 5561:Self-insertion 5558: 5553: 5548: 5546:Poetic justice 5543: 5538: 5533: 5528: 5523: 5516: 5509: 5504: 5499: 5494: 5489: 5484: 5479: 5474: 5467: 5462: 5457: 5452: 5447: 5446: 5445: 5435: 5430: 5422: 5420: 5414: 5413: 5411: 5410: 5405: 5400: 5395: 5390: 5385: 5380: 5375: 5370: 5369: 5368: 5363: 5358: 5348: 5341: 5336: 5331: 5326: 5321: 5316: 5311: 5306: 5304:Character flaw 5301: 5296: 5291: 5285: 5283: 5277: 5276: 5271: 5269: 5268: 5261: 5254: 5246: 5237: 5236: 5234: 5233: 5223: 5212: 5209: 5208: 5206: 5205: 5200: 5195: 5190: 5189: 5188: 5178: 5173: 5168: 5163: 5158: 5153: 5148: 5143: 5138: 5129: 5124: 5118: 5113: 5108: 5103: 5098: 5093: 5088: 5082: 5080: 5074: 5073: 5071: 5070: 5069: 5068: 5067: 5066: 5061: 5056: 5046: 5041: 5031: 5026: 5021: 5020: 5019: 5014: 5009: 5004: 4999: 4988: 4986: 4982: 4981: 4978: 4977: 4975: 4974: 4969: 4964: 4959: 4954: 4949: 4944: 4939: 4934: 4929: 4924: 4922:Comédie-ballet 4919: 4918: 4917: 4912: 4902: 4896: 4894: 4888: 4887: 4885: 4884: 4879: 4874: 4869: 4867:Street theatre 4864: 4859: 4854: 4849: 4844: 4839: 4838: 4837: 4827: 4822: 4821: 4820: 4810: 4805: 4800: 4795: 4790: 4785: 4780: 4775: 4770: 4765: 4759: 4757: 4753: 4752: 4749: 4748: 4746: 4745: 4744: 4743: 4738: 4733: 4728: 4723: 4715: 4714: 4713: 4708: 4700: 4699: 4698: 4690: 4689: 4688: 4677: 4675: 4671: 4670: 4668: 4667: 4662: 4657: 4652: 4647: 4641: 4639: 4632: 4625: 4619: 4618: 4615: 4614: 4612: 4611: 4606: 4601: 4596: 4591: 4590: 4589: 4584: 4574: 4569: 4564: 4559: 4554: 4549: 4544: 4539: 4534: 4528: 4526: 4522: 4521: 4519: 4518: 4513: 4508: 4503: 4497: 4495: 4488: 4482: 4481: 4479: 4478: 4473: 4468: 4463: 4458: 4453: 4448: 4443: 4438: 4433: 4428: 4423: 4418: 4413: 4408: 4403: 4398: 4396:Comedic device 4393: 4387: 4385: 4381: 4380: 4375: 4373: 4372: 4365: 4358: 4350: 4343: 4342: 4337:978-0801497872 4336: 4323: 4310: 4305:978-0199601301 4304: 4291: 4286:978-0199688227 4285: 4272: 4267:978-0521367813 4266: 4253: 4248:978-1567311525 4247: 4234: 4214: 4209:978-0823240135 4208: 4195: 4190:978-0520224902 4189: 4176: 4171:978-0367655259 4170: 4157: 4152:978-1138229631 4151: 4138: 4133:978-0674256903 4132: 4119: 4114:978-0816622047 4113: 4100: 4095:978-0262538268 4094: 4081: 4076:978-0691020815 4075: 4062: 4057:978-0691020723 4056: 4043: 4024: 4019:978-0631175339 4018: 4005: 4000:978-0151011957 3999: 3986: 3977: 3972:978-0791459485 3971: 3965:. SUNY Press. 3958: 3952: 3939: 3934:978-0691012988 3933: 3920: 3914: 3901: 3896:978-0521477192 3895: 3882: 3877:978-0415251334 3876: 3863: 3858:978-0521662628 3857: 3844: 3839:978-0156957052 3838: 3825: 3820:978-0226065533 3819: 3806: 3801:978-1509505722 3800: 3787: 3782:978-0674019805 3781: 3768: 3763:978-1413033908 3762: 3748: 3746: 3743: 3741: 3740: 3727: 3705: 3675: 3645: 3636: 3627: 3618: 3609: 3593: 3578: 3565: 3552: 3540: 3525: 3510: 3495: 3480: 3468: 3453: 3441: 3429: 3425:Bernstein 2016 3417: 3405: 3401:Bernstein 2016 3393: 3391:, p. 354. 3381: 3369: 3365:Bernstein 2016 3354: 3339: 3337:, p. 215. 3327: 3325:, p. 213. 3315: 3303: 3291: 3279: 3267: 3265:, p. 218. 3255: 3243: 3231: 3219: 3217:, p. 210. 3207: 3205:, p. 208. 3195: 3193:, p. 206. 3183: 3171: 3159: 3157:, p. 202. 3147: 3135: 3123: 3111: 3099: 3087: 3075: 3071:Bernstein 2016 3060: 3058:, p. 120. 3048: 3036: 3024: 3012: 2997: 2995:, p. 100. 2985: 2973: 2961: 2949: 2937: 2925: 2913: 2901: 2889: 2877: 2860: 2858:, p. 168. 2845: 2843:, p. 316. 2830: 2818: 2816:, p. 167. 2803: 2801:, p. 635. 2788: 2776: 2764: 2762:, p. 315. 2752: 2740: 2728: 2716: 2704: 2689: 2674: 2662: 2650: 2638: 2626: 2622:Bernstein 2016 2614: 2610:Colebrook 2004 2602: 2590: 2578: 2576:, p. 372. 2559: 2557:, p. 634. 2544: 2540:OED staff 2016 2532: 2528:Colebrook 2004 2520: 2516:OED staff 2016 2508: 2504:Colebrook 2004 2496: 2494:, p. 172. 2484: 2482:, p. 633. 2472: 2470:, p. 165. 2456: 2454: 2451: 2449: 2448: 2443: 2438: 2433: 2428: 2423: 2418: 2413: 2408: 2403: 2398: 2392: 2390: 2387: 2379: 2378: 2375: 2372: 2369: 2366: 2363: 2360: 2341: 2338: 2318:understatement 2275: 2274: 2271: 2265: 2262: 2256: 2244: 2241: 2239: 2236: 2216:Additionally, 2205: 2190: 2130:'s 1964 play, 2111: 2108: 2101: 2097: 2085: 2033: 2030: 2019:Rüdiger Bubner 2011:G. W. F. Hegel 1999: 1996: 1949:creative power 1887: 1884: 1849: 1846: 1824:Wayne C. Booth 1814: 1813: 1811: 1810: 1803: 1796: 1788: 1785: 1784: 1781: 1780: 1775: 1770: 1765: 1760: 1755: 1750: 1745: 1740: 1735: 1730: 1725: 1720: 1715: 1710: 1705: 1700: 1695: 1690: 1685: 1680: 1675: 1672:Ars dictaminis 1667: 1663: 1662: 1661: 1658: 1657: 1654: 1653: 1652: 1651: 1641: 1636: 1631: 1626: 1621: 1616: 1611: 1606: 1601: 1596: 1591: 1586: 1581: 1576: 1570: 1566: 1565: 1564: 1561: 1560: 1557: 1556: 1546: 1536: 1526: 1516: 1506: 1496: 1486: 1476: 1470:On the Sublime 1466: 1456: 1446: 1436: 1426: 1416: 1406: 1396: 1386: 1376: 1366: 1356: 1345: 1341: 1340: 1339: 1336: 1335: 1332: 1331: 1326: 1321: 1316: 1311: 1306: 1301: 1296: 1291: 1286: 1281: 1276: 1271: 1266: 1261: 1256: 1251: 1246: 1241: 1236: 1231: 1226: 1221: 1216: 1211: 1206: 1201: 1196: 1191: 1186: 1181: 1175: 1171: 1170: 1169: 1166: 1165: 1162: 1161: 1156: 1151: 1146: 1141: 1136: 1131: 1126: 1125: 1124: 1114: 1108: 1102: 1101: 1100: 1097: 1096: 1093: 1092: 1087: 1082: 1077: 1076: 1075: 1065: 1064: 1063: 1053: 1052: 1051: 1046: 1041: 1031: 1026: 1021: 1019:Lightning talk 1016: 1015: 1014: 1004: 999: 998: 997: 987: 982: 977: 972: 967: 966: 965: 960: 948: 943: 936: 935: 934: 924: 919: 914: 913: 912: 900: 895: 889: 885: 884: 883: 880: 879: 876: 875: 868: 861: 860: 859: 849: 844: 843: 842: 835: 828: 816: 811: 806: 804:Method of loci 801: 794: 787: 782: 781: 780: 773: 766: 759: 752: 740: 739: 738: 733: 723: 722: 721: 711: 704: 699: 692: 691: 690: 678: 673: 666: 659: 654: 649: 641: 637: 636: 635: 632: 631: 628: 627: 622: 621: 620: 608: 607: 606: 601: 591: 590: 589: 584: 574: 569: 568: 567: 562: 557: 552: 547: 540:Ancient Greece 536: 530: 529: 528: 525: 524: 516: 515: 509: 508: 497: 494: 493: 492: 483: 482: 466: 465: 452: 451: 426: 423: 422: 421: 411: 410: 405: 404: 383: 380: 366: 363: 346:Tristam Shandy 340:Romantic irony 311:Dramatic irony 293:Samuel Johnson 267:Romantic irony 259:dramatic irony 249: 248:Types of irony 246: 238: 237: 233: 230: 176: 173: 86: 83: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6982: 6971: 6968: 6966: 6963: 6961: 6958: 6956: 6953: 6951: 6948: 6946: 6943: 6941: 6938: 6937: 6935: 6920: 6917: 6915: 6912: 6910: 6907: 6905: 6902: 6898: 6895: 6894: 6893: 6890: 6888: 6887:Procatalepsis 6885: 6883: 6880: 6878: 6875: 6873: 6870: 6868: 6865: 6863: 6860: 6858: 6855: 6851: 6848: 6846: 6843: 6842: 6841: 6838: 6836: 6833: 6829: 6826: 6825: 6824: 6821: 6819: 6816: 6812: 6809: 6808: 6807: 6804: 6802: 6799: 6797: 6794: 6792: 6789: 6787: 6784: 6782: 6779: 6777: 6774: 6772: 6769: 6767: 6764: 6762: 6759: 6757: 6754: 6753: 6751: 6749: 6745: 6739: 6736: 6734: 6731: 6729: 6726: 6724: 6721: 6719: 6716: 6714: 6711: 6709: 6706: 6704: 6701: 6699: 6696: 6694: 6691: 6689: 6686: 6684: 6683:Homeoteleuton 6681: 6679: 6676: 6674: 6671: 6669: 6666: 6664: 6661: 6659: 6656: 6654: 6651: 6647: 6644: 6643: 6642: 6639: 6637: 6634: 6632: 6629: 6627: 6624: 6622: 6619: 6617: 6614: 6612: 6609: 6607: 6604: 6602: 6599: 6597: 6594: 6593: 6591: 6589: 6585: 6581: 6574: 6569: 6567: 6562: 6560: 6555: 6554: 6551: 6539: 6536: 6534: 6531: 6529: 6526: 6524: 6523:Screenwriting 6521: 6517: 6514: 6513: 6512: 6509: 6507: 6504: 6500: 6497: 6496: 6495: 6492: 6490: 6487: 6485: 6482: 6480: 6477: 6475: 6472: 6470: 6467: 6463: 6460: 6459: 6458: 6455: 6451: 6447: 6444: 6442: 6439: 6435: 6432: 6430: 6427: 6425: 6422: 6421: 6420: 6417: 6416: 6415: 6412: 6410: 6407: 6406: 6404: 6400: 6394: 6391: 6389: 6386: 6384: 6381: 6380: 6378: 6376: 6372: 6366: 6363: 6361: 6358: 6356: 6353: 6349: 6346: 6344: 6341: 6339: 6336: 6335: 6334: 6331: 6329: 6328:Second-person 6326: 6324: 6321: 6319: 6316: 6315: 6313: 6311: 6307: 6299: 6296: 6294: 6291: 6290: 6289: 6286: 6282: 6279: 6277: 6274: 6272: 6269: 6267: 6264: 6260: 6257: 6253: 6250: 6248: 6245: 6243: 6240: 6239: 6238: 6235: 6233: 6232:Magic realism 6230: 6228: 6225: 6221: 6218: 6217: 6216: 6213: 6211: 6208: 6207: 6206: 6203: 6201: 6198: 6196: 6193: 6189: 6186: 6184: 6181: 6180: 6179: 6176: 6174: 6171: 6169: 6166: 6164: 6163:Psychological 6161: 6159: 6156: 6154: 6151: 6149: 6146: 6144: 6143:Philosophical 6141: 6139: 6136: 6134: 6131: 6129: 6126: 6124: 6121: 6119: 6116: 6114: 6111: 6109: 6106: 6104: 6101: 6099: 6096: 6094: 6091: 6089: 6086: 6084: 6081: 6080: 6079: 6076: 6074: 6071: 6069: 6068:Autobiography 6066: 6065: 6063: 6060: 6055: 6051: 6045: 6042: 6040: 6037: 6035: 6032: 6030: 6027: 6025: 6022: 6018: 6015: 6014: 6013: 6010: 6008: 6007:Narrative art 6005: 6003: 6000: 5996: 5993: 5991: 5988: 5986: 5983: 5981: 5978: 5976: 5973: 5972: 5971: 5968: 5966: 5965:Flash fiction 5963: 5961: 5960: 5956: 5954: 5951: 5950: 5948: 5946: 5942: 5936: 5933: 5931: 5928: 5924: 5921: 5919: 5916: 5915: 5914: 5911: 5909: 5906: 5902: 5899: 5897: 5894: 5892: 5888: 5885: 5883: 5880: 5878: 5874: 5871: 5870: 5869: 5866: 5862: 5859: 5857: 5856:Act structure 5854: 5853: 5852: 5849: 5848: 5846: 5844: 5840: 5834: 5831: 5829: 5826: 5824: 5821: 5819: 5816: 5814: 5811: 5807: 5804: 5803: 5802: 5799: 5797: 5794: 5792: 5789: 5787: 5784: 5782: 5779: 5777: 5774: 5772: 5769: 5767: 5764: 5762: 5759: 5757: 5754: 5753: 5751: 5749: 5745: 5739: 5736: 5734: 5731: 5727: 5724: 5722: 5719: 5718: 5717: 5714: 5712: 5709: 5707: 5704: 5702: 5699: 5697: 5694: 5692: 5689: 5688: 5686: 5684: 5680: 5674: 5673:Worldbuilding 5671: 5669: 5666: 5660: 5657: 5656: 5655: 5652: 5650: 5647: 5645: 5642: 5641: 5640: 5637: 5635: 5632: 5630: 5627: 5625: 5622: 5620: 5617: 5615: 5612: 5611: 5609: 5607: 5603: 5597: 5594: 5592: 5589: 5587: 5584: 5582: 5579: 5577: 5574: 5572: 5569: 5567: 5564: 5562: 5559: 5557: 5554: 5552: 5549: 5547: 5544: 5542: 5539: 5537: 5534: 5532: 5529: 5527: 5524: 5522: 5521: 5520:Kishōtenketsu 5517: 5515: 5514: 5513:In medias res 5510: 5508: 5505: 5503: 5500: 5498: 5495: 5493: 5492:Foreshadowing 5490: 5488: 5487:Eucatastrophe 5485: 5483: 5480: 5478: 5475: 5473: 5472: 5468: 5466: 5463: 5461: 5458: 5456: 5453: 5451: 5450:Chekhov's gun 5448: 5444: 5441: 5440: 5439: 5436: 5434: 5431: 5429: 5428: 5424: 5423: 5421: 5419: 5415: 5409: 5406: 5404: 5401: 5399: 5396: 5394: 5391: 5389: 5386: 5384: 5381: 5379: 5376: 5374: 5371: 5367: 5364: 5362: 5359: 5357: 5354: 5353: 5352: 5349: 5347: 5346: 5342: 5340: 5339:Gothic double 5337: 5335: 5332: 5330: 5327: 5325: 5322: 5320: 5319:Deuteragonist 5317: 5315: 5312: 5310: 5307: 5305: 5302: 5300: 5299:Character arc 5297: 5295: 5292: 5290: 5287: 5286: 5284: 5282: 5278: 5274: 5267: 5262: 5260: 5255: 5253: 5248: 5247: 5244: 5232: 5228: 5224: 5222: 5214: 5213: 5210: 5204: 5201: 5199: 5198:Ventriloquism 5196: 5194: 5191: 5187: 5184: 5183: 5182: 5179: 5177: 5174: 5172: 5169: 5167: 5164: 5162: 5159: 5157: 5154: 5152: 5151:Observational 5149: 5147: 5144: 5142: 5139: 5137: 5133: 5130: 5128: 5125: 5122: 5119: 5117: 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5083: 5081: 5079: 5075: 5065: 5062: 5060: 5057: 5055: 5052: 5051: 5050: 5047: 5045: 5042: 5040: 5037: 5036: 5035: 5032: 5030: 5027: 5025: 5022: 5018: 5015: 5013: 5010: 5008: 5005: 5003: 5000: 4998: 4995: 4994: 4993: 4990: 4989: 4987: 4983: 4973: 4970: 4968: 4965: 4963: 4962:Opéra comique 4960: 4958: 4955: 4953: 4952:Opéra bouffon 4950: 4948: 4945: 4943: 4940: 4938: 4935: 4933: 4930: 4928: 4925: 4923: 4920: 4916: 4913: 4911: 4910:Café-chantant 4908: 4907: 4906: 4903: 4901: 4898: 4897: 4895: 4889: 4883: 4880: 4878: 4875: 4873: 4870: 4868: 4865: 4863: 4860: 4858: 4855: 4853: 4852:Sketch comedy 4850: 4848: 4845: 4843: 4840: 4836: 4833: 4832: 4831: 4828: 4826: 4823: 4819: 4816: 4815: 4814: 4811: 4809: 4806: 4804: 4801: 4799: 4796: 4794: 4791: 4789: 4786: 4784: 4781: 4779: 4776: 4774: 4771: 4769: 4766: 4764: 4761: 4760: 4758: 4754: 4742: 4739: 4737: 4734: 4732: 4729: 4727: 4724: 4722: 4719: 4718: 4716: 4712: 4709: 4707: 4704: 4703: 4701: 4697: 4694: 4693: 4691: 4687: 4684: 4683: 4682: 4679: 4678: 4676: 4672: 4666: 4663: 4661: 4658: 4656: 4653: 4651: 4648: 4646: 4643: 4642: 4640: 4636: 4633: 4629: 4626: 4624: 4620: 4610: 4607: 4605: 4602: 4600: 4597: 4595: 4592: 4588: 4585: 4583: 4580: 4579: 4578: 4575: 4573: 4570: 4568: 4565: 4563: 4560: 4558: 4555: 4553: 4550: 4548: 4545: 4543: 4540: 4538: 4535: 4533: 4530: 4529: 4527: 4523: 4517: 4514: 4512: 4509: 4507: 4504: 4502: 4499: 4498: 4496: 4492: 4489: 4487: 4483: 4477: 4474: 4472: 4469: 4467: 4464: 4462: 4459: 4457: 4454: 4452: 4449: 4447: 4444: 4442: 4439: 4437: 4436:Impressionist 4434: 4432: 4429: 4427: 4424: 4422: 4419: 4417: 4414: 4412: 4409: 4407: 4406:Comedy troupe 4404: 4402: 4399: 4397: 4394: 4392: 4389: 4388: 4386: 4382: 4378: 4371: 4366: 4364: 4359: 4357: 4352: 4351: 4348: 4339: 4333: 4329: 4324: 4320: 4316: 4311: 4307: 4301: 4297: 4292: 4288: 4282: 4278: 4273: 4269: 4263: 4259: 4254: 4250: 4244: 4241:. MJF Books. 4240: 4235: 4223: 4220: 4215: 4211: 4205: 4201: 4196: 4192: 4186: 4182: 4177: 4173: 4167: 4163: 4158: 4154: 4148: 4145:. Routledge. 4144: 4139: 4135: 4129: 4125: 4120: 4116: 4110: 4106: 4101: 4097: 4091: 4087: 4082: 4078: 4072: 4068: 4063: 4059: 4053: 4049: 4044: 4033: 4030: 4029:"I'rony n.s." 4025: 4021: 4015: 4011: 4006: 4002: 3996: 3992: 3987: 3983: 3978: 3974: 3968: 3964: 3959: 3955: 3953:1-85326-318-4 3949: 3945: 3940: 3936: 3930: 3926: 3921: 3917: 3915:9781444333275 3911: 3907: 3902: 3898: 3892: 3888: 3883: 3879: 3873: 3869: 3864: 3860: 3854: 3850: 3845: 3841: 3835: 3831: 3826: 3822: 3816: 3812: 3807: 3803: 3797: 3793: 3788: 3784: 3778: 3774: 3769: 3765: 3759: 3755: 3750: 3749: 3744: 3737: 3731: 3728: 3725: 3721: 3718: 3715: 3709: 3706: 3693: 3689: 3685: 3679: 3676: 3663: 3659: 3655: 3649: 3646: 3640: 3637: 3631: 3628: 3622: 3619: 3613: 3610: 3606: 3602: 3601:Martin, R. A. 3597: 3594: 3590: 3589: 3585:Partridge in 3582: 3579: 3576: 3575: 3569: 3566: 3563: 3562: 3556: 3553: 3549: 3544: 3541: 3537: 3536: 3529: 3526: 3522: 3521: 3514: 3511: 3507: 3506: 3499: 3496: 3492: 3491: 3487:Giesing, G., 3484: 3481: 3477: 3472: 3469: 3465: 3464: 3457: 3454: 3450: 3445: 3442: 3438: 3433: 3430: 3426: 3421: 3418: 3414: 3409: 3406: 3403:, p. 94. 3402: 3397: 3394: 3390: 3385: 3382: 3378: 3373: 3370: 3367:, p. 89. 3366: 3361: 3359: 3355: 3351: 3346: 3344: 3340: 3336: 3331: 3328: 3324: 3319: 3316: 3312: 3307: 3304: 3300: 3295: 3292: 3288: 3283: 3280: 3276: 3271: 3268: 3264: 3259: 3256: 3252: 3247: 3244: 3240: 3235: 3232: 3228: 3223: 3220: 3216: 3211: 3208: 3204: 3199: 3196: 3192: 3187: 3184: 3181:, p. 15. 3180: 3175: 3172: 3169:, p. 16. 3168: 3163: 3160: 3156: 3151: 3148: 3144: 3139: 3136: 3132: 3127: 3124: 3120: 3115: 3112: 3109:, p. 19. 3108: 3103: 3100: 3096: 3091: 3088: 3084: 3079: 3076: 3072: 3067: 3065: 3061: 3057: 3052: 3049: 3045: 3040: 3037: 3034:, p. 28. 3033: 3028: 3025: 3021: 3016: 3013: 3010:, p. 44. 3009: 3004: 3002: 2998: 2994: 2989: 2986: 2983:, p. 33. 2982: 2977: 2974: 2970: 2965: 2962: 2958: 2953: 2950: 2947:, p. 91. 2946: 2941: 2938: 2934: 2929: 2926: 2922: 2917: 2914: 2910: 2905: 2902: 2898: 2893: 2890: 2886: 2881: 2878: 2874: 2869: 2867: 2865: 2861: 2857: 2852: 2850: 2846: 2842: 2837: 2835: 2831: 2827: 2822: 2819: 2815: 2810: 2808: 2804: 2800: 2795: 2793: 2789: 2785: 2780: 2777: 2773: 2768: 2765: 2761: 2756: 2753: 2749: 2744: 2741: 2737: 2732: 2729: 2725: 2720: 2717: 2713: 2708: 2705: 2701: 2696: 2694: 2690: 2687:, p. ix. 2686: 2681: 2679: 2675: 2672:, p. 20. 2671: 2666: 2663: 2660:, p. 19. 2659: 2654: 2651: 2647: 2642: 2639: 2635: 2630: 2627: 2623: 2618: 2615: 2611: 2606: 2603: 2599: 2594: 2591: 2587: 2582: 2579: 2575: 2570: 2568: 2566: 2564: 2560: 2556: 2551: 2549: 2545: 2541: 2536: 2533: 2529: 2524: 2521: 2517: 2512: 2509: 2505: 2500: 2497: 2493: 2488: 2485: 2481: 2476: 2473: 2469: 2464: 2462: 2458: 2452: 2447: 2444: 2442: 2439: 2437: 2434: 2432: 2429: 2427: 2424: 2422: 2419: 2417: 2414: 2412: 2409: 2407: 2404: 2402: 2399: 2397: 2394: 2393: 2388: 2386: 2384: 2376: 2373: 2370: 2367: 2364: 2361: 2358: 2357: 2356: 2353: 2351: 2347: 2339: 2337: 2335: 2331: 2327: 2323: 2319: 2315: 2311: 2307: 2303: 2298: 2294: 2292: 2288: 2284: 2280: 2279:Rod A. Martin 2272: 2269: 2266: 2263: 2260: 2257: 2254: 2253: 2252: 2250: 2242: 2237: 2235: 2229: 2228: 2223: 2219: 2211: 2204: 2197: 2196: 2189: 2185: 2182: 2178: 2175: 2169: 2164: 2162: 2161:Lewis Carroll 2158: 2154: 2150: 2146: 2142: 2137: 2135: 2134: 2129: 2125: 2124: 2119: 2118: 2109: 2107: 2105: 2099: 2095: 2091: 2087: 2083: 2079: 2077: 2073: 2069: 2063: 2061: 2060: 2051: 2047: 2043: 2038: 2031: 2029: 2027: 2022: 2020: 2016: 2012: 2007: 2005: 1995: 1991: 1989: 1985: 1979: 1975: 1973: 1969: 1968:Manfred Frank 1965: 1961: 1956: 1954: 1950: 1946: 1942: 1938: 1933: 1931: 1927: 1920: 1915: 1911: 1909: 1905: 1901: 1897: 1896:Immanuel Kant 1893: 1885: 1883: 1881: 1880: 1875: 1871: 1867: 1863: 1858: 1856: 1847: 1845: 1840: 1835: 1831: 1827: 1825: 1821: 1809: 1804: 1802: 1797: 1795: 1790: 1789: 1787: 1786: 1779: 1776: 1774: 1773:Toulmin model 1771: 1769: 1766: 1764: 1761: 1759: 1758:Talking point 1756: 1754: 1753:Speechwriting 1751: 1749: 1746: 1744: 1741: 1739: 1736: 1734: 1731: 1729: 1726: 1724: 1721: 1719: 1716: 1714: 1711: 1709: 1706: 1704: 1701: 1699: 1696: 1694: 1691: 1689: 1686: 1684: 1681: 1679: 1676: 1674: 1673: 1669: 1668: 1660: 1659: 1650: 1647: 1646: 1645: 1642: 1640: 1637: 1635: 1632: 1630: 1627: 1625: 1622: 1620: 1617: 1615: 1612: 1610: 1607: 1605: 1602: 1600: 1597: 1595: 1592: 1590: 1587: 1585: 1582: 1580: 1577: 1575: 1574:Argumentation 1572: 1571: 1563: 1562: 1552: 1551: 1547: 1542: 1541: 1537: 1532: 1531: 1527: 1522: 1521: 1517: 1512: 1511: 1507: 1502: 1501: 1497: 1492: 1491: 1487: 1482: 1481: 1477: 1472: 1471: 1467: 1462: 1461: 1457: 1452: 1451: 1447: 1442: 1441: 1437: 1432: 1431: 1427: 1422: 1421: 1417: 1412: 1411: 1410:De Inventione 1407: 1402: 1401: 1397: 1392: 1391: 1387: 1382: 1381: 1377: 1372: 1371: 1367: 1362: 1361: 1357: 1352: 1351: 1347: 1346: 1338: 1337: 1330: 1327: 1325: 1322: 1320: 1317: 1315: 1312: 1310: 1307: 1305: 1302: 1300: 1297: 1295: 1292: 1290: 1287: 1285: 1282: 1280: 1277: 1275: 1272: 1270: 1267: 1265: 1262: 1260: 1257: 1255: 1252: 1250: 1247: 1245: 1242: 1240: 1237: 1235: 1232: 1230: 1227: 1225: 1222: 1220: 1217: 1215: 1212: 1210: 1207: 1205: 1202: 1200: 1197: 1195: 1192: 1190: 1187: 1185: 1182: 1180: 1177: 1176: 1168: 1167: 1160: 1157: 1155: 1152: 1150: 1147: 1145: 1142: 1140: 1137: 1135: 1132: 1130: 1127: 1123: 1120: 1119: 1118: 1115: 1113: 1110: 1109: 1105: 1099: 1098: 1091: 1090:War-mongering 1088: 1086: 1083: 1081: 1078: 1074: 1071: 1070: 1069: 1066: 1062: 1059: 1058: 1057: 1056:Progymnasmata 1054: 1050: 1047: 1045: 1042: 1040: 1037: 1036: 1035: 1032: 1030: 1027: 1025: 1024:Maiden speech 1022: 1020: 1017: 1013: 1010: 1009: 1008: 1005: 1003: 1000: 996: 993: 992: 991: 988: 986: 983: 981: 978: 976: 973: 971: 968: 964: 961: 959: 958: 954: 953: 952: 949: 947: 944: 942: 941: 937: 933: 930: 929: 928: 925: 923: 920: 918: 915: 911: 910: 906: 905: 904: 901: 899: 896: 894: 891: 890: 882: 881: 874: 873: 869: 867: 866: 862: 858: 855: 854: 853: 850: 848: 845: 841: 840: 836: 834: 833: 829: 827: 826: 822: 821: 820: 817: 815: 812: 810: 807: 805: 802: 800: 799: 795: 793: 792: 788: 786: 783: 779: 778: 774: 772: 771: 767: 765: 764: 760: 758: 757: 753: 751: 750: 746: 745: 744: 741: 737: 734: 732: 729: 728: 727: 724: 720: 717: 716: 715: 712: 710: 709: 705: 703: 700: 698: 697: 693: 689: 688: 684: 683: 682: 679: 677: 674: 672: 671: 667: 665: 664: 660: 658: 655: 653: 650: 648: 647: 643: 642: 634: 633: 626: 625:Modern period 623: 619: 618: 614: 613: 612: 609: 605: 602: 600: 597: 596: 595: 592: 588: 585: 583: 580: 579: 578: 575: 573: 572:Ancient India 570: 566: 563: 561: 558: 556: 555:Attic orators 553: 551: 548: 546: 543: 542: 541: 538: 537: 533: 527: 526: 522: 518: 517: 514: 510: 506: 502: 501: 495: 489: 485: 484: 480: 479: 474: 473: 468: 467: 463: 459: 454: 453: 448: 447: 446: 444: 440: 439:ingénue irony 436: 432: 424: 419: 418: 413: 412: 407: 406: 401: 400: 399: 397: 393: 389: 381: 379: 377: 373: 364: 362: 360: 359:New Criticism 356: 352: 348: 347: 341: 337: 335: 331: 327: 323: 321: 317: 312: 308: 306: 302: 298: 294: 290: 289:intentionally 286: 282: 280: 276: 272: 268: 264: 260: 256: 247: 245: 243: 240:According to 234: 231: 227: 226: 225: 222: 220: 215: 212: 210: 204: 202: 198: 194: 190: 186: 182: 174: 172: 170: 166: 161: 159: 155: 151: 147: 143: 139: 135: 130: 127: 124:'s dialogues 123: 118: 116: 115: 110: 109: 104: 100: 96: 92: 84: 82: 78: 76: 72: 68: 67:juxtaposition 64: 57: 53: 45: 41: 37: 33: 19: 6897:Antanaclasis 6839: 6801:Epanorthosis 6718:Polysyndeton 6611:Antimetabole 6596:Alliteration 6528:Storytelling 6343:Subjectivity 6333:Third-person 6323:First-person 5957: 5766:Comic relief 5690: 5518: 5511: 5502:Flashforward 5469: 5443:Origin story 5425: 5388:Straight man 5343: 5059:Black sitcom 5039:Mockumentary 4947:Opéra bouffe 4915:Café-théâtre 4900:Ballad opera 4818:Harlequinade 4768:Comedy-drama 4547:Mockumentary 4440: 4431:Impersonator 4411:Comic timing 4327: 4318: 4314: 4295: 4276: 4257: 4238: 4226:. Retrieved 4221: 4199: 4180: 4161: 4142: 4123: 4104: 4085: 4066: 4047: 4035:. Retrieved 4031: 4009: 3990: 3981: 3962: 3943: 3924: 3905: 3886: 3867: 3848: 3829: 3810: 3791: 3772: 3753: 3745:Bibliography 3735: 3730: 3713: 3712:Conley, T., 3708: 3696:. Retrieved 3687: 3678: 3666:. Retrieved 3657: 3648: 3639: 3630: 3621: 3612: 3604: 3596: 3586: 3581: 3572: 3568: 3559: 3555: 3547: 3543: 3533: 3528: 3518: 3513: 3503: 3498: 3488: 3483: 3475: 3471: 3461: 3456: 3444: 3432: 3420: 3415:, p. 5. 3408: 3396: 3384: 3372: 3352:, p. 6. 3330: 3318: 3306: 3301:, p. 4. 3294: 3282: 3270: 3258: 3246: 3234: 3222: 3210: 3198: 3186: 3174: 3162: 3150: 3138: 3126: 3114: 3102: 3090: 3078: 3051: 3039: 3027: 3015: 2988: 2976: 2971:, p. 7. 2964: 2952: 2940: 2928: 2916: 2904: 2892: 2880: 2826:Stanton 1956 2821: 2779: 2772:Johnson 2021 2767: 2755: 2743: 2731: 2719: 2707: 2665: 2653: 2641: 2629: 2624:, p. 1. 2617: 2612:, p. 1. 2605: 2593: 2581: 2542:, etymology. 2535: 2530:, p. 7. 2523: 2518:, sense 1.a. 2511: 2506:, p. 6. 2499: 2487: 2475: 2406:Auto-antonym 2382: 2380: 2354: 2349: 2345: 2343: 2301: 2299: 2295: 2282: 2276: 2267: 2258: 2246: 2225: 2217: 2215: 2209: 2202: 2193: 2187: 2183: 2179: 2171: 2166: 2140: 2138: 2131: 2121: 2115: 2113: 2103: 2092: 2088: 2081: 2075: 2071: 2067: 2065: 2057: 2055: 2041: 2023: 2008: 2001: 1993: 1988:Wechselspiel 1987: 1983: 1981: 1976: 1971: 1963: 1959: 1957: 1952: 1948: 1944: 1940: 1936: 1934: 1923: 1919:Franz Gareis 1917:Portrait by 1892:Frühromantik 1891: 1889: 1877: 1859: 1854: 1851: 1842: 1837: 1832: 1828: 1819: 1817: 1698:Glossophobia 1670: 1589:Constitutive 1548: 1538: 1528: 1518: 1508: 1498: 1488: 1478: 1468: 1458: 1448: 1438: 1428: 1418: 1408: 1398: 1388: 1378: 1368: 1358: 1348: 1172:Rhetoricians 1085:Stump speech 1002:Invitational 955: 940:Dissoi logoi 938: 917:Deliberative 909:Controversia 907: 870: 863: 837: 830: 823: 796: 789: 777:Pronuntiatio 775: 768: 761: 754: 747: 706: 694: 685: 668: 661: 644: 615: 577:Ancient Rome 476: 470: 442: 438: 434: 430: 428: 415: 395: 391: 387: 385: 375: 371: 368: 344: 339: 338: 330:Thomas Hardy 326:Cosmic irony 325: 324: 320:Tragic irony 319: 315: 310: 309: 288: 285:Verbal irony 284: 283: 278: 274: 270: 266: 263:cosmic irony 262: 258: 255:verbal irony 254: 251: 239: 223: 218: 207: 206:In the 1906 205: 188: 184: 178: 162: 157: 137: 136:, the Latin 131: 125: 119: 112: 106: 103:Aristophanes 94: 90: 88: 79: 62: 61: 36: 6786:Catachresis 6771:Antonomasia 6766:Antiphrasis 6708:Parallelism 6658:Epanalepsis 6621:Aposiopesis 6601:Anadiplosis 6533:Tellability 6499:Metafiction 6494:Narratology 6266:Theological 6158:Pop culture 6039:Short story 6017:Epic poetry 5738:Time travel 5551:Red herring 5536:Plot device 5507:Frame story 5460:Cliffhanger 5403:Tritagonist 5378:Protagonist 5127:Documentary 5123:(dry humor) 5086:Alternative 5064:Teen sitcom 4957:Opera buffa 4932:Light music 4927:Comedy club 4877:Tragicomedy 4842:Shadow play 4219:"Irony, n." 4037:21 December 3792:Ironic Life 3517:Nicol, B., 3502:Waugh, P., 3449:Muecke 2023 3335:Bubner 2003 3323:Bubner 2003 3311:Inwood 1992 3299:Beiser 2006 3275:Beiser 2006 3179:Beiser 2006 3167:Beiser 2006 3143:Bubner 2003 3131:Beiser 2006 3119:Beiser 2006 3107:Beiser 2006 3095:Beiser 2006 3083:Muecke 2023 3056:Muecke 2023 2957:Muecke 2023 2945:Muecke 2023 2933:Muecke 2023 2921:Muecke 2023 2909:Muecke 2023 2897:Muecke 2023 2885:Muecke 2023 2873:Muecke 2023 2841:Hirsch 2014 2784:Hirsch 2014 2760:Hirsch 2014 2748:Muecke 2023 2736:Cuddon 2013 2724:Hirsch 2014 2670:Muecke 2023 2658:Muecke 2023 2646:Fowler 1994 2586:Muecke 2023 2574:Cuddon 2013 2383:incongruous 2222:John Fowles 2174:metafiction 2172:Similarly, 2128:Peter Weiss 2117:Don Quixote 2040:Unfinished 2026:Kierkegaard 2015:dialectical 1778:Wooden iron 1738:Rhetrickery 1713:Oral skills 1649:Composition 1584:Contrastive 1404:(c. 350 BC) 1394:(c. 350 BC) 1384:(c. 350 BC) 1374:(c. 350 BC) 1364:(c. 370 BC) 1224:Demosthenes 1204:Brueggemann 1139:Ideological 990:Homiletics‎ 903:Declamation 893:Apologetics 743:Five canons 611:Renaissance 594:Middle Ages 297:Bolingbroke 242:Wayne Booth 185:Ironic Life 134:Renaissance 6934:Categories 6914:Synecdoche 6818:Dysphemism 6791:Ecphonesis 6781:Apostrophe 6723:Spoonerism 6713:Polyptoton 6693:Hyperbaton 6668:Epistrophe 6653:Consonance 6616:Antithesis 6419:Continuity 6288:Nonfiction 6252:Underwater 6148:Picaresque 6123:Historical 6108:Epistolary 5980:Fairy tale 5891:Peripeteia 5873:Exposition 5629:Dreamworld 5571:Stereotype 5541:Plot twist 5289:Antagonist 5034:Television 4937:Music hall 4882:Vaudeville 4803:Macchietta 4793:Double act 4702:Indonesia 4696:Mo lei tau 4692:Hong Kong 4686:Xiangsheng 4557:Remarriage 4466:Visual gag 4456:Punch line 4451:Prank call 3263:Frank 2004 3251:Frank 2004 3239:Frank 2004 3227:Frank 2004 3215:Frank 2004 3203:Frank 2004 3191:Frank 2004 3155:Frank 2004 3044:Booth 1974 3032:Booth 1974 3020:Booth 1974 3008:Booth 1974 2993:Booth 1974 2981:Booth 1974 2969:Booth 1974 2685:Booth 1974 2634:Kreuz 2020 2598:Booth 1974 2453:References 2446:Post-irony 2330:jocularity 2133:Marat/Sade 2104:vita digna 2004:postmodern 1972:Aufblitzen 1864:and other 1634:Technology 1624:Procedural 1444:(c. 50 BC) 1430:De Oratore 1294:Quintilian 1289:Protagoras 1144:Metaphoric 1068:Propaganda 951:Epideictic 865:Sotto voce 819:Persuasion 814:Operations 756:Dispositio 652:Chironomia 183:opens his 150:Quintilian 132:Until the 99:Old Comedy 18:Ironically 6919:Tautology 6845:Apophasis 6823:Euphemism 6806:Hyperbole 6796:Ekphrasis 6688:Hypallage 6678:Hendiadys 6673:Epizeuxis 6663:Epiphrase 6631:Asyndeton 6626:Assonance 6310:Narration 6259:Superhero 6183:Chivalric 6168:Religious 6153:Political 6088:Adventure 6073:Biography 5995:Tall tale 5843:Structure 5828:Symbolism 5796:Narration 5696:Leitmotif 5624:Crossover 5619:Backstory 5576:Story arc 5526:MacGuffin 5497:Flashback 5438:Backstory 5314:Confidant 5294:Archenemy 5281:Character 5273:Narrative 5181:Slapstick 5106:Christian 5101:Character 5078:Subgenres 4893:and dance 4813:Pantomime 4599:Slapstick 4572:Screwball 4476:Word play 4012:. Wiley. 3550:, "irony" 3532:Fowler's 3287:Rush 2016 2492:Frye 1990 2416:Hypocrisy 2401:Apophasis 2314:hyperbole 2157:Coleridge 2084:genuinely 2052:, c. 1840 1941:poiētikós 1748:Seduction 1579:Cognitive 1567:Subfields 1494:(100–400) 1249:Isocrates 1189:Augustine 1179:Aristotle 1154:Narrative 1104:Criticism 1049:Philippic 963:Panegyric 946:Elocution 927:Dialectic 847:Situation 708:Facilitas 702:Enthymeme 681:Eloquence 663:Delectare 491:delight". 478:King Lear 374:and four 301:hyperbole 85:Etymology 6882:Pleonasm 6872:Oxymoron 6867:Metonymy 6862:Metaphor 6835:Innuendo 6811:Adynaton 6776:Aphorism 6761:Allusion 6756:Allegory 6728:Symploce 6703:Isocolon 6636:Chiasmus 6606:Anaphora 6516:Glossary 6511:Rhetoric 6318:Diegesis 6298:Creative 6271:Thriller 6220:Southern 6138:Paranoid 6133:Nautical 6044:Vignette 6002:Gamebook 5970:Folklore 5877:Protasis 5756:Allegory 5701:Metaphor 5659:parallel 5654:universe 5634:Dystopia 5591:Suspense 5477:Dialogue 5465:Conflict 5373:Narrator 5345:Hamartia 5221:Category 5156:Physical 4967:Operetta 4741:Sarugaku 4609:Thriller 4501:American 4421:Humorist 4391:Comedian 3720:Archived 3698:26 April 3692:Archived 3668:26 April 3662:Archived 2436:Oxymoron 2396:Accismus 2389:See also 2220:says of 2206:— 2191:— 2076:absolute 2072:negative 2068:infinite 1960:allegory 1874:Socrates 1619:Pedagogy 1599:Feminist 1370:Rhetoric 1360:Phaedrus 1354:(380 BC) 1304:Richards 1274:Perelman 1122:Pentadic 1117:Dramatic 1061:Suasoria 1039:Diatribe 980:Forensic 957:Encomium 922:Demagogy 791:Imitatio 763:Elocutio 749:Inventio 719:Informal 638:Concepts 565:Sophists 560:Calliope 550:Atticism 545:Asianism 513:Rhetoric 505:a series 503:Part of 458:Socrates 353:and the 316:contrary 229:ironist. 189:dominant 142:allegory 126:eironeia 95:εἰρωνεία 91:eironeia 52:Lysippus 44:Socrates 6950:Fiction 6857:Litotes 6850:Sarcasm 6828:Meiosis 6588:Schemes 6446:Prequel 6402:Related 6388:Present 6281:Western 6237:Science 6210:Fantasy 6178:Romance 6128:Mystery 6113:Ergodic 6078:Fiction 6034:Parable 6029:Novella 5959:Fabliau 5930:Premise 5781:Imagery 5771:Diction 5649:country 5606:Setting 5586:Subplot 5408:Villain 5361:Byronic 5193:Surreal 5121:Deadpan 5007:Hip hop 4905:Cabaret 4631:Country 4623:Theatre 4587:Mexican 4582:Italian 4562:Romance 4537:Fantasy 4516:Italian 4506:British 4494:Country 4228:Jan 23, 3738:, 1926. 2441:Paradox 2421:Ironism 2310:sarcasm 2302:sarcasm 2268:Sarcasm 2249:sarcasm 2243:Sarcasm 2153:Carlyle 1984:Wechsel 1868:and in 1664:Related 1639:Therapy 1629:Science 1594:Digital 1474:(c. 50) 1464:(46 BC) 1454:(46 BC) 1434:(55 BC) 1424:(80 BC) 1414:(84 BC) 1350:Gorgias 1319:Toulmin 1314:Tacitus 1264:McLuhan 1239:Gorgias 1234:Erasmus 1229:Derrida 1194:Bakhtin 1184:Aspasia 1149:Mimesis 1112:Cluster 1044:Eristic 1034:Polemic 1029:Oratory 1007:Lecture 770:Memoria 714:Fallacy 657:Decorum 604:Trivium 532:History 396:private 305:litotes 201:sarcasm 54:in the 6955:Humour 6945:Comedy 6909:Simile 6748:Tropes 6738:Zeugma 6733:Tmesis 6641:Climax 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