Traditional theories of sarcasm treat it as a case of a speaker's meaning the opposite of what she says. Recently, 'expressivists' have argued that sarcasm is not a type of speaker meaning at all, but merely the expression of a dissociative attitude toward an evoked thought or perspective. I argue that we should analyze sarcasm in terms of meaning inversion, as the traditional theory does; but that we need to construe 'meaning' more broadly, to include illocutionary force and evaluative attitudes (...) as well as propositional content. I distinguish four subclasses of sarcasm, individuated in terms of the target of inversion. Three of these classes raise serious challenges for a standard implicature analysis. (shrink)

Verbal irony constitutes a rough class of indirect intentional communication involving a complex interaction of language-specific and communication-general phenomena. Conversationalists use verbal irony in conjunction with paralinguistic signals such as speech prosody. Researchers examining acoustic features of speech communication usually focus on how prosodic information relates to the surface structure of utterances, and often ignore prosodic phenomena associated with implied meaning. In the case of verbal irony, there exists some debate concerning how these prosodic features manifest themselves in conversation. A (...) form-function approach can provide a valuable tool for understanding speakers' varied vocal strategies in this domain. Here I describe several ways conversationalists employ prosodic contrasts, laughter, and other speech characteristics in their attempts to communicate effectively and efficiently. The presented examples, culled from spontaneous conversation recordings, reveal just a small sample of the enormous variation in delivery styles speakers adopt when communicating with ironic language. (shrink)

This book provides a philosophical theory explicating the cognitive contribution of metaphor. Metaphor effects a transference of meaning, not between two terms, but between two structured domains of content, or ‘semantic fields’. Semantic fields, construed as necessary to a theory of word-meaning, provide the contrastive and affinitive relations that govern a term’s literal use. In a metaphoric use, these relations are projected into a second domain which is thereby reordered with significant cognitive effects. The book provides a revision and refinement (...) of ‘the semantic theory of metaphor’. Taking into account pragmatic considerations and recent linguistic and psychological studies, the book aims to forge a new understanding of the relation between metaphoric and literal meaning. It illustrates the thesis with sensitive and systematic analyses of metaphors found in literature, philosophy, science, and everyday language. Keywords:,, . (shrink)

Irony is acknowledged to be usually critical: the ironic speaker tends to exhibit an apparent positive attitude in order to communicate a negative valuation. The reverse is considered to be also possible though: the ironic speaker can praise by apparent blaming, although it seldom happens. This unbalance between the two sorts of ironic examples is the so-called asymmetry issue of irony. Here I shall deny the possibility of being ironic without criticizing — hence the asymmetry issue is an illusion. By (...) claiming that irony is always critical I suggest an even stronger claim: criticism is what distinguishes irony from the similar phenomenon of metaphor. (shrink)

"Just as philosophy begins with doubt, so also a life that may be called human begins with irony" so wrote Kierkegaard. While we commonly think of irony as a figure of speech where someone says one thing and means the opposite, the concept of irony has long played a more fundamental role in the tradition of philosophy, a role that goes back to Socrates Ð the originator and exemplar of the urbane ironic life. But what precisely is Socratic irony and (...) what relevance, if any, does it have for us today? Bernstein begins his inquiry with a critical examination of the work of two contemporary philosophers for whom irony is vital: Jonathan Lear and Richard Rorty. Despite their sharp differences, Bernstein argues that they complement one other, each exploring different aspects of ironic life. In the background of Lear’s and Rorty’s accounts stand the two great ironists: Socrates and Kierkegaard. Focusing on the competing interpretations of Socratic irony by Gregory Vlastos and Alexander Nehamas, Bernstein shows how they further develop our understanding of irony as a form of life and as an art of living. Bernstein also develops a distinctive interpretation of Kierkegaard’s famous claim that a life that may be called human begins with irony. Bernstein weaves together the insights of these thinkers to show how each contributes to a richer understanding of ironic life. He also argues that the emphasis on irony helps to restore the balance between two different philosophical traditions philosophy as a theoretical discipline concerned with getting things right and philosophy as a practical discipline that shapes how we ought to live our lives. (shrink)

Heroides 11 has long enjoyed a favourable reputation among critics, largely because Ovid appears to show a tactful restraint in his description of Canace's last moments and to refrain, for once in the Heroides, from descending into what Jacobson terms ‘nauseating mawkishness’. Despite appearances, however, Ovid's wit is not entirely extinguished in this poem, for a devastating irony accompanies the certainty of Canace's imminent death. My objective is to demonstrate the nature of this irony by adopting a methodological approach which (...) owes much to Kennedy's analysis of Heroides 1 in the light of the later books of the Odyssey. Kennedy's argument – that without knowing it Penelope is about to give her letter to its intended addressee – is based on two premises which are postulated by the epistolary mode of the poem. The first is that we are to imagine Ovid's heroines writing at a specific moment within a dramatic context; the second is that they have a specific motive for writing at that moment. In Kennedy's hands, this approach assumes the privileged position of the reader of Heroides 1 who, through access to the Odyssey, is alive to the ironies which Ovid's Penelope cannot realize. I propose to establish a similarly privileged position for the reader of Heroides 11, a position from which Canace's death can be seen to be both ill-timed and unnecessary. The key to identifying the ironic circumstances of Canace's death lies in reconstructing the background to the Canace and Macareus myth and the possible precedents which Ovid drew on in his treatment of the story. The situation is more complex than in the case of Heroides 1, however, since the literary sources familiar to Ovid and his readers have, in this instance, largely been lost to us and can only be reconstructed from fragmentary evidence. (shrink)

Heroides 11 has long enjoyed a favourable reputation among critics, largely because Ovid appears to show a tactful restraint in his description of Canace's last moments and to refrain, for once in the Heroides, from descending into what Jacobson terms ‘nauseating mawkishness’. Despite appearances, however, Ovid's wit is not entirely extinguished in this poem, for a devastating irony accompanies the certainty of Canace's imminent death. My objective is to demonstrate the nature of this irony by adopting a methodological approach which (...) owes much to Kennedy's analysis of Heroides 1 in the light of the later books of the Odyssey. Kennedy's argument – that without knowing it Penelope is about to give her letter to its intended addressee – is based on two premises which are postulated by the epistolary mode of the poem. The first is that we are to imagine Ovid's heroines writing at a specific moment within a dramatic context; the second is that they have a specific motive for writing at that moment. In Kennedy's hands, this approach assumes the privileged position of the reader of Heroides 1 who, through access to the Odyssey, is alive to the ironies which Ovid's Penelope cannot realize. I propose to establish a similarly privileged position for the reader of Heroides 11, a position from which Canace's death can be seen to be both ill-timed and unnecessary. The key to identifying the ironic circumstances of Canace's death lies in reconstructing the background to the Canace and Macareus myth and the possible precedents which Ovid drew on in his treatment of the story. The situation is more complex than in the case of Heroides 1, however, since the literary sources familiar to Ovid and his readers have, in this instance, largely been lost to us and can only be reconstructed from fragmentary evidence. (shrink)

It is raining but you don’t believe that it is raining. Imagine accepting this claim. Then you are committed to saying ‘It is raining but I don’t believe that it is raining’. This would be an ‘absurd’ thing to claim or assert, yet what you say might be true. It might be raining, while at the same time, you are completely ignorant of the state of the weather. But how can it be absurd of you to assert something about yourself (...) that might be true of you? This is Moore’s paradox as it occurs in speech. What is the source of the absurdity? And why does it strike us that a contradiction is somehow at work when there is no contradiction in the content of what is asserted? In Section 2, I describe Moore’s formulation of the paradox and evaluate his own solutions. In Section 3, I discuss Wittgenstein’s inf luence in solving the paradox. In Section 4, I discuss Shoemaker’s priority thesis that once the absurdity in belief has been explained, then this will translate into an explanation of the absurdity in assertion. In Section 5, I discuss work on omissive and commissive Moore-paradoxical assertions, i.e. those of the forms p & I don’t believe that p and p & I believe that not-p. In Section 6, I discuss work on assertions of the form p & I don’t know that p. (shrink)

It is tempting to assume that understatement and overstatement, meiosis and hyperbole, are analogous figures of speech, differing only in whether the speaker represents a quantity as larger, or as smaller, than she means to claim that it is. But these tropes have hugely different roles in conversation. Understatement is akin to irony, perhaps a species of it. Overstatement is an entirely different kettle of fish. Things get interestingly messy when we notice that to overstate how large or expensive or (...) distant something is, is to understate how small or inexpensive or close it is, and vice versa. So it may seem, anyway. I propose an account of the two tropes that counts some utterances, in their conversational contexts, as overstatements of a quantity but not understatements of the opposite quantity, and other utterances as understatements only. This account shows why understatement is closely related to irony and overstatement is not. Although overstatement and understatement (or irony) are very different, they are sometimes combined. An understatement of one quantity may be an overstatement of a different one. (shrink)

‘Irony,’ says Quintilian, is that figure of speech or trope ‘in which something contrary to what is said is to be understood’ . His formula has stood the test of time. It passes intact into Dr Johnson's dictionary . It survives virtually intact in ours:Irony is the use of words to express something other than, and especially the opposite of, [their] literal meaning.

Our attitude towards cynicism is ambivalent: On the one hand we condemn it as a character failing and a trend that is undermining political and social life; on the other hand, we are often impressed by the apparent realism and honesty of the cynic. My aim in this paper is to offer an account of cynicism that can explain both our attraction and aversion. After defending a particular conception of cynicism, I argue that most of the work in explaining the (...) fault of cynicism can be done by referring not to the cynic’s beliefs about humanity, but to the attitude cultivated as a response to that belief. This attitude is hostile to the virtues of faith, hope and charity, upon which relationships and our sense of moral community depend. In conclusion, I suggest that holding the cynical belief is itself immoral, and that cynicism is disrespectful and destructive of morality. (shrink)

This article focuses onsarcasm, for which the definitions have often been loose and confusing, integrating it into the concept ofirony. My approach is based on a large corpus of examples taken from two contemporary television-series, which help identify the wide range of linguistic processes at the core of sarcastic utterances. I present a quantitative and descriptive analysis of the main processes found in two American television-series:House M.D.andThe Big Bang Theory. The results show the intricate meanings created in sarcasm through various (...) linguistic mechanisms, such as repetition, explicitation, metonymy, metaphor, shift of focus, reasoning, and rhetorical questions. This more holistic analysis, including a broad corpus of instances and a more detailed analysis of the examples, aims to fill the unexplored gaps in more classical analyses, emphasizing the complexities and implications that can be drawn in interaction. (shrink)

This paper argues that we need to re-think the semantics/pragmatics distinction in the light of new evidence from embedding of irony. This raises a new version of the old problem of ‘embedded implicatures’. I argue that embedded irony isn’t fully explained by solutions proposed for other embedded implicatures. I first consider two strategies: weak pragmatics and strong pragmatics. These explain embedded irony as truth-conditional content. However, by trying to shoehorn irony into said-content, they raise problems of their own. I conclude (...) by considering how a modified Gricean model can explain that irony embeds qua implicature. This leads us to prefer a local implicature model. This has important consequences for how we draw the semantics/pragmatics distinction. (shrink)

John Mackie's stimulating book is a complete and clear treatise on moral theory. His writings on normative ethics-the moral principles he recommends-offer a fresh approach on a much neglected subject, and the work as a whole is undoubtedly a major contribution to modern philosophy.The author deals first with the status of ethics, arguing that there are not objective values, that morality cannot be discovered but must be made. He examines next the content of ethics, seeing morality as a functional device, (...) basically the same at all times but changing significantly in response to changes in the human condition. He sketches a practical moral system, criticizing but also borrowing from both utilitarian and absolutist views. Thirdly, the frontiers of ethics, areas of contact with psychology, metaphysics, theology, law and politcs, are explored.Throughout, his aim is to discuss a wide range of questions that are both philosophical and practical, working within a distinctive version of subjectivism-an "error" theory of the apparent objectivity of values. John Mackie has drawn on the contributions of such classic thinkers as Plato, Aristotle, Hobbes, Hume, Kant and Sidgwick, and on more recent discussions, to produce a thought-provoking account that will inspire both the general reader and the student of philosophy. (shrink)

In this paper, I argue against certain dogmas about ambivalence and alienation. Authors such as Harry Frankfurt and Christine Korsgaard demand a unity of persons that excludes ambivalence. Other philosophers such as David Velleman have criticized this demand as overblown, yet these critics, too, demand a personal unity that excludes an extreme form of ambivalence (“radical ambivalence”). I defend radical ambivalence by arguing that, to be true to oneself, one sometimes needs to be radically ambivalent. Certain dogmas about alienation are (...) even more entrenched. Allen Wood’s entry on “alienation” in the Oxford Companion to Philosophy begins as follows: “A psychological or social evil, characterized by one or another type of harmful separation, disruption or fragmentation, which sunders things that belong together.” I think that it is not true that self-alienation is necessarily “harmful.” I argue that radical ambivalence is a form of self-alienation. Thus, because faithfulness to oneself sometimes requires radical ambivalence, to be true to oneself, one sometimes needs to be alienated from oneself. (shrink)

This article provides a broad overview of the problem of irony to contemporary hermeneutics. It offers a thematic account of the effects of irony on interpretation, and argues that the problems of irony are embedded within the relation between the free play of irony and the regulative role of interpretative discourse. It argues, against hermeneutic theories such as that of Hans‐Georg Gadamer, that the “problems” which irony poses for interpretation can be seen as symptomatic of irony's identification: that irony is, (...) essentially, problematic. It argues that any account of irony needs to account for the value of irony as a problem, rather than subsuming such problems into larger models of understanding. The article explores this notion by looking at the interpretative “discourse of irony” and noting its thematic features. It is argued that the account of irony as a negation of meaning is intrinsically tied to the construction of a sovereign economy in response to the excesses of ironic possibility, but that such a construction is determined only by the stepping‐away from the initial ironic possibilities which enabled its construction. Using the work of Gadamer as an example, the article argues that this in itself does not close irony, but produces yet more irony which frustrates the interpretative act while lending itself to interpretative possibility. (shrink)

There is a frequently asked philosophical question about our ability to grasp and to predict the thoughts and feelings of other people, an ability that is these days sometimes given the unfortunate name of ‘mentalising’ or ‘mind-reading’–I say ‘unfortunate’ because it makes appear mysterious what is not mysterious. Some philosophers and psychologists argue that this ability is grounded in possession of some kind of theory or body of knowledge about how minds work. Others argue that it is grounded in our (...) capacity to take on in imagination the perspective of others; sometimes called simulating or centrally imagining another person, we entertain in our minds what the other person is thinking about and feeling: if he is thinking ‘p’ and ‘if p then q’, then we think ‘p’ and ‘if p then q’, and if he is feeling angry with someone, then we imagine feeling angry with that person. We thus recreate as well as we can in our imagination his mental life as it is ‘from the inside’. We can do this in two different ways: I can put myself in the other's shoes, simply imagining what I would do were I in his situation, or I can empathise with him, imagining being him, taking on in imagination his relevant traits and other mental dispositions; I will from now on use the term perspective-shifting to cover both of these imaginative activities. (shrink)

Taking into account pragmatic considerations and recent linguistic and psychological studies, the author forges a new understanding of the relation between metaphoric and literal meaning. The argument is illustrated with analysis of metaphors from literature, philosophy, science, and everyday language.

The Marquis de Sade is famous for his forbidden novels like _Justine, Juliette_, and the _120 Days of Sodom_. Yet, despite Sade's immense influence on philosophy and literature, his work remains relatively unknown. His novels are too long, repetitive, and violent. At last in _The Philosophy of the Marquis de Sade_, a distinguished philosopher provides a theoretical reading of Sade. Airaksinen examines Sade's claim that in order to be happy and free we must do evil things. He discusses the motivations (...) of the typical Sadean hero, who leads a life filled with perverted and extreme pleasures, such as stealing, murder, rape, and blasphemy. Secondary sources on Sade, such as Hobbes, Erasmusm, and Brillat-Savarin are analyzed, and modern studies are evaluated. _The Philosophy of the Marquis de Sade_ greatly enhances our understanding of Sade and his philosophy of pain and perversion. (shrink)

Starting from the minimal principle of generative anthropology - that human culture originates as 'the deferral of violence through representation' - the author proposes a new understanding of the fundamental concepts of metaphysics and an explanation of the historical problematic that underlies the postmodern 'end of culture.' Part I discusses the nature of paradox and the related notion of irony, as well as the fundamental concepts of being, thinking, and signification, leading to an anthropological interpretation of the origin of philosophy (...) and semiotics in Plato's Ideas. Part II develops the idea that material exchange originates in the sparagmos or violent rendering of the sacrificial victim from which each participant obtains a roughly equal portion. Examining the holocaust, the author demonstrates how postmodern dialogue becomes dominated by the rhetoric of victimage, and the culture of centrality gives way to an aesthetic of the marginal. (shrink)

The Marquis de Sade is famous for his forbidden novels like _Justine, Juliette_, and the _120 Days of Sodom_. Yet, despite Sade's immense influence on philosophy and literature, his work remains relatively unknown. His novels are too long, repetitive, and violent. At last in _The Philosophy of the Marquis de Sade_, a distinguished philosopher provides a theoretical reading of Sade. Airaksinen examines Sade's claim that in order to be happy and free we must do evil things. He discusses the motivations (...) of the typical Sadean hero, who leads a life filled with perverted and extreme pleasures, such as stealing, murder, rape, and blasphemy. Secondary sources on Sade, such as Hobbes, Erasmusm, and Brillat-Savarin are analyzed, and modern studies are evaluated. _The Philosophy of the Marquis de Sade_ greatly enhances our understanding of Sade and his philosophy of pain and perversion. (shrink)

Two rival accounts of irony claim, respectively, that pretence and echo are independently sufficient to explain central cases. After highlighting the strengths and weaknesses of these accounts, I argue that an account in which both pretence and echo play an essential role better explains these cases and serves to explain peripheral cases as well. I distinguish between “weak” and “strong” hybrid theories, and advocate an “integrated strong hybrid” account in which elements of both pretence and echo are seen as complementary (...) in a unified mechanism. I argue that the allegedly mutually exclusive elements of pretence and echo are in fact complementary aspects enriching a core structure as follows: by pretending to have a perspective/thought F, an ironic speaker U echoes a perspective/thought G. F is merely pretended, perhaps caricaturised or exaggerated, while G is real/possible. (shrink)

The act of mindreading has been recognized to have great moral and epistemic value. Unfortunately, psychological research has shown that we are naturally inaccurate at mindreading, which should worry us quite a bit. It has also been shown that when motivated to mindread well, subjects become more accurate. In this paper I argue that some kinds of artwork—specifically, those utilizing dramatic irony—can educate us as to how valuable accurate mindreading is and motivate us to try to mindread well. The primary (...) example I discuss is Alfred Hitchcock’s film Notorious. (shrink)