First published in 1969, The Compass of Irony is a detailed study of the nature, qualities, classifications, and significance of irony. Divided into two parts, the book offers first a general account of the formal qualities of irony and a classification of the more familiar kinds. It then explores newer forms of irony, its functions, topics, and cultural significance. A wide variety of examples are drawn from a range of different authors, such as Musil, Diderot, Schlegel, and Thomas Mann. The final chapter considers the detachment and seeming superiority of the ironist and discusses what this means for the morality of irony. The Compass of Irony will appeal to anyone with an interest in the history of irony as both a literary and a cultural phenomenon.

No detailed description available for "Perspectives of Irony on Medieval French Literature".

The edge of irony, says Linda Hutcheon, is always a social and political edge. Irony depends upon interpretation; it happens in the tricky, unpredictable space between expression and understanding. Irony's Edge is a fascinating, compulsively readable study of the myriad forms and the effects of irony. It sets out, for the first time, a sustained, clear analysis of the theory and the political contexts of irony, using a wide range of references from contemporary culture. Examples extend from Madonna to Wagner, from a clever quip in conversation to a contentious exhibition in a museum. Irony's Edge outlines and then challenges all the major existing theories of irony, providing the most comprehensive and critically challengin theory of irony to date.

Shortlisted for the 2015 Modernist Studies Association Book Prize This book shows how American literary culture in the first half of the twentieth century saw “irony” emerge as a term to describe intersections between aesthetic and political practices. Against conventional associations of irony with political withdrawal, Stratton shows how the term circulated widely in literary and popular culture to describe politically engaged forms of writing. It is a critical commonplace to acknowledge the difficulty of defining irony before stipulating a particular definition as a stable point of departure for literary, cultural, and political analysis. This book, by contrast, is the first to derive definitions of “irony” inductively, showing how writers employed it as a keyword both before and in opposition to the institutionalization of New Criticism. It focuses on writers who not only composed ironic texts but talked about irony and satire to situate their work politically: Randolph Bourne, Benjamin De Casseres, Ellen Glasgow, John Dos Passos, Ralph Ellison, and many others.

In the most comprehensive and up-to-date overview of the poetry published in Britain between the Restoration and the end of the eighteenth century, forty-four authorities from six countries survey the poetry of the age in all its richness and diversity--serious and satirical, public and private, by men and women, nobles and peasants, whether published in deluxe editions or sung on the streets. The contributors discuss poems in social contexts, poetic identities, poetic subjects, poetic form, poetic genres, poetic devices, and criticism. Even experts in eighteenth-century poetry will see familiar poems from new angles, and all readers will encounter poems they've never read before. The book is not a chronologically organized literary history, nor an encyclopaedia, nor a collection of thematically related essays; rather it is an attempt to provide a systematic overview of these poetic works, and to restore it to a position of centrality in modern criticism.

How does irony affect the evaluation and perception of the First World War both then and now? Irony and the Poetry of the First World War traces one of the major features of war poetry from the author's application as a means of disguise, criticism or psychological therapy to its perception and interpretation by the reader.

Herbert Butterfield (1900-1979) was an important British historian and religious thinker whose ideas, in particular his concept of a “Whig interpretation of history,” remain deeply influential. In this intellectual biography—the first comprehensive study of Butterfield—C.T. McIntire focuses on the creative processes that lay behind Butterfield’s intellectual accomplishments. Drawing on his investigations into Butterfield’s vast and diverse output of published and unpublished work, McIntire explores Butterfield’s ideas and methods. He describes Butterfield’s lifelong devotion to his Methodist faith and shows how his Christian spirituality animated his historical work. He also traces the theme of dissent that ran through Butterfield’s life and work, presenting a man who found himself at odds with prevailing convictions about history, morality, politics, religion, and teaching, a man who elevated the notion of dissent into an ethic of living in tension with any established system.

Yes, you can pass the AP English Literature and Composition exam with ease! Just brush the dust off your thinking cap and get a little help from AP English Literature and Composition For Dummies. It gets you up to speed on all the topics and themes of the AP exam in a focused, step-by-step manner. Beginning with an exam overview and ways to get the most out of an AP English class, this book has it all: long- and short-range planning advice, detailed chapters that discuss the four main literary genres, and two full-length practice exams — complete with detailed answer explanations and scoring guides. It helps you perfect the skills you need to get your best possible score. Two bonus appendixes provide a full list of teacher-recommended titles to choose from for the open-ended essay, as well as a quick grammar review to address the fundamentals of superior essay writing. Discover how to: Get familiar with the exam format and the types of questions you’ll face Figure out what the questions are really asking Maximize your score on multiple-choice questions Write effectively and eloquently about poetry, prose, and drama Prepare for paired passages and craft a clever open-ended essay Annotate poetry and prose like an expert Passing the AP English Literature and Composition exam doesn’t have to be torture. Get AP English Literature and Composition For Dummies and find out how easy it can be.