Analisi di enunciati ironici nella lingua italiana della cultura e dei media tra la fine del XX secolo e l’inizio del XXI

Overview & Synopsis

Irony has always been in the center of a continuous debate of scholars of many different scientific disciplines. It is a game and a revolution: it overthrows the world, and transforms it. It can be present in all kinds of communication (rhetoric and artistic literature, theater and dialogue, question and silent response) and in all forms of media (web, movies, radio and the press). Over the centuries, to its original meaning, the complementary one have been added: from – firstly – ‘εἰρωνεία’, ‘eironeia’, meant a synonym of polimorphicness (‘πολυτροπία’, ‘politropìa’, and that is why ‘πολύτροπος’ — ‘politropos’, polymorphic — is used to define the genius of Ulysses, in the Odyssey), to the implication of hypocrisy, falseness and pretended ignorance and even lie; but – with Socrates – irony becomes the instrument of revealing the truth (‘ἀλήθεια’ – ‘alèteia’). However, in the classical acceptation, it remains an element which belongs to interpretation, and therefore to ‘δόξα’, ‘doxa’ (‘opinion’), rather than to ‘λόγος’, ‘lògos’ (‘word’, ‘speech’)._x000D_ An element, which should be mentioned, and which is unprecedented, is the relationship between irony and the well known theatre anthropologist Eugenio Barba’s sats (the jump). Another element that should be mentioned, is a type of irony, which – we think – up to now has never been analyzed: cultural quotation irony (a type of semasiological xenism) that is a kind of irony depending on references to a certain culture, for example to Italian culture. Hence, the proposal to this constitutes a new category of irony.