Relevant bibliographies by topics / Irony – fiction

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Irony – fiction'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Irony – fiction"

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Ajdačić, D. "IRONY AND FANTASY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 116–26. http://dx.doi.org/10.17721/2075-437x.2020.36.11.

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The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world – it distorts, destroys or completes, or builds new worlds, and irony already adds a different vision to the ideas and views presented, regardless of whether they are real or fictional. The terminological and literary-theoretical aspects of the use of irony in works of literary fiction are discussed in the text. Dragan Stojanović’s book “Irony and Meaning” and the author’s terms “Ironical Focus” and “Meaning Pressure” are used as a theoretical starting point. After highlighting the touchpoints of irony and fiction and their special qualities and roles, is proposed a typology of the use of irony in fiction that separates ironic actions concerning the real world, the marvelous world and problematizing the relationship between the real and the marvelous world.
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Antonyan, Zaruhi. "IRONY IN FAN FICTION." Armenian Folia Anglistika 17, no. 2 (24) (December 8, 2021): 40–52. http://dx.doi.org/10.46991/afa/2021.17.2.040.

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Irony is a broad concept with many cultural and artistic manifestations of criticism, sarcasm, humor, parody, and even tragedy. It can represent various intellectual and emotional states, such as criticism, self-criticism, curiosity, entertainment, disappointment, anger, boasting, etc. The tone, intensity and frequency of sound are sufficient to convey irony in speech. However, in writing authors use a number of linguistic and stylistic means to be able to convey irony to the reader. This also refers to fanfic (fan fiction) – a work of art/fiction written by book fans, TV series, films, etc. – which is based on an original creation and uses irony widely. The language we perceive when reading fan fiction influences our language and our own production of speech. Hence, the present case study aims at revealing ways and means as well as reasons of expressing irony in fan fiction – a discourse variety that has attracted great interest in the modern world especially among the younger generation.
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Linder, Daniel. "Translating Irony in Popular Fiction." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 2 (December 31, 2001): 97–108. http://dx.doi.org/10.1075/babel.47.2.02lin.

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Raymond Chandler published his first novel, The Big Sleep, in 1939. There are two Spanish translations of the novel, both titled El sueño eterno, one published in 1958 by Aguilar (Madrid) and the other in 1972 by Barral (Barcelona). This study analyzes irony in the two Spanish translations and concludes that both translations fail to reflect the degree of irony present in Chandler’s original, especially with respect to the translation of two key words, cute and giggle, and the dramatic effect of the novel’s climax is dampened as a consequence. Also, it is demonstrated that the 1972 version is, if not an outright plagiarism of the earlier 1958 version, at the very least a version which does not meet the criteria for originality.
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Petrova, Olga Gennadyevna. "Types of Irony in Fiction: Conceptual and Contextual Irony." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 11, no. 3 (2011): 25–30. http://dx.doi.org/10.18500/1817-7115-2011-11-3-25-30.

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Wojciechowska, Sylwia Janina. "Politics and the Inadequacy of Words in Joseph Conrad’s Non-Fiction." Multidisciplinary Journal of School Education 10, no. 1 (19) (June 8, 2021): 47–64. http://dx.doi.org/10.35765/mjse.2021.1019.03.

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The Polish-born English novelist, Joseph Conrad, once challenged the general public with a statement which stigmatized the printed word in wartime coverage as being cold, silent, and colorless. The aim of this article is to investigate the manner in which the writer himself applied words in his wartime non-fictional works in order to bestow a lasting effect on his texts. It is argued that irony renders his non-fiction memorable. Thus, the focus is first placed on the manner in which irony features in Conrad’s political essays, collected in Notes on Life and Letters, from 1921. It is argued that irony applied in his non-fiction represents what Wayne C. Booth termed stable irony. Further, it is claimed that, as a spokesman for a non-existent country, Conrad succeeded in transposing the Polish perspective into a discourse familiar to the British public. This seems possible due to the application of the concept of the body politic and the deployment of Gothic imagery. Finally, the paper examines the manner in which words are effectively used to voice the stance of a moralist on truth and the lie of the printed word in the turbulent times around the end of the 19th century.
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Gautam, Bimal. "Subversive Humanism in Manto’s Partition Fiction." Interdisciplinary Journal of Innovation in Nepalese Academia 1, no. 1 (December 31, 2022): 79–86. http://dx.doi.org/10.3126/idjina.v1i1.51970.

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Ironizing the violence to convey the political message about minority, Saadat Hasan Monto uses humanistic radical irony as a vehicle for political commentary by demystifying the politics of the representation of violence in official texts of both modern India and Pakistan. Partition affected every sector of human affairs badly. So, partition stories depict the irreplaceable loss displacement, dispossession, abduction, rape, painful death and other forms of violence that common people suffered from all three communities: Hindu, Sikh and Muslim. Manto counts the prime position who dealt with reality of the existing violence by showing it at various levels as familial, social, economic, political, religious others. In that course Manto also subverts the limited and biased notion of partition, which took partition of India as only the partition of territory and people. In the light of Hutcheon’s notion of ‘radical use of irony’, I argue that Manto’s use of irony in “Cold Meat” and “Open it” shows the utter cruelty of the people in power and authority at the time of partition violence and humanity shown by the marginalized section of society. His writing encapsulates his empathy for the victims and his belief in the essential goodness of humanity. The humanity that shines through in his writings about the down-trodden people living in the fringes of society, and the victims of partition violence of 1947 are an integral part of his stories.
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Qusnaini, Asmaul, M. Misbahul Amri, and Inayatul Fariha. "Problematizing Situational Irony: A Critical Study on Hardy’s An Imaginative Woman." JoLLA: Journal of Language, Literature, and Arts 1, no. 11 (November 30, 2021): 1607–26. http://dx.doi.org/10.17977/um064v1i112021p1607-1626.

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Abstract: The purpose of this paper is to comprehend how situational irony in Thomas Hardy’s short fiction entitled An Imaginative Woman conceptualized a tension of irony in readers’ perceptiveness. To this aim, this study tries to examine the relation among aspects: the story plot, characterizations, focalizations, and narrator’s comments. The narration of this short story shows there are two representation levels of irony: (1) the story level which contains: the sequence of Ella’s ironic events and portrayal of victimized characters; (2) the narrative level consists of: numerous focalizations that are entangled with formulation of perspective and narrator’s intrusive comments that becomes the embodiment of narrator’s unreliability. This paper suggests that situational irony signifies the dynamic strategy of narrative in order to manifest the tension of irony within the story and its representation. Additionally, this strategy emphasizes readers’ compatibility with the irony of the narrative. Keywords: narrative; situational irony; focalization; intrusive narrator Abstrak: Makalah ini bertujuan untuk memahami bagaimana ironi situasional dalam cerita pendek An Imaginative Woman karya Thomas Hardy mengkonseptualisasikan ketegangan ironi dalam persepsi pembaca. Untuk itu, penelitian ini mencoba mengkaji secara kritis hubungan antar aspek berikut: alur cerita, penokohan, fokalisasi, dan komentar narator. Narasi cerpen ini menunjukkan terdapat dua tingkat dalam representasi ironi: (1) tingkat cerita, yakni memuat: urutan peristiwa ironis yang terjadi terhadap Ella dan penggambaran karakter yang dijadikan korban; (2) tingkat naratif, terdiri dari: beberapa macam fokalisasi yang berhubungan dengan perumusan perspektif dan komentar narator yang mengganggu sebagai perwujudan ketidakpercayaan pada narator. Makalah ini menunjukkan bahwa ironi situasional menandakan kedinamisan strategi dalam narasi dalam mewujudkan ketegangan ironi baik di dalam cerita maupun cara merepresentasikan cerita. Selain itu, strategi ini menekankan kompatibilitas pembaca yang berperan penting untuk menjangkau ironi narasi. Kata kunci: naratif; ironi situasional; fokalisasi; intrusi narrator
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Мadina H., Tokmakova, and Bizhoev Boris Ch. "Irony in the emotive vocabulary of the Kabardian-Circassian language." Kavkazologiya 2024, no. 1 (March 30, 2024): 317–33. http://dx.doi.org/10.31143/2542-212x-2024-1-317-333.

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This article explores irony in the emotive vocabulary of the Kabardian-Circassian language. The connection between the expression and perception of irony and the cultural prerequisites of socie-ty has been noted. The dual function performed by irony in emotive vocabulary is noted. Using examples from Kabardian fiction, the main ways and means of expressing irony (metaphor, hy-perbolic comparison, personification, various stylistic figures, graphic symbols), its types (irony, self-irony, author’s irony) are considered. Mention is made of the frequent proximity of irony to lies and their use in manipulation. It is shown how in emotive texts the implementation of diction-ary emotive semantics occurs, but most often how vocabulary units not marked with emotivity “acquire” emotive-connotative meanings. The influence of irony on the development of metaphor-ical meanings of polysemantic words and enantiosemy has been revealed.
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KUZNETSOVA, E. V. "REPRESENTATIONS OF IRONY IN ARTISTIC TEXT." HUMANITARIAN RESEARCHES 4, no. 80 (2021): 148–52. http://dx.doi.org/10.21672/1818-4936-2021-80-4-148-152.

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The interpretation of irony in works of art, as well as the disclosure of the mechanism of its action, are not without difficulties. Irony is often quite difficult to understand, especially in the works of fiction by foreign writers. The question of the context necessary for the functioning and implementation of irony also remains unresolved. Obviously, an ironic message can be localized in one word at the lexical level, but there is no single answer to the question of whether it can be read in the context of the entire work. This raises the problem of interpreting the context of irony.
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Eiríksdóttir, Sigrún A. "Some Examples of Irony in Carpentier's Earlier Fiction." Chasqui 16, no. 2/3 (1987): 3. http://dx.doi.org/10.2307/29739992.

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Dissertations / Theses on the topic "Irony – fiction"

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Green, Thomas Andrew 1953. "Irony and Indians: A collection of original fiction." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291722.

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The last in a long line of Mesoamerican cultures, the Aztecs massed in the metropolis of Tenochtitlan-Tlatelolco and neighboring cities in the Valley of Mexico, with bureaucracies and royal houses as cosmopolitan as those of their eventual conquerors, the Spaniards. In North America, however, tribal cultures developed organizations based not on the state, but on kin and family relations. The basis of this paper is a comparison of the values fostered by tribalism and those propounded by bureaucracy, whether Mexican or European or even Ming Chinese. The method employed is that of a series of six short pieces of original fiction (one for each of the cardinal points, one for Father Sky, and one for Mother Earth), based on research into the world-views of North American Indian cultures and tribal experiences, and which may be construed as a critique of the notion of the universality of human values.
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Lauen, Douglas. "Oedipus Fallen: Irony in the Fiction of Milan Kundera." Oberlin College Honors Theses / OhioLINK, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397227893.

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Roienko, L. V. "Comicality and the nature of irony formation in the fiction texts." Thesis, Університет Григорія Сковороди в Переяславі, 2020. https://er.knutd.edu.ua/handle/123456789/16300.

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У статті досліджуються особливості комічного та певні його типи (іронія, сатира, сарказм) в тексті художньої літератури. Значна уваги приділяється аналізу основних аспектів іронії, її рис і фунцій у тексті. З’ясовуються засоби релізації іронії у текстах художньої літератури.
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Merican, Fadillah Fatima. "The fiction of Ruth Prawer Jhabvala : irony within a dual philosophical framework." Thesis, University of Hull, 1990. http://hydra.hull.ac.uk/resources/hull:12767.

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The thesis examines how Ruth Prawer Jhabvala, writing from the ironic perspective of the rootless, displaced European writer, utilises a dual framework of Hindu philosophy and religious tradition, and Platonic thought on Love to augment the .ironic narrative of her Indian and Western novels. The framework is discerned in allusions as well as fluid suggestions and associations to the Bhagavad Gita, The Symposium, moral precepts, ideals, cultural norms, myth and folk-tales. Northrop Frye's schema for narrative fiction as developed in Anatomy of Criticism provides a useful theoretical basis for the study. In particular the phases or literary structures of the comic and ironic mythoi, together with the typical traditional characters of comedy and irony - the deceiving and self-deceived alazon, the self-deprecating eiron and the scapegoat, the pharmakos - facilitate a grouping of the novels that corresponds to Jhabvala's darkening ironic viewpoint. The moral paradigms that operate in each novel are integrated with the particular features of the ironic mythos it manifests,to highlight the discrepancy be tween i deal and reality, between what is hoped for and what is achieved. The analysis traces how the Hindu frame work enhances the workings of Jhabvala's irony in the first two groups of ironic comedies and comic ironies. In the group of later and darker ironies, Hindu and Platonic ideas are ironic foils t o the quests of Western spiritual seekers in India. Finally in the two Western novels the hopeless search for Love and Beauty features ironic parallels to and inversions of Platonic and classical ideals and archetypes. The thesis is thus primarily a close reading of Jhabvala's ironic fiction. It also offers a perspective on contemporary fiction; as the work of the initiated - outsider her Indian writing suggests a contrast to that of new literatures in English which call upon cultural and traditional heritage mainly to highlight national identity and vitality.
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Geertsema, Johan Hendrik. "Irony and otherness : a study of some recent South African narrative fiction." Doctoral thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17592.

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Bibliography: pages 277-290.
This study considers the relation between irony and otherness. Chapter 2 shows that there is little agreement on the politics of irony in critical discussions. Nevertheless, irony and otherness do appear to be linked in many of these discussions. Chapter 3 offers a consideration of Emmanuel Levinas's conception of ethics in terms of his understanding of the other as face and trace. The tendency of language to foreclose on otherness by reducing it must be interrupted, while otherness must, nonetheless, be Said. The chapter concludes with an attempt to relate Levinas's conception of otherness - as the interruption of conceptualising otherness - to Paul de Man's conception of irony as permanent parabasis in terms of the tropes of prosopopoeia and catachresis. Any representation of the other must be interrupted continually as it is a prosopopoeia of otherness (in that it gives otherness a face) and therefore a catachresis (for the other has no face and must be given one). The task with which the (reading) self is faced is ironic in that it consists at once of positing and interrupting the face given to the other. Chapters 4, 5 and 6 are attempts at reading the interplay of irony and otherness in selected recent South African fiction. Van Heerden's Kikoejoe, as an allegory of the refusal to narrativise otherness, is read as being caught in the double bind of irony; Matlou's Life at Home is read as a text intimating an otherness at the heart of domesticity and within the reader; and, finally, Coetzee's Age of Iron is read as a text in which confession is the nexus of the relation between irony and otherness. This study brackets the political in order to examine the relationship between irony and otherness from the vantage point of Levinas's 'conception' of the other. The task remains to consider whether it is possible to approach irony ethically, or ethics ironically, and to consider the political ramifications of the relation between irony and otherness postulated in this study.
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Cattell, Victoria Fayrer. "Irony and alazony in the English Künstlerroman." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65961.

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Sijnja, Jennifer. "Apprehensive Irony and Disappearing Communities in the War Fiction of Ernest Hemingway, Evelyn Waugh and Joseph Heller." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17740.

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This study seeks to excavate a certain line of irony running through the war fiction of Ernest Hemingway, Evelyn Waugh, and Joseph Heller. Bookended by brief engagements with Stephen Crane’s The Red Badge of Courage (1895) and Thomas Pynchon’s Gravity’s Rainbow (1973), the study of Hemingway’s The Sun Also Rises (1926) and A Farewell to Arms (1929), Waugh’s Put Out More Flags (1942) and Sword of Honour trilogy (1965), and Heller’s Catch-22 (1961) seeks to map out the emergence of a kind of irony that is best understood to function as a mode of apprehension. As the publication dates of these novels would suggest, my concern relates predominantly to the literature produced after the First and Second World Wars; all three men saw war firsthand, and in this way theirs is also a kind of experiential irony. At the same time as the work traces the emergence of this mode of irony, it also argues that a concurrent decline in the existence of sympathetic communities formed around shared experiences (what Linda Hutcheon calls “discursive communities”) took place – a decline which served to unsettle the successful transmission of irony. The fate of the individual in wartime at times appears to be closely bound to their participation in a series of these communities, and protagonists like Jake Barnes, Frederic Henry, Basil Seal, Guy Crouchback, and John Yossarian each demonstrate a different level of cohesion with the social group – with differing results. Woven through the analysis is a consideration of the inheritance of this line of irony, with an unexpected outcome being the emergence of the curious kinship of Hemingway and Waugh. Ultimately this project will contribute to the vastly dynamic area of irony studies. With its specific focus on the use of irony in war fiction born out of the two great global conflicts of the twentieth century, this thesis offers an exploratory reading of a historically contingent mode of irony that is used to such devastating effect in the novels listed above, and that underwrites the fraught and fractured character of ironic discourse in a postmodern world.
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S'hiri, Sonia. "Verbal irony in literary discourse : a pragmatic-stylistic study with particular emphasis on contemporary narrative fiction." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/29363.

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This thesis attempts to shed new light on the functioning of verbal irony in literary discourse and contemporary narrative fiction in particular, adopting a pragmatic stylistic approach to the topic. It argues in favour of Sperber and Wilson's pragmatic account of verbal irony which it deems extendable and generalisable, despite its two main shortcomings concerned with the basically one-to-one situation analysis it offers and its disregard for components (of a psycho-sociolinguistic nature) which are essential for explaining and securing the existence of irony. The defence of this argument follows two steps. The first (Chs. I, II, III, IV) is concerned with the exploration of the potential that discourse as a whole and literary discourse in particular offer for warranting such a view of irony. Tremendous support has been unravelled from the notions of intertextuality, recontextualisation and re-attribution which readily accommodate the proposed view of irony and help to elucidate it. The second step explores irony in contemporary narrative fiction taking into consideration aspects of its discourse, and the way it can be reconciled with Sperber and Wilson's account. Chapter V singles out some paratextual elements (the title, the epigraph and the note) as instantiating intertextuality par excellence and therefore offering a fertile ground for the communication of irony, at the periphery of the body of the fictional text. Chapters VI and VII scrutinise the organisation of the narrative both as report of events and as report of speech in order to single out the potential each narrative technique offers for the generation and comprehension of irony. It is argued that the duplicity between 'story' and 'discourse' is at the heart of a great deal of the possibilities open for irony in narrative fiction given what it offers for the manipulation of the organisation of the events in terms of time, focalisation and narration as well as speech and thought presentation. This investigation is further accompanied by an exploration of the pragmatic or rhetorical purposes behind the use of irony through the manipulation of these techniques. Characterisation, thematic reinforcement and self-conscious criticism are found to be the elements of narrative that seem to benefit most from ironic communication.
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Barker, Debra Kay Stoner. "Ironic designs in the exotic short fiction of W. Somerset Maugham." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/558342.

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This study analyzes the expression of Maugham's ironic vision in his short stories set in the South Seas and Southeast Asia. Through point of view, setting, character, and plot, Maugham explores the dialectic of expectation outcome, hope-disappointment, and illusion-reality. In the exotic short stories, not only do Maugham's characters confront this dialectic, but readers do as well. Using irony as a heuristic, Maugham prods his readers into rethinking unexamined assumptions about human nature and about the often disillusioning repercussions of clinging to ideals or having unrealistic expectations of life.The narrative voice in Maugham's stories, whether that of the omniscient or the dramatized first-person narrator, draws attention to the discrepancy between the ideal and the actual, using irony to highlight characterization as people are shown to be something other than they might be or what they are. Further, the narrators also establish a context for irony by inviting readers to share their insights on characters and conflicts, thereby emphasizing their distance from the characters who speak and act in ignorance of the actual state of affairs.Relying upon the conventions of realism, which assumes that man may find his destiny shaped by his responses to an environment, and using that environment to achieve artistic ends, Maugham demonstrates that setting generates irony as it precipitates tension, conflict, and sudden revelations of character. In other instances, the irony grows from Maugham's explorations of his characters' expectations of the exotic settings, suggesting that the tropical paradises are places of nightmares, as well as dreams.The volatile combination of setting and character often erupts in shocking plot reversals that have become the hallmark of Maugham's narrative techniques. The ironies of plot surface as characters and the first-person narrators confront realities that have been hidden or that have been denied. In many cases, the characters and the narrators have allowed their ideals or expectations to mislead them or cloud their judgment. Other plot ironies occur with the frame stories, as the narrators connect the fictive world of the story to the factual world of the reader, thus juxtaposing the ironic dialectic of reality and fiction.Throughout the exotic short stories, the designs of Maugham's narrative technique suggest that irony effectively expresses his philosophic stance on the ambiguity of human motives and the futility of idealism.
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Uddén, Anna. "Veils of irony : the development of narrative technique in women's novels of the 1790s /." Uppsala : S. Academiae Ubsaliensis : Distributor, Uppsala University Library, 2000. http://bibpurl.oclc.org/web/31295.

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Books on the topic "Irony – fiction"

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Thompson, Gary Richard. Poe's fiction: Romantic irony in the Gothic tales. Madison, Wis: University of Wisconsin Press, 1988.

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Shaken wisdom: Irony and meaning in postcolonial African fiction. Charlottesville: University of Virginia Press, 2011.

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1938-, Burgess Mary Wickizer, ed. An irony of fate: The fiction of William March. San Bernardino, Calif: Borgo Press, 1994.

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Stone, Jim. Stranger than fiction. Syracuse, N.Y: Light Work, 1993.

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Meakin, David. Hermetic fictions: Alchemy and irony in the novel. Keele, Staffordshire: Keele University Press, 1995.

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Catalan, Zelma. The politics of irony in Thackeray's mature fiction: Vanity fair, The history of Henry Esmond, The Newcomes. Sofii︠a︡: St. Kliment Okhridski, 2009.

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Wang, Ban. Narrative perspective and irony in selected Chinese and American fiction. Lewiston, N.Y: Edwin Mellen, 2002.

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Kamanga, Brighton J. Uledi. Cracks in the wall: Nadine Gordimer's fiction and the irony of apartheid. Trenton, NJ: Africa World Press, 2002.

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Urey, Diane F. Galdós and the irony of language. Cambridge: Cambridge University Press, 2005.

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Vendeuvre, Isabelle de. Satire et fiction dans les oeuvres de Marcel Proust et de Henry James. Paris: Classiques Garnier, 2019.

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Book chapters on the topic "Irony – fiction"

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Holterhoff, Kate. "From Visual Irony to Caricature." In Illustration in Fin-de-Siècle Transatlantic Romance Fiction, 55–94. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003017684-3.

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Matić, Andrija. "Irony, Popular Art, and Progressive Education in Little Mexican." In Aldous Huxley's Short Fiction, 61–81. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-55775-0_4.

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Horsley, Lee. "Irony as Historical Realism: Conrad’s Under Western Eyes." In Political Fiction and the Historical Imagination, 90–122. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-11055-1_4.

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Dalley, Hamish. "Temporal Systems in Representations of the Past: Distance, Freedom and Irony in Historical Fiction." In Reading Historical Fiction, 33–49. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291547_3.

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Henstra, Sarah. "Melancholia, Group Psychology, Irony: Psychoanalytic Foundations." In The Counter-Memorial Impulse in Twentieth-Century English Fiction, 20–39. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230297357_2.

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Ward, Geoff. "‘The Strength of Applied Irony’: James’s ‘The Altar of the Dead’." In Henry James The Shorter Fiction, 60–76. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25371-5_4.

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Smith, Rowland. "Black and White in Grey: Irony and Judgement in Gordimer’s Fiction." In The Later Fiction of Nadine Gordimer, 45–58. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22682-5_4.

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Freedman, Ariela. "Empathy, Irony, and Humanitarian Witness in The Photographer." In Making Humanitarian Crises, 127–45. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-00824-5_6.

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AbstractIn recent years, graphic journalism has become an increasingly prominent medium for exploring the affective dimensions of representing humanitarian images. How are emotions—pain, terror, pathos—represented through graphic narrative, and in which ways are emotions differently engaged by an audience when drawn? In this chapter I examine Le Photographe (Dupuis), a hybrid non-fiction account of a 1986 Médicins sans Frontières mission to Afghanistan. Le Photographe responds to Susan Sontag’s critique of the floating and contextless quality of war photography with dialogue and captions that tether the images to meaning, through remediation in drawing and narrative, and through emphasis on the emotional journey of the photographer in the war zone, from uncertainty and anxiety to empathy and disillusionment.
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Selinger, Eric Murphy. "Disenchantment and its discontents: “modern love” and irony in popular romance fiction." In The Routledge Companion to Romantic Love, 385–401. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003022343-30.

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Sealy Lynch, Rachael. "The Lingering and “The Dead”: Illusion and Irony in Early Twentieth-Century Irish Fiction." In New Directions in Irish and Irish American Literature, 133–59. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-40345-3_5.

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Conference papers on the topic "Irony – fiction"

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Kuzmina, Luiza, and Elena Remchukova. "RUSSIAN CLASSICAL LITERATURE TEXT AS A PRECEDENT PHENOMENON OF THE MODERN MEDIA SPACE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/18.

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The article is devoted to the functioning features of precedent texts in modern media discourse. Texts by F.M. Dostoevsky, namely, fiction, journalism and epistolary heritage, served as the research material. The relevance of the study is explained by the intertextual nature of the modern media space. The article shows that along with the use of Dostoevsky's precedent texts as signs of high culture, the modern media space also actively manifests the features of the postmodern cultural paradigm. The specifics of the latter include metatextuality, irony, various kinds of transformation, e.g., in headlines, which indicates their game foregrounding. Special attention is paid, firstly, to various types of intertextuality and ways of precedent phenomena foregrounding; secondly, to their use in various media areas (advertising, urban naming) and genres (interviews, internet blogs, etc.). The problem of recoding precedent phenomena is considered against the background of the use of signs of high culture as a form of reflection of modern mass consciousness in modern media communication, which is of research interest from an axiological point of view.
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