Irony In Satire

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Irony as a Trap: A Polling Device for Socio-Political Awareness
This text explores how irony functions in the field of art and beyond, driven by and based on the current socio-political situation. The functionality of irony considered as a device is analyzed and tested on/ applied in four different cases while the potential power of a political (de)stabilization of this device is highlighted. The cases are chosen in accordance with the controversial relation between anticipation and contingency, intention and result, whose gap is where irony emerges. Irony is employed as a trap, and such traps as a prism through which to view the present socio-political context.
Working as a Greek artist during a period of heightened
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They are often accused of reinforcing the very status quo they are opposed to instead of subverting it. As Pills and Gallia Kollectiv write: “ Ironic distance is ambiguous. It grounds both critique and detached resignation to the status quo.” 25 Their opinion about those practises is that the way in which irony is used in contemporary art: through imitation, identification and exaggeration, the participants […] do not attempt to make themselves different, to demonstrate their uniqueness and their resistance to social norms. They wish, on the contrary, to get as close as possible to the image of the other, to become one with the image of ‘normalising’ institutions.” 26
In that case this image could be just one more representational form of political art. 27 Having this as strategy is it possible to make a critic, to preach to the converted?
Although the same Kollective supports overidentification as a political form of resistance, they find necessary to redefine the way irony used in overidentification and to expand the term overidentification beyond art. They consider overidentification as “a special case of irony that retains a critical potential.”
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