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Irony and Ideology in Schlegel, De Man, and Rorty

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Irony and Ideology in Schlegel, De Man, and Rorty IRONY AND IDEOLOGY IRONY AND IDEOLOGY IN SCHLEGEL, DE MAN, AND RORTY By ADAM THOMAS COLENSO CARTER A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University Doctor of Philosophy (1998) Mcmaster University (English) Hamilton, Ontario TITLE: Irony and Ideology in Schlegel, de Man, and Rorty AUTHOR: Adam Thomas Colenso Carter, B.A. (Saskatchewan), M.A. (Manitoba) SUPERVISOR: Professor David L. Clark NUMBER OF PAGES: vi, 313 ii Abstract Why have we spoken about irony so much for so long? What is at stake in the different ways it has been figured and, just as much, what is at stake in the persistence of certain figures through shifting historical contexts? This study attempts a metacritical approach to irony, one which does not so much propose a particular theory of irony or apply a particular understanding of irony to literary or cultural texts as is often done, but which takes as its object of study the discourse on irony. The lengthy history, as well as the continuing proliferation, of critical and theoretical work on irony, not to mention the frequency of its invocation in everyday discourse, invites such an approach. In particular, this work explores the relationship between irony and ideology, two terms that stand in a vexed relationship of interdependence and opposition. What this investigation establishes is that from its modern inception, the critical discourse on irony has been as much a political discourse as an aesthetic or philosophical one. I examine the ideologies underlying and informing three different attempts to theorize, or otherwise invoke and employ, the term irony; those represented by the writings of Friedrich Schlegel, Paul de Man, and Richard Rorty. On the one hand, I argue that the theory of irony partakes inextricably in the philosophy of the self, of the autonomous individual associated with a dominant tradition of liberal thought. To this extent irony iii can partake in the ideological construction of an imaginary realm of freedom that masks the subject's social and historical domination. On the other hand, I have persistently discovered, and argued for, the resistance to ideological enclosure within the discourse on irony, and the positing of a social and intersubjective character to irony. iv Acknowledgments Thanks go out in the first place to my supervisor, Professor David Clark, for his enthusiasm, patience, and encouragement throughout. Since the distant days in his graduate seminar in Critical Theory he has been key in helping me to invent a project that would combine my various interests in tropology and ideology. His careful and insightful readings of the various drafts of this thesis, as well as numerous more informal discussions about the work in progress, or not in progress, have allowed me to realize this project. I am also grateful to the thesis's external examiner, Professor Tilottama Rajan of the University of Western Ontario, for her detailed, searching, and encouraging comments, delivered both in writing and orally at the thesis defence. Thanks also to Professor Lorraine York and Professor Joseph Adamson from whom, as readers of this thesis and as professors in graduate seminars, I have benefitted greatly. I am grateful as well to the Social Sciences and Humanities Research Council, the Ontario Graduate Scholarship fund, and to McMaster University, for grants and employment to assist me in the completion of the thesis. More personally, I am grateful to my parents Roger and Mary Carter, and to my friend Marnie Rogstad, for their patience, support, and encouragement. v Con.. ten.. ts Abstract iii Acknowledgements v Introduction: Once More with Irony 1 One: From Hegel to Handwerk: Ideological Positions in the Critical Representation of Romantic Irony 23 Two: "Insurgent Government": Irony, Politics, and Nation, in Friedrich Schlegel's Fragments 53 Three: "Sclerotic Bureaucracies": Irony and Ideology in Paul de Man 125 Four: "Poeticized Culture": Richard Rorty's Liberal Ironist in the Post-Romantic Rhetorical Tradition 216 Conclusion: Hegel Redux 273 End Notes: 279 Bibliography: 305 vi Introduction Once More with Irony The last thing the ironist theorist wants or needs is a theory of ironism. Richard Rorty (Con tingency 97) ... but can one avoid theorization of irony? Paul de Man ("Concept" 165) Irony is a frequently employed term in our current critical climate, and it has enjoyed such regular employment, with overtime wages, for many years. In Tilottama Rajan's terms, irony is one of the "figures of understanding" that have been a dominant concern of critical theory, and practical criticism, since the term was revived by Friedrich Schlegel and the German Romantics, one amongst a spectrum of tropes which readers have used "to crystallise some relationship between appearance and reality, and hence between the surface and depth of the text" (Rajan 63). Curiously, in its many manifestations irony has been seen as the master trope of various literary periods, genres, and movements that critics have otherwise sought to delineate and differentiate from one another: Romanticism, the Victorian novel, modernism, and postmodernism, to name several of the major ones, but these do not exhaust the list. Numerous critics have commented on, even complained, about the term's tendency to expand beyond any useful delineation, becoming merely that which the critic wishes to call "irony." Thus, Cleanth Brooks, in a very influential statement, came close to associating irony with literariness 1 2 itself when he defined it for the New Criticism as the "qualification which the various elements in a context receive from the context" (210). Northrop Frye, claiming "not [to be] using the word ironic itself in any unfamiliar sense, though ... exploring some of its implications" (40), asserted that "we are now [1957] in an ironic phase of literature" (46), and defined that phase broadly as one in which the hero is inferior in kind and degree to his or her environment--in its final stages a world of "unrelieved bondage" (238). Though Linda Hutcheon would certainly not wish to maintain that we are still in the modernist literary phase Frye referred to as ironic, -irony returns in her writings (and the works of others such as Alan Wilde) as the defining trope of the postmodern cultural milieu. Irony is understood by Hutcheon as a radical suspensiveness between two or more terms which can be, simultaneously, a politically motivated contestation of dominant ideologies from within the terms of their own discourse ("Lightness" 70). In Hutcheon'S view, this postmodern irony is related to poststructuralist theories of the indeterminacy of language (Splitting 10). Thus in a further expansion of the term the New Princeton Encyclopedia of Poetry and Poetics notes that irony "practically coincides with the notion of deconstruction" (635), an assertion which is in fact consistent with certain of de Man's later statements concerning irony. Both the ambiguity and potential limitlessness of the concept of irony invite several responses. One might work toward a poetics of irony by delineating and defining the various kinds of irony, their spheres and effects, as D.C. Muecke has attempted to do; or in the fashion of Wayne Booth one might propose a rhetoric of irony (in the traditional sense of 3 rhetoric) studying how irony operates between interlocutors, and from this inquiry simultaneously argue for the superior quality, for critical and social discourse, of a particular kind of irony.1 Like Linda Hutcheon the critic might take irony itself as an historically shifting trope and restrict herself to examining a particular historical manifestation of the trope in some aspect: formal, aesthetic, political or otherwise. 2 Alternately, one might, after de Man, juxtapose irony and history theorizing a "total arbitrariness" ("Concept" 181) of language, named irony, that will always disrupt the narratives and metaphors through which we understand entities, such as irony and ourselves, to be historica1.3 These are invaluable approaches to irony; my own approach, in more ways than one, will be dependent upon them. Given, however, the sheer weight of the theoretical discourse on irony, not to mention the innumerable studies that employ some conception of the trope for more specific readings of literary, or more broadly cultural, texts, it would seem worthwhile to attempt, rather than a variation or a contribution to one of these projects, a metacritical approach to the very discourse on irony. Granting all the difficulties attendant upon the idea of metacriticism, difficulties which are particularly acute when discussing irony, often theorized as the self-consciousness of the impossibility of a metacritical stance, to my mind a variety of metacritical studies of different theoretical, critical, and aesthetic discourses have provided some of the most insightful contributions to critical theory over the last two decades or more.4 The lengthy history, as well as the continuing proliferation, of work on irony, not to mention the frequency of its invocation in everyday discourse, 4 would appear to make it ripe for such an approach. Why have we spoken about irony so much for so long? What is at stake in the different ways it has been figured and, just as much, what is at stake in the persistence of certain figures through shifting historical contexts? De Man may be correct when he writes: "It is not irony but the desire to understand irony that brings such a chain [irony's "infinite chain of solvents"] to a stop" ("Concept" 166). This, then, will be an attempt to read those desires and those understandings, even as they inform de Man's own writing. Joseph Dane's The Critical Mythology of Irony provides the beginnings of a metacritical approach to irony, one that will provide a starting point, and an occasional point of return, for my own very different concerns.
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