Irony in the context of "Connoisseur"

Edward Gibbon FRS (/ˈɡɪbən/; 8 May 1737 – 16 January 1794) was a British essayist, historian and politician. His most important work, The History of the Decline and Fall of the Roman Empire, published in six volumes between 1776 and 1789, is known for the quality and irony of its prose, its use of primary sources, and its polemical criticism of organized religion.

Postmodernism encompasses a variety of artistic, cultural, and philosophical movements. It emerged in the mid-20th century as a skeptical response to modernism, emphasizing the instability of meaning, rejection of universal truths, and critique of grand narratives. While its definition varies across disciplines, it commonly involves skepticism toward established norms, blending of styles, and attention to the socially constructed nature of knowledge and reality.

The term began to acquire its current range of meanings in literary criticism and architectural theory during the 1950s–1960s. In opposition to modernism's alleged self-seriousness, postmodernism is characterized by its playful use of eclectic styles and performative irony, among other features. Critics claim it supplants moral, political, and aesthetic ideals with mere style and spectacle.

Søren Aabye Kierkegaard (/ˈsɒrən ˈkɪərkəɡɑːrd/ SORR-ən KEER-kə-gard, US also /-ɡɔːr/ -⁠gor; Danish: [ˈsɶːɐn ˈɔˀˌpyˀ ˈkʰiɐ̯kəˌkɒːˀ] ; 5 May 1813 – 11 November 1855) was a Danish theologian, philosopher, poet, social critic, and religious author who is widely considered to be the first existentialist philosopher. He wrote critical texts on organized religion, Christianity, morality, ethics, psychology, love, and the philosophy of religion, displaying a fondness for metaphor, irony, and parables. Much of his philosophical work deals with the issues of how one lives as a "single individual", highlighting the importance of authenticity, personal choice and commitment, and the duty to love. Kierkegaard prioritized concrete human reality over abstract thinking.

Kierkegaard's theological work focuses on Socratic Christian ethics, the institution of the Church, the differences among purely objective proofs of Christianity, the infinite qualitative distinction between man and God, and the individual's subjective relationship to the God-Man Jesus Christ, which came through faith. Much of his work deals with Christian love. He was extremely critical of the doctrine and practice of Christianity as a state-controlled religion (Caesaropapism) like the Church of Denmark. His psychological work explored the emotions and feelings of individuals when faced with life choices. Unlike Jean-Paul Sartre and the atheistic existentialism paradigm, Kierkegaard focused on Christian existentialism.

Friedrich Wilhelm Nietzsche (15 October 1844 – 25 August 1900) was a German philosopher. He began his career as a classical philologist, turning to philosophy early in his academic career. In 1869, aged 24, Nietzsche became the youngest professor to hold the Chair of Classical Philology at the University of Basel. Plagued by health problems for most of his life, he resigned from the university in 1879, and in the following decade he completed much of his core writing. In 1889, aged 44, he suffered a collapse and thereafter a complete loss of his mental faculties, with paralysis and vascular dementia, living his remaining 11 years under the care of his family until his death. His works and his philosophy have fostered not only extensive scholarship but also much popular interest.

Nietzsche's work encompasses philosophical polemics, poetry, cultural criticism and fiction, while displaying a fondness for aphorisms and irony. Prominent elements of his philosophy include his radical critique of truth in favour of perspectivism; a genealogical critique of religion and Christian morality and a related theory of master–slave morality; the aesthetic affirmation of life in response to both the "death of God" and the profound crisis of nihilism; the notion of Apollonian and Dionysian forces; and a characterisation of the human subject as the expression of competing wills, collectively understood as the will to power. He also developed influential concepts such as the Übermensch and his doctrine of eternal return. In his later work he became increasingly preoccupied with the creative powers of the individual to overcome cultural and moral mores in pursuit of new values and aesthetic health. His body of work touched a wide range of topics, including art, philology, history, music, religion, tragedy, culture and science, and drew inspiration from Hebrew literature, Indian literature and Greek tragedy, as well as figures such as Zoroaster, Arthur Schopenhauer, Ralph Waldo Emerson, Richard Wagner, Fyodor Dostoevsky and Johann Wolfgang von Goethe.

A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means. Linguist Robert Hetzron offers the definition:

It is generally held that jokes benefit from brevity, containing no more detail than is needed to set the scene for the punchline at the end. In the case of riddle jokes or one-liners, the setting is implicitly understood, leaving only the dialogue and punchline to be verbalised. However, subverting these and other common guidelines can also be a source of humour—the shaggy dog story is an example of an anti-joke; although presented as a joke, it contains a long drawn-out narrative of time, place and character, rambles through many pointless inclusions and finally fails to deliver a punchline. Jokes are a form of humour, but not all humour is in the form of a joke. Some humorous forms which are not verbal jokes are: involuntary humour, situational humour, practical jokes, slapstick and anecdotes.

Satire is a genre of the visual, literary, and performing arts, usually in the form of fiction and less frequently non-fiction, in which vices, follies, abuses, and shortcomings are held up to ridicule, often with the intent of exposing or shaming the perceived flaws of individuals, corporations, government, or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society. Satire may also poke fun at popular themes in art and film.A prominent feature of satire is strong irony or sarcasm—"in satire, irony is militant", according to literary critic Northrop Frye— but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to question.

Satire is found in many artistic forms of expression, including internet memes, literature, plays, commentary, music, film and television shows, and media such as lyrics.

In linguistics, prosody (/ˈprɒsədi, ˈprɒz-/) is the study of elements of speech, including intonation, stress, rhythm and loudness, that occur simultaneously with individual phonetic segments: vowels and consonants. Often, prosody specifically refers to such elements, known as suprasegmentals when they extend across more than one phonetic segment.

Prosody reflects the nuanced emotional features of the speaker or of their utterances: their obvious or underlying emotional state, the form of utterance (statement, question, or command), the presence of irony or sarcasm, certain emphasis on words or morphemes, contrast, focus, and so on. Prosody displays elements of language that are not encoded by grammar, punctuation or choice of vocabulary.

As a literary genre, the chivalric romance is a type of prose and verse narrative that was popular in the noble courts of high medieval and early modern Europe. They were fantastic stories about marvel-filled adventures, often of a chivalric knight-errant portrayed as having heroic qualities, who goes on a quest. It developed further from the epics as time went on; in particular, "the emphasis on love and courtly manners distinguishes it from the chanson de geste and other kinds of epic, in which masculine military heroism predominates."

Popular literature also drew on themes of romance, but with ironic, satiric, or burlesque intent. Romances reworked legends, fairy tales, and history to suit the readers' and hearers' tastes, but by c. 1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in his novel Don Quixote. Still, the modern image of "medieval" is more influenced by the romance than by any other medieval genre, and the word medieval evokes knights, damsels in distress, dragons, and other romantic tropes.