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This thesis analyzes the reasons for Socrates&#039 / being presented as a paradoxical figure in the early dialogues of Plato. Irony as a fundamental philosophical attitude in Socratic philosophy is discussed with reference to some of the major philosophers of the history of philosophy. The thesis also suggests the possibility of seeing philosophy as an ironic activity and it traces the etymology of the concept of irony in terms of its philosophical importance.

I argue that television entertainment writers, their cultural status, and rhetorical skills are critical to national discourse and media structures. Focusing on the 2007-8 writers strike, the project analyzes videos that writers made about the conflict, showing how "rhetorical writers" used satire, complex argumentation, and knowledge of digital media to publicize writers' value. These "pro-writer" videos, online and on television, challenged media executives for primacy in entertainment industries and helped writers win the right to compensation when their work is viewed online. Exploring the histories of television writers and writing alongside technological and political changes, the project pinpoints a lineage of irreverent and ironic humor that contributed to the strike videos. This lineage of "rhetorical" writers and writing, which deconstructs cable news and media politics using satire, prepared writers for the 2007-8 strike by honing their skills in argumentation and activist community-building using satire.

The social and political function of humor in any era is to provide commentary, insight, and catharsis into the concerns facing that time. In this dissertation I investigate the role humor, particularly irony and satire, plays in informing public discourse and civic participation in the contemporary Internet age. This age is often characterized a highly mediated one with the proliferation of increasingly powerful, and increasingly mobile, media an ongoing concern of communication scholars. Understanding how these new forms refashion public discourse to address new contexts is important. In order to understand these differences it is necessary to understand how newer media work in relation to older media. I contend this relationship can be understood through the trope of irony. More importantly irony shares a relationship to the rhetorical process of remediation, whereby newer media are placed in a dialectic relationship with older media. For rhetorical and media scholars these relationships represent an opportunity to understand new possibilities for discursive action. This dissertation provides answers to three questions. What is the relationship between irony and remediation? How can mediated texts of humor illustrate the relationships between irony and remediation? What rhetorical implications might these relationships have for communication scholars interested in civic engagement, political participation, and mass mediated public discourse?I argue that remediation, the underlying rhetorical structure of media, is ironic. This structure is best revealed through analysis of highly mediated humorous texts. To answer these questions I conduct a rhetorical analysis of several case studies using irony and remediation as guiding theoretical mechanisms. Each case study focuses on a text characterized as ironic, though not necessarily humorous. I illustrate how irony contributes to the creation of multiple, and often contradictory, meanings in a text while remediation illustrates how media forms influence the creation of increasingly fragmented texts. When combined in a rhetorical analysis these mechanisms work to reveal underlying ideological concerns prevalent in public discourse in an age of new media. The significance of these concerns, and their relationship to irony, satire, and humor is discussed. / text

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Abh.--Zürich. / Vita. Bibliography: p. 129-133.

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Orientador: Karin Volobuef / Banca: Márcia Valéria Zamboni Gobbi / Banca: Guacira Marcondes Machado Leite / Banca: Biagio D'Angelo / Banca: Rejane Cristina Rocha / Resumo: O presente trabalho concentra-se no estudo dos discursos caracterizados pela dissonância, mais especificamente, a ironia, a paródia e o riso. Em primeiro lugar, foram estudadas as especificidades de cada uma dessas modalidades e chegou-se à conclusão de que tais discursos são sempre constituídos pela tensão, pelo embate de vozes dissonantes. Em relação à ironia, trata-se de uma categoria que, além de se originar a partir da sobreposição de vozes antagônicas, provoca sensações também contraditórias naqueles que a "experimentam", a partir do momento em que ocorre. Embora também reproduza um choque e se configure como resultado de uma diferença de postura entre dois planos, a paródia distancia-se, no presente trabalho, da visão tradicional de "canto ridicularizador", funcionando, ao contrário, como uma inscrição de continuidade histórico-literária e atuando na revisão crítica de discursos anteriores. Em relação ao riso, foram privilegiadas as teorias de Schopenhauer, Baudelaire e Jean Paul, já que são estudos que proporcionam uma aproximação estrutural e filosófica entre os fenômenos do riso e os discursos irônicos e paródicos. Desse modo, tal qual a ironia e a paródia, esse riso é também fruto de uma dissonância, instaurando, ao invés da certeza, a possibilidade, em lugar do uníssono, o ambivalente. O estudo dos significativos pontos de contato entre a ironia, a paródia e o riso legitima a relevância do sujeito na decodificação desses discursos caracterizados pela ambigüidade. Assim, o receptor de textos irônicos, paródicos ou marcados pelo riso é valorizado na medida em que é julgado capaz de perceber a dissonância subjacente a esses discursos. Além desse ponto de contato entre as modalidades analisadas - o leitor - foram traçadas comparações importantes entre a paródia e a ironia romântica... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This study focuses on the study of discourses characterized by dissonance, more specifically, the irony, the parody and the laugh. At First, we studied the specifics of each one of these terms and came to the conclusion that these discourses are always made by tension by the clash of dissonant voices. In relation to the irony, this is a category that besides to originate from the overlap of antagonistic voices, provokes sensations that also contradicting on that who "experience" from the moment they occur. While also reproduce a shock and it is set as a result of a difference of attitude between two planes, the parody distances itself in this work, the traditional view of " mocked corner," working, on the contrary, as a recording of continuity historical literary and working in a critical review of previous discourses Regarding the laugh, they were inside the theories of Schopenhauer, Baudelaire and Jean Paul, as they are studies that provide a structural and philosophical approach between the phenomena of laugh and ironic and parodies discourses. Thus, as the irony and parody, that laugh is also the result of a dissonance, introducing, instead of certainty the possibility, instead of unison, the ambivalent. The study of the significant points of contact between the irony, parody and laugh legitimizes the relevance of the subject in the decoding of these discourses characterized by ambiguity. Thus, the receptor of ironic and parody texts and marked by laugh is valued as while it is judged able to understand the dissonance subjacent to these discourses. Beyond this point of contact between the modalities discussed - the reader - they were drawn important comparisons between the parody and the romantic irony, and yet, among the object categories of this study and the issue of mimesis so inviting. They chose three texts for the application of this theory: "o homem duplicado"...(Complete abstract click electronic access below) / Doutor

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