John D. Caputo and Gianni Vattimo are two of the main thinkers in continental philosophy’s return to religion. This return is accommodated by the basic theoretical framework of irony, which is predominantly an unspoken determinant upon textual meaning. In this continental sense, irony affirms and negates the subject matter that it speaks about. Adopting this framework, Caputo and Vattimo suggest that a new Christian-irony is desirable to avert a collapse back into the violence that results from metaphysics, either modern or classical, by remaining in deconstruction’s loosely held wavering between theism and atheism. The question that remains to be proven, however, is whether their ironic method of writing is not inadvertently continuing the negative effect of the Nietzschean-Heideggerian paradigm by persisting with the literary style of writing that is intrinsic to it, even while openly refuting it by their affirmative Judeo-Christian surface content.

Verbal irony, a form of figurative language, uses the discrepancy between a speaker’s intended meaning and the literal word meanings to achieve social goals. Yet, little research exists on individual differences that may disrupt irony understanding. Verbal irony may challenge shy children, who tend to interpret ambiguous stimuli as being threatening, and who have difficulties with mentalizing in social contexts. This study assessed whether shy children interpret ironic statements differently than do non-shy children. Children (8- to11-year-olds) listened to stories wherein one character made a statement to another character that was a literal or ironic criticism or a literal or ironic compliment. Children appraised the speaker’s belief and communicative intention. Shyness was assessed using self report measures of social anxiety symptoms and shy negative affect. Shy children did not differ from non-shy peers in comprehending speakers’ beliefs. However, shy children rated speakers who made ironic criticisms as being more mean than did children low in shyness. Thus, while understanding that speakers intended to communicate their true beliefs, shy children construed the social meaning of irony differently, indicating difficulties with pragmatics. Such subtle differences in pragmatic understanding may underlie some of the social difficulties facing shy children.

This thesis analyses the devices manipulated by Jane Austen in Pride and Prejudice and Emma to foreground the &lsquo / female voice&rsquo / . The thesis argues that in these novels satire including irony and parody is used as a tool for revealing the place of women in eighteenth century England. In addition, themes and characters by which feminist conversations are constructed are also dealt with.

My dissertation is motivated by two general problems within contemporary North American racial politics. First, the increasing ideological impetus of a “post-racist” society contradicts a spate of events that are symptomatic and constitutive of racial and ethnic essentialisms. Second, the logic of multiculturalism and antiracism has often been expressed in a language of race and identity rooted in a rigid system of immutable differences (Hall, 1997; Ang, 2001). The challenge is to deconstruct race and ethnicity in a language that is critical of new racisms as well as the ways in which racial and ethnic difference is seized and diffused by market multiculturalism. While some theorists have used elements of postmodern theory to develop a “resistance multiculturalism” sensitive to shifting social meanings and floating racial signifiers (see McLaren, 1994), they have rarely explored the political possibilities of “ludic postmodernism” (parody, pastiche, irony) as a critical response to multicultural ideologies. If part of postmodernism as an intellectual movement includes self-reflexivity, self-parody, and the rejection of a foundational “truth,” for example, the various racial and ethnic categories reified under multiculturalism are perhaps open to revision and contestation (Hutcheon, 1989). To develop this particular postmodern critique of multiculturalism, I draw on three case studies concerned with identity and representation in North American popular media. The first case considers vocal impersonation as a disruption to the visual primacy of race by examining the stand-up comedy films of Dave Chappelle, Russell Peters, and Margaret Cho. The second case turns to the postmodern bodies of cyborgs and humanoid robots in the science fiction film I, Robot (2004) as a racial metaphor at the crossroads of whiteness, inhumanity, and redemption. The final case discusses the politics of irony in relation to ethnolinguistic identity and debates surrounding sports mascots. Each case study recycles racial and ethnic stereotypes for a variety of political purposes, drawing out the connections and tensions between postmodernism and multiculturalism. A postmodern critique of multiculturalism may offer antiracist politics an understanding of race and ethnicity rooted in a strategic indeterminacy, which allows for multidimensional political coalitions directed against wider socioeconomic inequalities.

Thesis (Ph.D.) -- McMaster University, 1998. / Includes bibliographical references (leaves 305-313). Also available via World Wide Web.

Thesis (Ph. D.)--University of Toronto, 2005. / Includes bibliographical references (leaves 148-156).

Thesis (doctoral)--Université Paris XIII, 1995-1996. / Cover title. Includes bibliographical references (p. 315-327).

Thesis (doctoral)--Université Paris XIII, 1995-1996. / Cover title. Includes bibliographical references (p. 315-327).

Thesis (Ph. D.)--Universität Hamburg, 1970. / Vita. Includes bibliographical references.

Thesis--Université de Paris. / Includes bibliographical references (p. 310-315).