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Anna Fromm
Russia, Nizhny Novgorod
Irony in the German Concept-Sphere
Summary
Irony as philosophic aesthetic category is rooted in antique rhetoric.
The ancient irony gave birth to European irony tradition of post
Renaissance period, which got its development in XIX-XX centuries. Irony
as a comic means is a significant component of composition of literary
style, which is based on the opposition of literary and situational meaning.
In the actual concepts of German scientists communicative-pragmatic
approach comes to the foreground. This approach doesn’t only deal with the
problem of structure of unit of the language but also with their участие
functioning in text communication. P. von Polenz, H. Plett and U. Engeler
speak about the underlying message in the statement: word has not only
fixed meaning but the meaning, determined by text actualization–
situational meaning in the text. This meaning can vary under the influence
of a lot of factors: the author’s intension, the speaker’s viewpoint,
perception, interests, of an author/reader. E. Lapp refers using of irony in
the text to the linguistic competence of the author and the author’s intention
to employ irony influences the relationship author-artifact-reader. M. Clyne
suggests three-component model of ironical utterance: (irony) sendermessage-perceptor.
The determinative factors of irony in comprehension in
the text are succession of roles and partners themselves. That’s why,
according to M. Clyne, to comprehend the author’s irony the reader should
be able to estimate the situation, to accept the author as a partner and to
understand his intention.
Thus, irony studies disclose new and not yet researched features of this
phenomenon. The irony is situational, it depends on the context and appears
in the system author-artifact-reader and is based on their communicative
competence. Irony is not only a form of human objective reality it is also a
feature of the author’s world perception, which is represented by the
linguistic means of different configuration.
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