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Read through the most famous quotes by topic #irony
To say "He was a young fool, and now he's an old fool" is to make a distinction without a difference. ↗
You think that drinking with a serial killer takes you into the midnight currents of the culture? I say bullshit. There's been twelve TV documentaries, three movies and eight books about me. I'm more popular than any of these designed-by-pedophile pop moppets littering the music television and the gossip columns. I've killed more people than Paris Hilton has desemenated, I was famous before she was here and I'll be famous after she's gone. I am the mainstream. I am, in fact, the only true rock star of the modern age. Every newspaper in America never fails to report on my comeback tours, and I get excellent reviews. ↗
It is hard to miss the irony in the fact that the very same week that Republicans were publicly heralding Congressman Paul Ryan's plan to inject market forces into the American health care system, they were crafting a budget deal to strip them from the health reform law. ↗
#budget #care #congressman #crafting #deal
Great artists are a little too gifted to be bound by boxes and labels, and in saying that, the label 'artist' is to be used lightly. ↗
The average man never really thinks from end to end of his life. The mental activity of such people is only a mouthing of cliches. What they mistake for thought is simply a repetition of what they have heard. My guess is that well over 80 percent of the human race goes through life without having a single original thought. ↗
Suddenly the thought that the end of her life was imminent shocked him; it was one thing to pity someone he didn't know, quite another to face the same dilemma with someone he knew intimately. That was the trouble with beds. They turned strangers into intimates more quickly than ten years of polite teas in parlours. ↗
I can’t help but think that if she was going to kill herself, she might as well have done it earlier. Perhaps when I was a toddler. Or better yet, an infant. It certainly would have made my life easier. I asked my uncle Hugh (who is not really my uncle, but he is married to the stepsister of my current mother’s brother’s wife and he lives quite closeand he’s a vicar) if I would be going to hell for such a thought. He said no, that frankly, it made a lot of sense to him. I do think I prefer his parish to my own. ↗
What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation. ↗
This commitment to truth is something one senses more and more Americans yearning for, just as they are becoming more and more sophisticated at knowing when the truth is being obscured - an irony that seems to elude most of today's elected officials. ↗
