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Read through the most famous quotes by topic #irony
People often say that the English are very cold fish, very reserved, that they have a way of looking at things – even tragedy – with a sense of irony. There’s some truth in it; it’s pretty stupid of them, though. Humor won’t save you; it doesn’t really do anything at all. You can look at life ironically for years, maybe decades; there are people who seem to go through most of their lives seeing the funny side, but in the end, life always breaks your heart. Doesn’t matter how brave you are, how reserved, or how much you’ve developed a sense of humor, you still end up with your heart broken. That’s when you stop laughing. In the end there’s just the cold, the silence and the loneliness. In the end, there’s only death. ↗
Maugham then offers the greatest advice anyone could give to a young author: "At the end of an interrogation sentence, place a question mark. You'd be surprised how effective it can be. ↗
#interrogation-marks #irony #writing-advice #writing-tips #humor
Aku telah mengidap sakit gila nomor enam belas: yakni penyakit manusia yang membuat dunia sendiri dalam kepalanya, menciptakan masalah-masalahnya sendiri, terpuruk di dalamnya, lalu menyelesaikan masalah-masalah itu, sambil tertawa-tawa, juga sendirian. ↗
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. ↗
