El problema de la ironía
The Trouble With Irony
"Irony is a form of utterance that postulates a double audience, consisting of one party that hearing shall hear and shall not understand, and another party that, when more is meant than meets the ear, is aware both of that more and of the outsiders' incomprehension."
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Ironic sensibilities require high social intelligence since you have to understand the paradoxical intent of dramatic, situational, and verbal expressions. This is because irony requires good discernment skills that can decipher various social cues since at face value, ironic intent can be a source of misunderstanding for those who cannot see the contradiction between what you’re saying and what you’re not.
https://medium.com/@njorogewaiganjo/the-problem-with-irony-why-david-foster-wallace-hated-ironic-detachment-and-ironic-attitudes-5c0de5dd47f8
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“Irony and cynicism were just what the U.S. hypocrisy of the fifties and sixties called for. That’s what made the early postmodernists great artists. The great thing about irony is that it splits things apart, gets up above them so we can see the flaws and hypocrisies and duplicates. The virtuous always triumph? Ward Cleaver is the prototypical fifties father? "Sure." Sarcasm, parody, absurdism and irony are great ways to strip off stuff’s mask and show the unpleasant reality behind it. The problem is that once the rules of art are debunked, and once the unpleasant realities the irony diagnoses are revealed and diagnosed, "then" what do we do? Irony’s useful for debunking illusions, but most of the illusion-debunking in the U.S. has now been done and redone. Once everybody knows that equality of opportunity is bunk and Mike Brady’s bunk and Just Say No is bunk, now what do we do? All we seem to want to do is keep ridiculing the stuff. Postmodern irony and cynicism’s become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what’s wrong, because they’ll look sentimental and naive to all the weary ironists. Irony’s gone from liberating to enslaving. There’s some great essay somewhere that has a line about irony being the song of the prisoner who’s come to love his cage.”
― David Foster Wallace
https://www.goodreads.com/quotes/165289-irony-and-cynicism-were-just-what-the-u-s-hypocrisy-of#:~:text=%E2%80%9CIrony%20and%20cynicism%20were%20just%20what%20the%20U.S.%20hypocrisy%20of,The%20virtuous%20always%20triumph%3F
The following is an excerpt from David Foster Wallace's A Supposedly Funny Thing I'll Never Do Again (Boston: Little, Brown, 1997), pp.66-69.
"...Early U.S. TV was a hypocritical apologist for values whose reality had become attenuated in a period of corporate ascendancy, bureaucratic entrenchment, foreign adventurism, racial conflict, secret bombing, assassination, wiretaps, etc. It's not one bit accidental that postmodern fiction aimed its ironic crosshairs at the banal, at the naive, the sentimental and simplistic and conservative, for these qualities were just what '60s TV seemed to celebrate as distinctively American...Irony in postwar art and culture started out the same way youthful rebellion did. It was difficult and painful, and productive -- a grim diagnosis of a long-denied disease. The assumptions behind early postmodern irony, on the other hand, were still frankly idealistic: it was assumed that etiology and diagnosis pointed toward cure, that a revelation of imprisonment led to freedom.
"So then how have irony, irreverence, and rebellion come to be not liberating but enfeebling in the culture today's avant-garde tries to write about? One clue's to be found in the fact that irony is still around, bigger than ever after 30 long years [now 50 years -- ed.] as the dominant mode of hip expression. It's not a rhetorical mode that wears well. As Lewis Hyde...puts it, 'Irony only has emergency use. Carried over time, it is the voice of the trapped who have come to enjoy their cage.' This is because irony, entertaining as it is, serves an almost exclusively negative function. It's critical and destructive, a ground-clearing. Surely this is the way our postmodern fathers saw it. But irony's singularly unuseful when it comes to constructing anything to replace the hypocrisies it debunks. This is why Hyde seems right about persistent irony being tiresome. It is unmeaty...
"The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit 'I don't really mean what I'm saying.' So what does irony as a cultural norm mean to say? That it's impossible to mean what you say? That maybe it's too bad it's impossible, but wake up and smell the coffee already? Most likely, I think, today's irony ends up saying: 'How totally banal of you to ask what I really mean.' Anyone with the heretical gall to ask an ironist what he actually stands for ends up looking like an hysteric or a prig. And herein lies the oppressiveness of institutionalized irony, the too-successful rebel: the ability to interdict the question without attending to its subject is, when exercised, tyranny. It is the new junta, using the very tool that exposed its enemy to insulate itself...
"What do you do when postmodern rebellion becomes a pop-cultural institution? For this of course is the second answer to why avant-garde irony and rebellion have become dilute and malign. They have been absorbed, emptied, and redeployed by the very televisual establishment they had originally set themselves athwart...
"So here's the stumper for the U.S. writer who both breathes our cultural atmosphere and sees himself heir to whatever was neat and valuable in avant-garde literature: how to rebel against TV's aesthetic of rebellion, how to snap readers awake to the fact that our televisual culture has become a cynical, narcissistic, essentially empty phenomenon, when television regularly celebrates just these features in itself and its viewers? These are the very questions DeLillo's poor schmuck of a popologist was asking back in 1985 about America, that most photographed of barns:
'What was the barn like before it was photographed?' he said. 'What did it look like, how was it different from other barns, how was it similar to other barns? We can't answer these questions because we've read the signs, seen the people snapping the pictures. We can't get outside the aura. We're part of the aura. We're here, we're now.'
He seemed immensely pleased by this.
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