Farhan Samanani, S. Crockford, Daniel M. Knight, Craig Stensrud, Girish Daswani, M. Tuters, Io Chaviara
{"title":"Animating Irony","authors":"Farhan Samanani, S. Crockford, Daniel M. Knight, Craig Stensrud, Girish Daswani, M. Tuters, Io Chaviara","doi":"10.1215/08992363-10575859","DOIUrl":null,"url":null,"abstract":"\n Contemporary politics seems to be saturated with irony. In the context of social movements, this creates a perplexing mix of sincerity and insincerity, in which ambivalence and irreverence are coupled with deep conviction and (sometimes deadly-) serious action. Writing as a multidisciplinary collective, the authors have witnessed irony playing a crucial role in diverse social movements—from Black-LivesMatter activists in Ghana, to post-crash political imaginaries in Greece, to the Boogaloo Bois in the United States. Across these cases, the authors argue that irony becomes an important means of gathering, orienting, and animating political collectives, in two ways: first, within contexts of deep uncertainty or instability, where it can be extremely hard to trace political cause and effect and to know how to act effectively, irony provides a useful interpretative tool. Irony allows actors to position themselves between competing values, and attend to contradictions, enabling them to imagine common cause and possible futures within a radically unsteady world. Second, irony generates intensities in excess of understanding. Irony can generate surpluses of meaning, cultivate spaces of play and freedom from responsibility, and amplify the felt potentiality of ideas through memetic repetition. Such intensities have the capacity to spill over into decisive action. The authors conclude by unpacking the implications of these ironic forces for engaging in politics today.","PeriodicalId":47901,"journal":{"name":"Public Culture","volume":null,"pages":null},"PeriodicalIF":1.1000,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Public Culture","FirstCategoryId":"90","ListUrlMain":"https://doi.org/10.1215/08992363-10575859","RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"ANTHROPOLOGY","Score":null,"Total":0}
引用次数: 0
Abstract
Contemporary politics seems to be saturated with irony. In the context of social movements, this creates a perplexing mix of sincerity and insincerity, in which ambivalence and irreverence are coupled with deep conviction and (sometimes deadly-) serious action. Writing as a multidisciplinary collective, the authors have witnessed irony playing a crucial role in diverse social movements—from Black-LivesMatter activists in Ghana, to post-crash political imaginaries in Greece, to the Boogaloo Bois in the United States. Across these cases, the authors argue that irony becomes an important means of gathering, orienting, and animating political collectives, in two ways: first, within contexts of deep uncertainty or instability, where it can be extremely hard to trace political cause and effect and to know how to act effectively, irony provides a useful interpretative tool. Irony allows actors to position themselves between competing values, and attend to contradictions, enabling them to imagine common cause and possible futures within a radically unsteady world. Second, irony generates intensities in excess of understanding. Irony can generate surpluses of meaning, cultivate spaces of play and freedom from responsibility, and amplify the felt potentiality of ideas through memetic repetition. Such intensities have the capacity to spill over into decisive action. The authors conclude by unpacking the implications of these ironic forces for engaging in politics today.
期刊介绍:
Public Culture is a peer-reviewed interdisciplinary journal of cultural studies, published three times a year—in January, May, and September. It is sponsored by the Department of Media, Culture, and Communication, NYU. A four-time CELJ award winner, Public Culture has been publishing field-defining ethnographies and analyses of the cultural politics of globalization for over thirty years. The journal provides a forum for the discussion of the places and occasions where cultural, social, and political differences emerge as public phenomena, manifested in everything from highly particular and localized events in popular or folk culture to global advertising, consumption, and information networks. Artists, activists, and scholars, both well-established and younger, from across the humanities and social sciences and around the world, present some of their most innovative and exciting work in the pages of Public Culture.