For Parkhowell, the Swastika graffiti “doesn’t even come close to stimulating reflection on the present by ironically referencing a past object.”Īnother of Parkhowell’s worries was the appearance of the image amid the eclectic content of his scrolling news feed. Even if intelligent and insightful, irony is a strategy for not intervening into situations already beyond the speaker’s control. With this distinction, Parkhowell claims that irony divides the speaker into two people: one connected to the event, another detached from it. “retro” films in the style of “1930sness” or “1950sness”). It lacks parody’s ulterior motive, and Jameson decries it as the imitation of dead styles in the dead language of the global culture industry (e.g. Pastiche, however, is depoliticized mimicry. Lawrence’s use of nature imagery and colloquial speech, and Mahler’s mixture of “high orchestral pathos” with traditional peasant music). ![]() It is a “systematic mimicry” of an eccentric style (e.g. Parkhowell criticizes the use of irony in Anglophone cultures through the lens of Fredric Jameson’s distinction between “parody” and “pastiche.” For Jameson, parody is satirical. Weinman’s former student, writer and activist Lindsay Parkhowell, responded with the essay ‘ Irony and Historical Detachment’ for Public Seminar. Without defending it, I argued that the graffiti is an example of a specifically British form of blunt ironic humor. ![]() One commenter argued that the Swastika should not be shocking because it is an ancient religious symbol. Shocked, he uploaded a hastily taken photograph. Upon arrival at London Gatwick airport, professor and Public Seminar editor Michael Weinman saw an advertisement on which someone had drawn a Swastika.
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