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Die zentrale Hypothese: Ironie bricht Alltagsmythen, „Frames“, in denen Kulturelles natürlich erscheint. Rahmentheorie und Barthes’ Mythen-begriff werden zu Bausteinen einer Theorie der Ironie, die Alternativen zur disziplinären Aufsplitterung des Ironie-begriffs und seiner inflationären Ver-wendung in der Postmoderne aufzeigen will. Das Buch entwickelt einen sprachwis-senschaftlich, kulturtheoretisch und philosophisch anschlussfähigen Ironiebegriff und überprüft seine Tragfähigkeit in der exemplarischen Analyse von literarischen Texten. In praktischen Anwendungen erprobt Leitgeb diese Perspektive: Seine Interpretationen analysieren keinen „Kanon“, sondern testen die Hypothese in Versuchsfeldern (beispielsweise Ironie in „konkreter Literatur“ und Ironieverbot in der konventionaliserten Textsorten „Lebenslauf“). Das Fazit des Schlusskapitels bezieht Elemente einer traditionellen Gegenüberstellung von Ironie und Mythos noch einmal explizit auf „Frame“- Theorien.

Irony in literature. --- Barthes, Roland.

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Criticism --- Literature --- History and criticism --- Study and teaching --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship --- Evaluation of literature --- Literary criticism --- Rhetoric --- Aesthetics --- Technique --- Evaluation --- Criticism - Congresses. --- Literature - History and criticism - Congresses. --- Literature - History and criticism - Congresses

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Művelődéstörténet --- Utazás --- Útleírás --- Utazás. --- Európa --- Története --- Közép-Kelet-Európa. --- Közép-Európa --- Művelődéstörténet.

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Culture studies try to understand how people assume identities and how they perceive reality. In this perspective narration, as a basic form of cognitive processing, is a fundamental cultural technique. Narrations provide the coherence, temporal organization and semantic integration that are essential for the development and communication of identity, knowledge and orientation in a socio-cultural context. In essence, Anderson’s “Imagined Communities” need to be thought of as “Narrated Communities” from the beginning. Narration is made up by what people think; and vice versa, narration makes up people's thoughts. What is considered 'fictitious' or 'real' no longer separates narratives from an 'outside' they refer to, but rather represents different narratives. Narration not only constructs notions of what was “real” in retrospect, but also prospectively creates possible worlds, even in the (supposedly hard) sciences, as in e.g. the imaginative simulation of physical processes. The book’s unique interdisciplinary approach shows how the implications of this fundamental insight go far beyond the sphere of literature and carry weight for both scholarly and scientific disciplines.

Culture --- Research. --- Study and teaching.