Satire

Schwer, eine Satire zu schreiben. Nicht bloß weil der Zustand, der ihrer mehr bedürfte als je einer, allen Spottes spottet. Das Mittel der Ironie selber ist in Widerspruch zur Wahrheit geraten […] Dabei setzt sie die Idee des Selbstverständlichen, ursprünglich der gesellschaftlichen Resonanz voraus. Nur wo ein zwingender Consensus der Subjekte angenommen wird, ist subjektive Reflexion, der Vollzug des begrifflichen Akts überflüssig. Der bedarf des Beweises nicht, welcher die Lacher auf seiner Seite hat. Historisch hat demzufolge die Satire über Jahrtausende, bis zum Voltaireschen Zeitalter, gern mit Stärkeren es gehalten, auf die Verlaß war, mit Autorität. […] Schuld an der Unmöglichkeit von Satire heute hat nicht, wie Sentimentalität es will, der Relativismus der Werte, die Abwesenheit verbindlicher Normen. Sondern Einverständnis selber, das formale Apriori der Ironie, ist zum inhaltlich universalen Einverständnis geworden. Als solches wäre es der einzig würdige Gegenstand von Ironie und entzieht ihr zugleich den Boden.

-Adorno (Minima Moralia)

(pace Angermann)

7 thoughts on “Satire

  1. Und morgen bin ich bei der Demonstration in Wien dabei. Ob Satire, ob politische oder persönliche Meinung, mir ist die Presse Freiheit heilig. Auch wenn ich nicht einverstanden bin mit dem was ich lese.

  2. The wise Google Translator says:

    “Hard to write a satire. Not just because of the state of their more than ever would need one that defies all ridicule. The means of irony itself is increasingly at odds to the truth […] She puts the idea of the obvious, originally the social resonance advance. Only where an overriding consensus of the subjects is considered subjective reflection, the enforcement of the conceptual act is unnecessary. The is no need of proof, which has the last laugh on his side. Historically, therefore, the satire of millennia, like with stronger held to Voltaire’s era it was relied upon for with authority. […] To blame for the impossibility of satire today has not, like sentimentality would have it, the relativism of values, the absence of mandatory standards. But agreement itself, the formal a priori of irony, has become the universal consent of content. As such, it would be the only worthy object of irony and cut her off the ground at the same time.”

    Henceforth I’m going to start dropping “The is no need of proof” in the middle of heated message board arguments just to confuse people.

  3. Hey ‘nym, It’s from the Minima Moralia. There is an obvious difficulty with just quoting it outright, since the MM has a complicated relationship to irony, but that is what I did.🙂 You are not a Frankfurt School fan, I gather from your comments on Benjamin elsewhere?

    • I have no beef with Adorno, I’m not making fun of him. I just loved some of the bizarre translations Google came up with. I wish I could read a human translation to appreciate it. I like texts on satire and irony.

      I’m not a fan of Benjamin’s famous essay; I think it’s basically Marxist propaganda, well-intentioned Marxist propaganda like most of it tends to be, but Marxist propaganda nevertheless. His argument basically boils to this, after obscure stuff about the aura thanks to the usual Marxist jargon: “it’s time to worry less about aesthetics and more about politically-minded art; the Nazis are in power and they’re bad, and the lovely Soviets have all those amazing filmmakers who can be used for political purposes, so let’s call cinema (and photograph) the great new modern art because it reaches the masses, and you need the masses to make a revolution. And painting is just something a guy does in a studio and no one notices it anyway, so it can’t be revolutionary, even though it’s good art, which is no longer relevant because art will stop being judged on aesthetics but on how it can serve political goals, especially well-intentioned ones. And the Nazis are bad.” It’s a fucking manifesto for socialist realism!

      Wasn’t Erich Fromm from The Frankfurt School? I adore his Fear of Freedom.

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