Marc-Oliver Schuster

Since the late 1980s, the affinity between irony and postmodernity has been addressed in several studies that apply semiotic approaches to cultural postmodernity generally and to postmodern literature specifically. The following article contributes to the branch of semiotics of postmodern literature by proposing the notion of bi-paradigmatic irony as a special postmodern sign. Whereas mono-paradigmatic irony establishes its ironic contrast within the same paradigm, in bi-paradigmatic irony, said and meant meanings belong to two different paradigms. On the basis of two semiotic paradigmatic perspectives and three semiotic paradigmatic ideologies , six types of bi-paradigmatic irony are possible. Two of the six types of postmodern irony are applied to theoretical-literary texts by Jacques Derrida and Roland Barthes as well as to literary texts by the Austrian writers Christoph Ransmayr and Hans Carl Artmann

The article discusses three uses of the term »postmodern« by Rudolf Pannwitz, which first appeared in his 1917 book Die Krisis der europäischen Kultur. Whereas Wolfgang Welsch interpreted this concept as a new version of Nietzsche's ideal of the Übermensch, the article instead proposes to regard the »postmodern man« as an update of Nietzsche's letzter Mensch and therefore as a negative image of a threatening development towards superficiality and a lack of creativity, both of which prevent the overcoming of the modern intellectual crisis based on nihilism and decadence. Although Pannwitz had no subsequent influence on postmodernity discourses, he had thus already sketched the concept of postmodernity-as-posthistoire. Furthermore, the article presents two additional and so far overlooked instances of »postmodern« in Pannwitz's work, namely from his 1921 autobiography Grundriss einer Geschichte meiner Kultur and from his 1951 article Der Nihilismus und die werdende Welt. The three examples arise from a relatively coherent array of cultural-philosophical concepts that delve into issues of modernity, classicism, romanticism, and naturalism.