Abstract
The article explores the concept of ironic ekphrasis in the works of Carl Schmitt, a prominent jurist in the Third Reich and a significant figure in contemporary philosophy. The analysis focuses on Schattenrisse (1913), a collection of satirical portraits, and examines the relationship between politics and aesthetics, particularly the interplay of word and image in Schmitt's literary descriptions. The paper argues that Schmitt’s use of ekphrasis serves as a diagnostic tool, offering a satirical critique of his historical era. However, ekphrasis can also involve a constructive effort: in the realm of “virtualization”, ekphrasis transforms into a creative process. This analysis highlights Schmitt’s ambiguous relationship with German Romanticism, suggesting that elements of ekphrasis and irony become integral to his aesthetic jurisprudence. The article concludes by considering the relevance and implications of Schmitt’s approach to ekphrasis in the contemporary context.