By Joel D. S. Rasmussen
This booklet bargains a singular interpretation of the connection among non secular main issue and inventive creativity within the works of the self-styled "Christian poet and philosopher" Søren Kierkegaard (1813-1855). even supposing Kierkegaard articulated neither a "Christology" within the experience that the time period has for systematic theology, nor a universal "theory of poetry" within the experience that word has for literary feedback, this examine makes the case that Kierkegaard's writings however do boost a "Christomorphic poetics," a tertium quid that resists traditional differences among theology and literature. Arguing that Kierkegaard's poetics takes form in dialog with a few of the significant issues of early German Romanticism (irony, creative creativity, paradox, the relativization of imitation [mimesis], and erotic love), this e-book bargains a clean appreciation of the intensity of Kierkegaard's engagement with Romanticism, and of the contours of his replacement to that literary movement.
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Extra resources for Between Irony and Witness: Kierkegaard's Poetics of Faith, Hope, and Love
Petersen), and his seeming "inability to resist the internal temptation to leap over the boundary that separates both genuine irony and reasonable satire from the unrefreshing territory of vulgar exaggeration" (P. O. "76 There is a sense, therefore, in which Kierkegaard's productive reading of Romantic irony in The Concept ofIrony is true to the spirit of Romanticism, even if inappropriate in an academic dissertation. But if the academic parameters of the dissertation are something of a mismatch for Kierkegaard's imaginative rendering 72.
110. Kierkegaard, Either/Or, 1:294; SKS, 3:283. 111. Kierkegaard, Either/Or, 2:7; SKS, 3:17. The allusion to Julius's favorite diversion in Lucinde is unmistakable in William's criticism of A. "Often," Julius writes, "I know of no better way to use my solitude than to think about how this or that interesting woman would behave in this or that interesting situation" (Schlegel, Schlegel's Lucinde and the Fragments, 63). Kierkegaard refers explicitly to this passage from Lucinde in his dissertation (see Concept of Irony, 300; SKS, 1:333).
Kierkegaard, Either/Or, 2:96; SKS, 3:99. " 119. Kierkegaard, Either/Or, 2:136; SKS, 3:135. 120. Kierkegaard, Either/Or, 2:137; SKS, 3:136. , 34 BETWEEN IRONY AND WITNESS Schlegelian irony that Either/Or is supposed to satirize does. 122 Perhaps, then, since A and William could both agree that life should be lived in such a way that it is "really the poetic,"123 the crucial difference between them is not in their views of the relation of poetry to life but in their views of what it means to live well.