Get Between Irony and Witness: Kierkegaard's Poetics of Faith, PDF

By Joel D. S. Rasmussen

ISBN-10: 0567028410

ISBN-13: 9780567028419

This publication bargains a unique 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 if Kierkegaard articulated neither a "Christology" within the experience that the time period has for systematic theology, nor a accepted "theory of poetry" within the experience that word has for literary feedback, this learn 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 subject matters of early German Romanticism (irony, innovative creativity, paradox, the relativization of imitation [mimesis], and erotic love), this ebook bargains a clean appreciation of the intensity of Kierkegaard's engagement with Romanticism, and of the contours of his substitute to that literary movement.

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Extra info for Between Irony and Witness: Kierkegaard's Poetics of Faith, Hope, and Love

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See Bruce H. Kirmmse, Encounters with Kierkegaard: A Life as Seen by His Contemporaries (Princeton, NJ: Princeton University Press, 1996), 31-32. 76. Behler, German Romantic Literary Theory, 4. THE IMAGINATIVE ANTICIPATION OF THE ETERNAL 27 of stereotypical Romantic irony, then the genre of the novel in which he wrote Either/Or casts the critique of irony in Romanticism's native form. Whereas in The Concept ofIrony Kierkegaard had attacked Romantic irony and Schlegel's Lucinde directly, in Either/Or he launches an indirect attack.

This diary recounts the cynical scheming of one Johannes, whose life, A 77. Kierkegaard, Either/Or, trans. Howard V. Hong and Edna H. Hong (Princeton, NJ: Princeton University Press, 1987), 1:7; SKS, 2:15. 78. Kierkegaard, Either/Or, 1:10; SKS, 2:18. 79. Kierkegaard, Concept ofIrony, 292; SKS, 1:326. 80. See Kierkegaard, "The Rotation of Crops: A Venture in a Theory of Social Prudence," in Kierkegaard, Either/Or 1:295-98; SKS, 2:271-89. 81. Schlegel, Schlegel's Lucinde and the Fragments, 147; Critical Fragments, no.

One passage in particular from The Concept ofIrony makes it clear that Kierkegaard found at least part of the inspiration for this contrast between the immediate erotic and the reflective erotic in Schlegel's LucinJe. Regarding the male protagonist of Lucinde, Kierkegaard writes, "Julius is no Don Juan (who by means of his sensate genius as a necromancer casts a spell on everything; who acts with an immediate authority; who shows that he is lord and master, an authority that words cannot describe but that can be suggested by a few absolutely imperative bow strokes by Mozart; who does not seduce but by whom all would like to be seduced, and if their innocence were restored to them would want to be seduced again; a daimon who has no past, no history of development, but like Minerva immediately steps forward fully armed) but a personality trapped in reflection who develops only in a successive process" {Concept ofIrony, 293; SKS, 1:327).

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Between Irony and Witness: Kierkegaard's Poetics of Faith, Hope, and Love by Joel D. S. Rasmussen


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