By Joel D. S. Rasmussen
This booklet bargains a unique interpretation of the connection among non secular trouble and creative 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 some of the significant topics of early German Romanticism (irony, ingenious creativity, paradox, the relativization of imitation [mimesis], and erotic love), this booklet deals 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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Additional info for Between Irony and Witness: Kierkegaard's Poetics of Faith, Hope, and Love
A vow is not a matter of aesthetic interest or enjoyment; it is a matter of ethical decision. Living poetically is accomplished, in William's view, by bringing the ethical to bear on the aesthetic (this is why Eremita saw fit to give this second letter the title "The Balance between the Esthetic and the Ethical in the Development of Personality"). Thus, "the ethical" is the sphere from which one derives one's "idea" of what it is to live, and this idea governs one's "mode" of living. William makes it clear, however, that thinking ethically is not the same thing as becoming a good person.
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. With respect to this question, one of the most interesting passages in the whole of the second volume of Either/Or comes in a comment by William that almost certainly refers to the character ofJulius in Lucinde.
What I want to show in this section is that the aesthetics of the first volume of Either/Or represents an ironic revision of Romantic irony by which Kierkegaard seeks to run Romanticism aground on what he takes to be its own ethical nihilism. "82 But whereas Schlegel advocates the ability to tune oneself, in Kierkegaard's reinterpretation we find a new application of this technique in the "tuning" of another. 83 "The Seducer's Diary" is an eroticist's journal of which A claims to be merely the editor.