By Joel D. S. Rasmussen

This publication bargains a singular interpretation of the connection among spiritual drawback and inventive creativity within the works of the self-styled "Christian poet and philosopher" Søren Kierkegaard (1813-1855). even though Kierkegaard articulated neither a "Christology" within the feel that the time period has for systematic theology, nor a time-honored "theory of poetry" within the experience that word has for literary feedback, this research makes the case that Kierkegaard's writings however do improve 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 number of the significant subject matters of early German Romanticism (irony, creative creativity, paradox, the relativization of imitation [mimesis], and erotic love), this publication 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 resources for Between Irony and Witness: Kierkegaard's Poetics of Faith, Hope, and Love

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Kierkegaard, Either/Or, 2:136; SKS, 3:135. 116. Kierkegaard, Either/Or, 2:136; SKS, 3:135. 117. Kierkegaard, Either/Or, 2:136; SKS, 3:135. 118. 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.

For thought, the contradiction does not exist," he says; "it passes over into the other and thereupon together with the other into a higher unity. "139 That is to say, while speculative thought seeks to mediate contradictions by resolving various alternatives into a disinterested comprehension of how they operate together in a historical and logical process, the freedom exhibited in an ethical choice cuts into the thought process with a definite decision and a personal interest in the outcome.

Kierkegaard, Either/Or, 1:137; SKS, 2:137. " Did he find no rest, not even in the grave; is he perhaps still fitfully wandering over the earth; has he left hi s house, his home, leaving behind only his address! Or has he still not b e e n found If he has not been found, then let us like crusaders, dear Symparanekromenoi, commence a pilgrimage—not to that sacred sepulcher i n t h e happy East, but to that mournful grave in the unhappy West. 102 Here, in this passage equally jesting and haunting, Kierkegaard's charge that Romantic irony is "irreligious" finds its fullest development.

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