Relevant bibliographies by topics / Kierkegaard, Søren, Irony in literature

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Academic literature on the topic 'Kierkegaard, Søren, Irony in literature'

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Published: 4 June 2021
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Journal articles on the topic "Kierkegaard, Søren, Irony in literature"

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Rocha, Gabriel Kafure da, and Estela Araújo Silva. "As ironias do conceito socrático em Kierkegaard." Trilhas Filosóficas 11, no. 1 (June 26, 2018): 239–57. http://dx.doi.org/10.25244/tf.v11i1.3042.

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Resumo: O presente artigo visa fazer uma análise do socratismo em O conceito de Ironia de Kierkegaard, para isso, pressupomos o valor da ironia na antiguidade e das visões pós-socráticas. Buscamos assim, também, entender essencialmente a relação entre o filósofo e as ironias dos pontos de vista pagão e cristão. Por fim, vimos na visão da morte uma ironia do destino, que por sua vez abre a perspectiva entre o trágico e o cômico. Para tal investigação, utilizamos comentadores como Vergote, Farago, Politis, Stewart e principalmente Reichmann. Dessa maneira, chegaremos ao desfecho no qual Kierkegaard faz a transposição da realidade grega para a atualidade do seu contexto, com a possibilidade do uso adequado de uma ironia controlada.Palavras-chave: Humor. Cômico. Destino. Abstract: This article aims to make an analysis of Socratism in Kierkegaard's Concept of Irony, for which we presuppose the value of irony in antiquity and post-Socratic visions. We also seek to understand, essentially, the relation between the philosopher and the ironies from the pagan and Christian point of views. Finally, we saw in the vision of death an irony of fate, which in turn opens the perspective between the tragic and the comic. For such investigation, we use commentators like Vergote, Farago, Politis Stewart and mainly Reichmann. In this way, we will arrive at the outcome in which Kierkegaard transposes Greek reality to the actuality of his context, with the possibility of proper use of controlled irony.Keywords: Humor. Comic. Destiny. REFERÊNCIASAMARAL, Ilana. O 'Conceito' de Paradoxo (Contantemente referido a Hegel) - Fé, história e linguagem em S. Kierkegaard. Tese de Doutorado. São Paulo: PUC, 2008. 247 f.FARAGO, France. Compreender Kierkegaard. Tradução de Ephraim Alves. Petrópolis: Ed. Vozes, 2006.GOUVÊA, Ricardo. Paixão pelo paradoxo: Uma introdução a Kierkegaard. São Paulo: Fonte Editorial, 2006.HOWLAND, Jacob. Kierkegaard and Socrates: A study in philosophy and faith. Cambridge: Cambridge University Press, 2006.KIERKEGAARD, Søren. O conceito de Ironia constantemente referido à Sócrates. Tradução de Álvaro Valls. Petrópolis: Editora Vozes, 1991._______. Ponto de vista explicativo da minha obra de escritor: uma comunicação direta, relatório à História. Tradução de João Gama. Lisboa: Edições 70, 2002.OUBINHA, Oscar. Loquere ut Videam: “’Guilty?/‘Not Guilty?” and The writing of irony. IN: JUSTO; SOUSA: ROSFORT. Kierkegaard and the challenges of infinitude – Philosophy and literature in Dialogue. Lisboa: CFUL, 2013.REICHMANN, Ernani. Soeren Kierkegaard: Textos selecionados. Curitiba: Editora Imprensa Universitária, 1978._______. Intermezzo lírico-filosófico: Carta a Carlos Galvez. Curitiba: Edição do autor, 1963.SILVA, Fernando. A subjectivity raised to the second power – Kierkegaard’s view of Schelegel’s Concept of Irony. In: JUSTO; SOUSA: ROSFORT. Kierkegaard and the challenges of infinitude: Philosophy and literature in Dialogue. Lisboa: CFUL, 2013.STEWART, Jon. Søren Kierkegaard: subjetividade, ironia e a crise da modernidade. Tradução de Humberto Souza. Petrópolis: Vozes, 2017.PLATÃO. Apologia de Sócrates. In: Os pensadores. Tradução de Jaime Bruna. 2ª Ed.. São Paulo: Abril Cultural, 1980._______. Diálogos: Eutífron – Apologia de Sócrates – Críton – Fédon. Tradução de Marcio Pugliesi. São Paulo: Hemus, 1977.POLITIS, Hélène. Le concept de philosophie constamment rapporté à Kierkegaard. Paris: Editions Kimé, 2009.VERGOTE, Henri. Sens et Repetition: essai sur la ironie kierkegaardiene. Paris: Cerf/Orante, 1982.
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Cockayne, Joshua. "Søren Kierkegaard: subjectivity, irony, and the crisis of modernity." British Journal for the History of Philosophy 25, no. 4 (August 10, 2016): 844–47. http://dx.doi.org/10.1080/09608788.2016.1212694.

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Gołębiewska, Maria. "The Phenomenal Aspects of Irony according to Søren Kierkegaard." Open Theology 6, no. 1 (November 9, 2020): 606–22. http://dx.doi.org/10.1515/opth-2020-0129.

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AbstractThe aim of the text is to characterise some phenomenal aspects of irony (particularly, of the ironic speech acts), which may be found in the Kierkegaardian reflection concerning diverse ironic attitudes of individuals, mainly of Christians. The constant assumptions in Søren Kierkegaard’s various output – in pseudonymous works, those signed with his own name, in “edifying discourses” and other religious texts –include the teleological conception of the sense of human being and existence. According to the philosopher, this sense is determined by the individually chosen and subjectively accepted goal of existence, related to the indicated three stages of life. This is the goal of a person who lives their mortal existence between joke and despair, at an ironic and sceptical distance from rash judgements and generalisations, and at the same time in fear of mundane threats and in fear of God. With the ambiguity of the category of existence, researchers combine an ironic attitude which, according to Kierkegaard, would characterise our way of existence together with its cognition and which would be connected with the conception of subjective truth as based on paradox. Kierkegaard wrote about ironic engagement and at the same time distance, about a positive ironic attitude towards the world of the here and now – a mundane immanent reality. According to Kierkegaard, the ironic attitude is closely related to dialectics, which he understood in a specific way – the structures of repetition and doubling are dialectic, and this dialectics may be found, among other things, in communication and in irony as a specific relation between thought and language. One must highlight that Kierkegaard considered two general types of irony: verbal (logical, rhetorical and poetic) and situational (existential), ultimately pointing out their religious aspects. The final part of the article describes different interconnections between the logical plus rhetorical aspects of irony and the issue of religious engagement of individuals (Christians) – their ironic entanglement in the relations between faith and knowledge, faith and doubt, mundane immanent world and transcendent universe.
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Stern, Michael. "Clouds: The Tyranny of Irony over Philosophy." Konturen 7 (August 23, 2015): 167. http://dx.doi.org/10.5399/uo/konturen.7.0.3679.

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Both Søren Kierkegaard and Friedrich Nietzsche maintained an abiding concern for Socrates throughout their productive lives. Kierkegaard wrote his dissertation on irony through a Socratic lens and Nietzsche once declared that try as he might, he could not completely separate his concerns from those he associated with the Greek. Kierkegaard famously favored Aristophanes’ portrait of Socrates in his comedy Clouds, claiming that it accurately portrayed the illegibility of the ironist. Nietzsche leaned toward Xenophon’s Socratic writings but most famously blamed Plato’s Socrates for the demise of tragic culture. Kierkegaard and Nietzsche engaged with the variety of Socratic depictions throughout their careers and perhaps more importantly, both employed irony in a Socratic fashion inflected by textual concerns. In other words, Kierkegaard and Nietzsche understood irony as both the indication of an epistemological limit, and as a strategy to induce the reader to think herself into the text. My article “Clouds: The Tyranny of Irony over Philosophy” analyzes this common concern and its implications for our understanding of European modernity.
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Ekrogulskaya, Alexandra. "Linguistic aspect of Søren Kierkegaard’s “Indirect communication” with continual reference to romantic irony." Scandinavian Philology 19, no. 1 (2021): 85–100. http://dx.doi.org/10.21638/11701/spbu21.2021.106.

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The subject of this article is the language of Danish philosopher Søren Kierkegaard. The article presents a classification (based on the material of the treatise Repetition) of rhetorical devices specific for this author. This classification relies on the thesis that Romanticism was the cultural and historical context of Kierkegaard’s background which influenced his language and style, and that Kierkegaard’s method of indirect communication became in a certain sense a legacy of romantic irony defined by Friedrich Schlegel as “the form of paradox”. Categorizing Kierkegaard as a descendant of Romanticism makes it possible to classify his main stylistic techniques under the term “contradiction”, which means a conscious and even intentional use of different stylistic and conceptual oppositions in the collision of which the author’s thought is revealed. Three types of contradictions can be distinguished in the text of Repetition. (1) The first one is intertextual contradiction between two works. Publishing his books under different pseudonyms, Kierkegaard creates such a situation as though two authors argue with each other. (2) The second one is conceptual contradiction within one work. Kierkegaard confronts in the treatise two opposite characters and two opposite concepts of repetition. (3) And the last type of contradiction are linguistic contradictions consisting of all the stylistic devices that Kierkegaard uses to activate his method of indirect communication and which can be defined as “wordplay” in the most general sense: as playful and witty use of words. Kierkegaard uses puns, different figures of repetition and parallelism, and these stylistic devices take form of contradiction in order to express the fundamental contradictory of life in an ironic and witty form. In such a “struggle” of oppositions, not only an ironic intonation is created, but also the meaning of concepts is revealed in their true-life fullness.
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Mulder, Jr., Jack. "Søren Kierkegaard: Subjectivity, Irony, and the Crisis of Modernity. By Jon Stewart." American Catholic Philosophical Quarterly 91, no. 1 (2017): 152–54. http://dx.doi.org/10.5840/acpq20179114.

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Rose, Tim. "Can the Truth Be Learned? Kierkegaard's Theological Epistemology." Scottish Journal of Theology 54, no. 2 (May 2001): 177–88. http://dx.doi.org/10.1017/s0036930600051322.

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Søren Kierkegaard delivered a scathing critique of certain German philosophies that arose in the wake of theAufklärung. In this respect he is most well known for focusing most of his attacks against Hegelian idealism, although it is important to remember that he also found the time to attack aspects of the theological Rationalism and Romanticism that he had encountered during his university studies. Unfortunately for us he chose a rather eccentric way in which to do this. Inspired by the literary techniques of German Romantic ironists such as Friedrich Schlegel and Ludwig Tieck, Kierkegaard chose largely to mask his thoughts beneath levels of irony and pseudonyms. Each one of these pseudonyms personified specific traits of his chosen opponents.
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Kort, Wesley A. "Review: Kierkegaard and Literature: Irony, Repetition, and Criticism." Christianity & Literature 35, no. 2 (March 1986): 49–50. http://dx.doi.org/10.1177/014833318603500217.

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Barton, Joshua. "A Review of “Søren Kierkegaard Literature, 1956–2006: A Bibliography”." Journal of Religious & Theological Information 10, no. 1-2 (April 29, 2011): 58–59. http://dx.doi.org/10.1080/10477845.2011.561196.

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Roy, Ayon. "Hegel contra Schlegel; Kierkegaard contra de Man." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 107–26. http://dx.doi.org/10.1632/pmla.2009.124.1.107.

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At the turn of the nineteenth century, Friedrich Schlegel developed an influential theory of irony that anticipated some of the central concerns of post-modernity. His most vocal contemporary critic, the philosopher Georg Wilhelm Friedrich Hegel, sought to demonstrate that Schlegel's theory of irony tacitly relied on certain problematic aspects of Johann Gottlieb Fichte's philosophy. While Schlegel's theory of irony has generated seemingly endless commentary in recent critical discourse, Hegel's critique of Schlegelian irony has gone neglected. This essay's primary aim is to defend Hegel's critique of Schlegel by isolating irony's underlying Fichtean epistemology. Drawing on S⊘ren Kierkegaard's The Concept of Irony in the final section of this essay, I argue that Hegel's critique of irony can motivate a dialectical hermeneutics that offers a powerful alternative both to Paul de Man's poststructuralist hermeneutics and to recent cultural-studies-oriented criticism that tends to reduce literary texts to sociohistorical epiphenomena.
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Dissertations / Theses on the topic "Kierkegaard, Søren, Irony in literature"

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Frederick, Julie Ann Parker. "The Conception of Irony with Continual Reference to Kierkegaard: An Examination of Ironic Play in Fear and Trembling." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2285.pdf.

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Campora, Matthew Steven. "The concept of irony : with continual reference to David Foster Wallace /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19112.pdf.

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Hale, Michelle Pulsipher. "Ironic Multiplicity: Fernando's "Pessoas" Suspended in Kierkegaardian Irony." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd393.pdf.

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Oliveira, Ranis Fonseca de. "A comunicação existencial na filosofia de Søren Aabye Kierkegaard." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/11671.

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This thesis proposes to examine as a mainstay in the theoretical literature and the existential philosophy of communication Søren Aabye Kierkegaard (1813-1855). The author's existential communication is understood as communication of reflection, which addresses the individual and not the mass. Accordingly, this communication is done indirectly and justified in interpreting that existence is too contradictory to be considered and appraised objectively. The existential communication is the feature that the Danish thinker developed to position himself in front of Christendom, this is, the trivialization of real Christianity. For this, we used irony and pseudonymity
A presente tese propõe-se a analisar, com esteio em pesquisa teórica e bibliográfica, a comunicação existencial na filosofia de Søren Aabye Kierkegaard (1.813 1.855). A comunicação existencial do autor é compreendida como comunicação de reflexão, que se dirige ao Indivíduo e não à massa. Nesse sentido, tal comunicação é realizada indiretamente e justifica-se na interpretação de que a existência é muito contraditória para ser pensada e conceituada objetivamente. A comunicação existencial é o recurso que o pensador dinamarquês desenvolveu para posicionar-se diante da filosofia do Sistema, como também diante da cristandade, isto é, da banalização do verdadeiro cristianismo. Para tanto, utilizou-se da ironia e da pseudonímia
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Dupuis, Éric. "Poétique et philosophie dans l'oeuvre de Kierkegaard." Thesis, Rennes 1, 2017. http://www.theses.fr/2017REN1S078.

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L’œuvre de Kierkegaard se présente sous une forme poétique, non seulement par les fictions qu’il produit, mais encore par les pseudonymes auxquels il donne la parole et qui confèrent aux textes les plus conceptuels l’apparence fictive d’un discours subjectif. La forme poétique n’est donc pas un jeu arbitraire. Elle répond aux exigences de la pensée de l’existence : une pensée subjective, car l’on n’existe pas dans l’abstraction, où il s’agit de se comprendre soi-même dans l’existence. Une pensée existentielle n’est pas un savoir objectif qui peut être transmis directement : elle nécessite une communication indirecte. Tel est le rôle de la forme poétique. Son emploi est donc essentiellement philosophique, et ne fait pas de Kierkegaard un poète. Du poète, il s’agit, au contraire, de dénoncer l’illusion, en particulier celle du romantique. Confondant la possibilité et la réalité, le poète plane au-dessus de sa propre existence. Il faut alors de l’ironie pour libérer l’individu d’une telle illusion et l’amener au commencement de la vie personnelle, d’une existence éthique. C’est pourquoi la forme poétique est, ici, ironique ; il s’agit de parler la même langue que ceux à qui l’on s’adresse, un langage esthétique, afin de les amener à une pensée véritable d’eux-même : tromper en vue du vrai. Fondée philosophiquement pour utiliser la possibilité, qui est sa forme, en vue de la réalité, qui est son horizon éthique, la poétique kierkegaardienne peut ainsi présenter à l’individu les déterminations dialectiques de l’existence, et l’ouvrir au passage de la possibilité à la réalité : un saut qualitatif, une décision qui n’appartient qu’à lui. Grâce à la forme poétique, la pensée subjective se fait maïeutique ; l’auteur s’efface pour laisser la place à celui dont parle la fiction et à qui elle s’adresse, celui que l’auteur veut éveiller à lui-même : l’individu singulier
Kierkegaard uses a poetic form in its works, not only by the fictions he composes but also by the pseudonyms he makes speak, who give to the most conceptual texts the fictional appearance of a subjective speech. Thus, the poetic form is not an arbitrary game. It is an answer to the requirements of the thinking of existence, a subjective thinking, for one does not exist in abstraction : be understandable oneself in one’s own existence. An existential thought is not an objective knowledge, which can be given directly : it requires an indirect communication. Such is the role of the poetic form. It is essentially a philosophic employment, and does not make a poet of Kierkegaard. On the contrary, his works tend to denounce the poet’s delusion, especially of the Romantic. The poet confuses possibility with reality, and glide above his own existence. Irony is then needed to free the subject from his delusion, and lead him to the beginning of his personal life, an ethical existence. That’s why the poetic form of Kierkegaard’s works is ironic in itself, for it is to speak the langage of those whom the speech speaks to, an aesthetic langage, in order to lead them to a true thinking of themselves : deceive toward the truth. Philosophically founded to use possibility, which is its form, with the reality in mind, which is its ethical horizon, the kierkegaardian poetic is enabled to present to the individual the dialectical determinations of existence, and show him the passage from possibility to reality : a qualitative leap, as his own decision. Through the poetic, the subjective thinking appears to be maïeutics. The author disappears to hand over the place to the one whom the fiction talks about and whom it speaks to, the one who the author wants to awaken within himself : the Individual
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Downing, Eric. "Artificial I's the self as artwork in Ovid, Kierkegaard, and Thomas Mann." Tübingen : Max Niemeyer, 1993. http://books.google.com/books?id=DbFbAAAAMAAJ.

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SOUSA, Leonardo Silva. "DA VONTADE DESESPERADA EM QUERER TORNAR-SE SI MESMO À TRISTEZA DE NUNCA SERMOS DOIS: a questão do eu em Kierkegaard e Mário de Sá-Carneiro." Universidade Federal do Maranhão, 2017. http://tedebc.ufma.br:8080/jspui/handle/tede/1303.

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This research aims to gather Soren Aabye Kierkegaard (1813 – 1855) phylosophy to the portuguese poet Mário de Sá Carneiro (1890 – 1916) through a theme that is developed in the authors’ works: the matter of myself. Kierkegaard develops this theme starting from the conception that man is a synthesis between heterogeneous elements – the finite and the infinite, the temporal and the eternal, the possibility and the necessity. In his literature, Sá-Carneiro deals with this issue presenting a subject in phycho disorder, characterized as a fragmented being, unable to balance personal desires and goals with reality. Although they develop this problem in different way in their works, we sustain the following hypothesis: both in Kierkegaard and in Sá-Carneiro we noticed the human being existing problem while looking for fufillments that may eliminate the incompleteness experience which lies inside the subject. To fight the problem of synthesis, facing despair, man must become him himself, with faith helping him trying to eliminate the mortal illness. In Mário de Sá Carneiro, there is a recurrence to the double, when the subject spreads trying to reach the accomplishment of something, harmonizing imagination and reality. The present paper aims to present how the authors develop this theme. To the development of the problem, we take as main works the texts Fear and fright (1843) and Human despair (1849), from the danish phylosopher and the novel Lucio’s confession (1913), from the portuguese writer. Lately, the work moves towards an interpretation of the short story “The man of the dreams”, from Sá-Carneiro, considering the aesthetic stage as the reading key to the text. In this analysis stage, we seek to find similarities between the character named Russo in Sá Carneiro’s short story, and Johannes, pseudonym and author of Diary of a seducer (1843), which lives this existence possibility. At last, we analyse two characters from Lucio’s confession still by the existence aesthetic stage perspective.
A pesquisa consiste em aproximar a filosofia de Søren Aabye Kierkegaard (1813-1855) da literatura do poeta português Mário de Sá-Carneiro (1890-1916) por meio de um tema que se desdobra nas obras dos autores: a questão do eu. Kierkegaard desenvolve este tema partindo da concepção de que o homem é uma síntese entre elementos heterogêneos – o finito e o infinito, o temporal e o eterno, a possibilidade e a necessidade. Em sua literatura, Sá-Carneiro trabalha esta questão apresentando um sujeito em desequilíbrio psíquico, caracterizado como um ser fragmentado, incapaz de equilibrar desejos e aspirações pessoais com a realidade. Embora desenvolvam este problema de forma diferente em suas obras, sustentamos a seguinte hipótese: tanto em Kierkegaard, quanto em Sá-Carneiro percebemos o problema da existência do ser humano enquanto busca por realizações que possam eliminar a experiência de incompletude que reside no interior do sujeito. Para enfrentar o problema da síntese, encarando o desespero, o homem deve tornar-se um si mesmo, com a fé a auxiliá-lo na tentativa de extirpar a enfermidade mortal. Em Mário de Sá-Carneiro, há a recorrência ao duplo, quando o sujeito se dispersa na tentativa de atingir a realização de algo, harmonizando imaginação e realidade. A presente dissertação objetiva apresentar como os autores desenvolvem este tema. Para o desenvolvimento do problema, tomaremos como obras principais os textos Temor e tremor (1843) e O desespero humano (1849) do filósofo dinamarquês e a narrativa A confissão de Lúcio (1913) do escritor português. Posteriormente, o trabalho incide para uma interpretação do conto “O homem dos sonhos”, de Sá-Carneiro, considerando o estádio estético como chave de leitura para o texto. Nesse estágio da análise, buscamos encontrar similaridades entre a personagem o Russo do conto de Sá-Carneiro, e Johannes, pseudônimo e autor de Diário de um sedutor (1843) que vivencia esta possibilidade de existência. Por fim, analisaremos duas personagens de A confissão de Lúcio ainda pela perspectiva do estádio estético da existência.
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Polanowska, Beata. "Reading philosophy through literature : a study of Stanisław Ignacy Witkiewicz's novels "Farewell to autumn" and "Insatiability" and his metaphysical categories from a perspective of the philosophical work of Søren Kierkegaard." Thesis, University of Derby, 2002. http://hdl.handle.net/10545/208796.

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My thesis develops along several themes. I begin by looking at the relationship between literature and philosophy. I then study Stanislaw Ignacy Witkiewicz's novels Farewell to Autumn and Insatiability, and his metaphysical categories from the perspective ofthe philosophical writing of Soren Kierkegaard. The first theme explores the question of the fusion of literature and philosophy and establishes a theoretical background for the analysis of novels through a philosophical perspective. It also provides an explanation for my choice of the hermeneutic methodology for the analysis I undertake in my thesis. The main aim of my thesis is the analysis of Witkiewicz's novels through the application of Kierkegaardian concepts. Referring to Kierkegaard's philosophy places my analysis in the domain of existentialism. I explore his concept of irony, as introduced in The Concept of Irony, and treat it not merely as a rhetorical figure but as a particular existential stance which accepts that human existence extends beyond the `here and now'. I provide an elaboration ofthe philosophical nature of Kierkegaardian irony when I explore his understanding of existence as being a process of continuous becoming in the quest for knowledge, as portrayed in The Concept of Anxiety. Subsequently, I employ Kierkegaardian philosophical irony in the analysis of Witkiewicz's work. Initially, I refer Kierkegaard's concepts to Witkiewicz's metaphysical categories and by so doing emphasize their existential character. I then employ them in the analysis of Witkiewicz's novels as I treat his narratives as a realisation of existential themes. I study the way the existential nature of Farewell to Autumn and Insatiability is manifested. The model of Kierkegaardian irony enables me to treat Witkiewicz's playfulness as a particular expression of an ironical stance. I study the variety of forms his playfulness takes. I look at the way it has been expressed in the development of his fictional world and through the language and style of the narrative, which together create the overall impression that Witkiewicz's narratives constitute a particular playful communication between the author and reader. I also indicate that this playfulness accompanies, or is an expression of, deep concern for the most fundamental questions about human existence. I indicate the direct and indirect presence of existential reflections in the text. As a result I demonstrate that Witkiewicz's novels constitute a playful, ironical expression of profoundly existential reflections about human existence, and in this way, encompass his own quest for meaning.
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Lindqvist, Jennifer. "Sekulär ångest i 70-talets klassrum : En extistentiell och novellteoretisk studie av Torgny Lindgrens Skolbagateller medan jag försökte skriva till mina överordnade." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78655.

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Before the publication of the short story collection Skolbagateller medan jag försökte skriva till min överordnade in 1972, Torgny Lindgren's authorship was characterized mainly by political criticism and satire. In both reception and later studies, Skolbagateller has also been seen mainly as a political and satirical work, depicting the bureaucracy and loneliness in the Swedish school system of the 1970s, while Lindgren's later works tend to discuss existentialistic and theological questions. While reading the earlier published theses about Lindgren's works, especially Ingela Pehrson's Livsmodet i skrönans värld from 1993, I realized how big of an influence Kierkegaard had been to the author. With this in mind, it seemed as if Skolbagateller depicts existential questions that go deeper than the political satire. The main issue of this essay is the lack of interpersonal contact that Skolbagateller depicts, and why this seems to be so closely connected to the school system. The short story collection is studied from an existential point of view, based on Kierkegaard's concept of anxiety. The concept of sin is examined by a comparison between the secular system on which Lindgren's school is based, and the Christian system in which Kierkegaard founded his existentialism. The prose of the short stories is examined with the help of literary theory, such as James Joyce's concept of epiphany, and Roman Jakobson's view on the metonymically constructed language of the realistic prose, and the metaphorically structured language of lyrical works. The analysis shows that the school in Skolbagateller is metonymically connected to the secular society, and by extension to the mere concept of society. The secular ideas the school teaches prohibit the individual and spiritual development of the persons that are part of the school system and the socially evaluated concept of sin causes anxiety. The secular ideals of stability and uniformity leads to a worldview where humans are seen as mere physical and rational beings, leading to a socially constructed determinism where change is impossible. The theme is depicted by metonymically written repetitions and "reader epiphanies", that are accomplished by allegorical stories. In these, the characters are confronted with a problem that makes them doubt the school system, but in the end, they still choose to accept the rules without further reflection.
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Nielsen, Scott. "Lover's rhetoric : irony and upbuilding in Kiekegaard's Christian anthropology /." 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3048411.

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Books on the topic "Kierkegaard, Søren, Irony in literature"

1

Kjær, Niels. Søren Kierkegaard og Emily Dickinson. Faaborg: The Author, 1989.

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Søren Kierkegaard literature, 1956-2006: A bibliography. Copenhagen: Søren Kierkegaard Research Centre, 2009.

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A question of eros: Irony in Sterne, Kierkegaard, and Barthes. Tallahassee: University Presses of Florida, 1986.

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Iiritano, Massimo. Disperazione e fede in Søren Kierkegaard: Una lotta di confine. Soveria Mannelli (Catanzaro): Rubbettino, 1999.

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Iiritano, Massimo. Disperazione e fede in Søren Kierkegaard: Una lotta di confine. Soveria Mannelli (Catanzaro): Rubbettino, 1999.

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Mylius, Johan de. Litteraturbilleder: Æstetiske udflugter i litteraturen fra Søren Kierkegaard til Karen Blixen. [Odense]: Odense universitetsforlag, 1988.

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Irony on occasion: From Schlegel and Kierkegaard to Derrida and de Man. New York: Fordham University Press, 2012.

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"Sans doute": Die Ironie Prousts in Bezug auf die deutsche Frühromantik und Sören Kierkegaard. Heidelberg: Winter, 2010.

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Bøggild, Jacob. Ironiens tænker, tænkningens ironi: Kierkegaard læst retorisk. København: Museum Tusculanums Forlag : Københavns Universitet, 2003.

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Bøggild, Jacob. Ironiens tænker, tænkningens ironi: Kierkegaard læst retorisk. København: Museum Tusculanums forlag, 2002.

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Book chapters on the topic "Kierkegaard, Søren, Irony in literature"

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Fauteck, Heinrich. "Kierkegaard, Søren: Om Begrebet Ironi med stadigt Hensyn til Socrates." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4609-1.

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"K. Brian Soderquist, The Isolated Self: Irony as Truth and Untruth in Søren Kierkegaard's "On the Concept of Irony"." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Devon C. Wootten, 215–18. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-44.

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"Gregory L. Reece, Irony and Religious Belief." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Jon Stewart, 177–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-37.

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"Céline Léon and Sylvia Walsh (eds.), Feminist Interpretations of Søren Kierkegaard." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Thomas J. Millay, 9–14. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-3.

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"Roy Martinez, Kierkegaard and the Art of Irony." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Andrew M. Kirk, 69–72. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-15.

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"John Lippitt, Humour and Irony in Kierkegaard's Thought." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Jamie Turnbull, 15–20. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-4.

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Kahn, Victoria. "Modern Literariness." In The Trouble with Literature, 95–122. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198808749.003.0004.

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This chapter explores the meaning of literariness in the aftermath of Kantian aesthetics. It focuses on the work of Søren Kierkegaard and J. M. Coetzee. It argues that, despite the strong formal differences between the texts of Kant, Kierkegaard, and Coetzee, all are engaged in a conversation about the kinds of belief we address to things that we make, and all three contribute to the construction of a specifically modern, formalist idea of literariness. This modern idea of literariness represents a declension from the heroic idea of poetic making characteristic of the early modern period.
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"Edward F. Mooney, On Søren Kierkegaard: Dialogue, Polemics, Lost Intimacy, and Time." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Tamar Aylat-Yaguri, 101–4. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-22.

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"Leo Stan, Either Nothingness or Love: On Alterity in Søren Kierkegaard's Writings." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Marcia Morgan, 219–24. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-45.

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"Michael Strawser, Both/And: Reading Kierkegaard from Irony to Edification." In Volume 18, Tome III: Kierkegaard Secondary Literature, edited by Jesus Luzardo, 239–44. Routledge, 2017. http://dx.doi.org/10.4324/9781315157528-49.

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