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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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Dulk, Allard Den. "Beyond Endless “Aesthetic” Irony: A Comparison of the Irony Critique of Søren Kierkegaard and David Foster Wallace’s Infinite Jest." Studies in the Novel 44, no. 3 (2012): 325–45. http://dx.doi.org/10.1353/sdn.2012.0030.
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Bates, C. "NO SIN BUT IRONY: KIERKEGAARD AND MILTON'S SATAN." Literature and Theology 11, no. 1 (March 1, 1997): 1–26. http://dx.doi.org/10.1093/litthe/11.1.1.
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Hill, Leslie. "‘The Prey or the Shadow’: Klossowski, Kierkegaard, Desire." Paragraph 43, no. 1 (March 2020): 58–70. http://dx.doi.org/10.3366/para.2020.0320.
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During the late 1930s, towards the beginning of a long and colourful career as a translator, writer, novelist and painter, Pierre Klossowski (1905–2001) proved an attentive reader of the work of the Danish thinker Søren Kierkegaard (1813–55). This article examines Klossowski's twofold engagement with Kierkegaard, the first in the form of a commentary, published in Bataille's magazine Acéphale in 1937 addressing the Dane's use of Mozart's Don Giovanni in his philosophical treatise Either — Or, the second, a year later, being a translation of an essay by Kierkegaard, also originally part of Either — Or, offering an alternative interpretation of Sophocles’ Antigone to the one proposed by Hegel. The aim of the article is to examine how Klossowski, in these texts, problematizes the possibility of mediation and translatability, and emphasizes instead the irreducibility of immediacy, secrecy, indirection.
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Smith, Troy Wellington. "From Enthusiasm to Irony: Kierkegaard’s Reception of Norse Mythology and Literature." Kierkegaard Studies Yearbook 23, no. 1 (July 26, 2018): 223–46. http://dx.doi.org/10.1515/kierke-2018-0011.
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AbstractAlthough the reader of Either/Or is intended to be, at the very least, somewhat ambivalent towards the Kierkegaardian pseudonym A, I argue that this character’s enthusiasm for all things Old Norse is shared by the Kierkegaard of this period. Kierkegaard’s interest in his region’s romantic past, however, would be short-lived. As his authorship progressed from the aesthetic to the religious, he found himself in conflict with another titan of the Danish Golden Age, Nicolai Frederik Severin Grundtvig. Since Grundtvig’s work dealt extensively with Norse mythology, Kierkegaard’s interest in the Norse cooled as his polemics against Grundtvig caught fire.
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Glas, Gerrit. "THE THINKER AND THE TRUTH BRINGING SØREN KIERKEGAARD IN DISCUSSION WITH REFORMATIONAL PHILOSOPHY." Philosophia Reformata 77, no. 2 (November 27, 2012): 155–81. http://dx.doi.org/10.1163/22116117-90000531.
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In reformational philosophy engagement with Søren Kierkegaard never really did get off to a good start. The present contribution is meant to reintroduce Kierkegaard in reformational philosophical discussions by focusing on the question of truth. How does the thinker as thinker relate to truth and what is the role of the I-self relationship in the search for truth? As working hypothesis it is stated that Kierkegaard’s many subtle analyses of the I-self relation can enrich reformational philosophical thinking about truth, by raising awareness for the intricate intertwinement between the object (the ‘what’) and the attitude (the ‘how’) of thinking. First, the thesis of indirect communication in the work of some of Kierkegaard’s pseudonymous authors will be investigated, including the question how this thesis affects the search for truth. Second, this thesis is compared with central concepts in reformational thinking, such as the heart, directedness at the Origin, and selfknowledge. Third, a brief review will be given of Climacus’ famous thesis that truth is subjectivity. After this review, the focus finally again shifts toward reformational philosophy, especially the way it has dealt with the religious dynamic in theoretical thought. It is concluded that there are differences in style, emphasis and conceptual ‘framing’ between Kierkegaard and Dooyeweerd, but that there are also many similar concerns and philosophical intuitions, more even than have been acknowledged so far in the literature. Kierkegaardian thinking is helpful in raising awareness of the tensions, ambiguities, and brokenness of our existence, even in the search for truth.
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Bashkov, Vladimir. "From Kierkegaard to Schmitt: Towards the Political-Theological Relevance of Repetition." Sotsiologicheskoe Obozrenie / Russian Sociological Review 20, no. 1 (2021): 25–49. http://dx.doi.org/10.17323/1728-192x-2021-1-25-49.
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This article attempts to explore Carl Schmitt’s political theology with reference to the philosophical and literature heritage of Søren Kierkegaard. For most modern scholars, the presence of this ideological connection is no longer something unknown or to be doubted. In the key statements of political theology, the dialectic of exception and of the universal is found, appearing in the same way as it was formulated by Kierkegaard. More often, the exception is the one that attracts the attention of specialists. However, in addition to the exception, Kierkegaard also speculated on repetition; it was the Danish philosopher’s work of the same name that was the source of the quotation with which Schmitt illustrated the significance of the sovereign decision for the systematic doctrine of the state. This paper redefines Schmitt’s main ideas through the notion of repetition, and demonstrates the theoretical novelty and productivity of this approach to the study of the heritage of one of the key political thinkers of the twentieth century.
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Rogers, Chandler D. "Søren Kierkegaard: Subjectivity, Irony, and the Crisis of Modernity. By Jon Stewart. Oxford: Oxford University Press, 2015. Pp. vii + 210. Hardcover, $39.95." Religious Studies Review 43, no. 4 (December 2017): 389. http://dx.doi.org/10.1111/rsr.13213.
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Moyn, Samuel. "Transcendence, Morality, and History: Emmanuel Levinas and the Discovery of Søren Kierkegaard in France." Yale French Studies, no. 104 (2004): 22. http://dx.doi.org/10.2307/3182503.
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Man, Eva Kit Wah. "What is an Author? A Comparative Study of Søren Kierkegaard and Liu Xie on the Meanings of Writing." Journal of Chinese Philosophy 40, no. 1 (March 2, 2013): 123–42. http://dx.doi.org/10.1163/15406253-04001009.
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This study analyzes Kierkegaard’s theory of authorship from a comparative perspective, by using Liu Xie’s Chinese literary criticism in Wenxin Diaolong as a comparative model. It examines the meaning of an author of literature writing, the spiritual, the aesthetic dimensions and the creative force of compositional literary writing, and finally the goal of writing, as elaborated by these two authors. In Kierkegaard’s sense, the quality of writing is mainly tied up with the religious mind of a person, while to Liu, the quality of writing is related to the moral quality of a person. The following examination demonstrates how Kierkegaard and Liu complement and enrich each other in the understanding of authorship and writing.
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Włoczewska, Agnieszka. "Kierkegaard's existentialism in dramas Sartre. Dialogue of philosophy and theater." Tekstualia 4, no. 39 (September 1, 2014): 181–200. http://dx.doi.org/10.5604/01.3001.0013.4525.
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A 19th century Danish philosopher and writer Søren Kierkegaard was considered by his contemporaries as an eccentric. The existentialism he created was in a total opposition to the leading systems of Hegel and Kant, as it accentuated the self, its individual quest of absolute, its fears, hopes and diffi cult relations with the Other. But he inspired the most important thinkers and writers of the next century, and his successors are Husserl, Jaspers, Heidegger, Marcel and Sartre. They inherited the key notions of Danish existentialism and developed their meanings. Sartre and Marcel applied, both in philosophical essays and in literature, such notions as freedom, authenticity, bad faith, choice, action. Kierkegaard, who also illustrated his thought in writings, called such a method indirect. His Either/Or (1843) and A Literary Review: Two ages, a novel by the author of A story of everyday life (1845) show a man looking for the sense of his life. Just like Orestes, hero of Sartre’a play The Flies. The bicentennial anniversary of Kierkegaard’s birth gives an excellent opportunity to refocus on his writings and his infl uence on the veneered authors of our times. The present article tries to compare the notions of consciousness, freedom, choice and judgment of religion in Kierkegaard’s and Sartre’s texts, both philosophical and fi ction.
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McGinniss, Michael S. "Virtue and Advice." Texas A&M Law Review 1, no. 1 (October 2013): 1–53. http://dx.doi.org/10.37419/lr.v1.i1.1.
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This Article examines the ethical and moral responsibilities of lawyers in their role as advisors to clients, with continual reference to the Greek philosopher Socrates.* Although Socrates was not a lawyer, he was an “advisor,” who lived a life committed to engaging in dialogue about virtue and its meaning and, at times, about the law and one’s duties in relation to the law. According to Rule 2.1 of the ABA Model Rules of Professional Conduct, when representing clients and acting as advisors, lawyers are expected to “exercise independent professional judgment” and “render candid advice,” which includes authority to counsel clients on moral considerations relevant to their legal situation. Socrates was a paradigm of “independence” and, although his speech was often bristling with irony, he was also persistently “candid” with his dialogue partners as they pursued the truth about moral questions. His life and teachings, and his courage in adhering to the principles that defined him, offer valuable insights for lawyers as they form their professional identities and serve as advisors to their clients. Part I of this Article will offer an overview and perspective on lawyers as independent advisors, first by closely examining Rule 2.1 and its meaning. It will then further explore moral independence in a legal context by reflecting on Socrates, with particular attention to his trial and its aftermath, but also considering Socrates as portrayed in the philosophy of Søren Kierkegaard. Part II will review several frameworks legal ethicists have developed to describe the relationship of advising lawyers and their clients, and propose the moral ideal of the “trustworthy neighbor” for lawyers serving clients in the advising role. Finally, Part III will consider some lessons derived from the teachings of Socrates for lawyer-advisors who are engaged in moral dialogue with their clients.
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POPOVIC KARIC, Pol. "LOS CONTRASTES Y LAS IRONÍAS EN LA CIUDAD ALEGRE Y CONFIADA DE JACINTO BENAVENTE." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 627. http://dx.doi.org/10.5944/signa.vol30.2021.26892.
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Resumen: Este trabajo propone un estudio sobre los contrastes y las ironías en La ciudad alegre y confiada de Jacinto Benavente. Estos tienen un impacto estilístico y cómico característicos del teatro español de las primeras décadas del siglo XX. Además, el contraste y la ironía definen la estructura ideológica de esta obra y justifican su cierre. En la primera sección, las características y los personajes individuales serán estudiados a través de las contradicciones e incoherencias sociales que contribuyen a la imprevisible naturaleza de la trama. En la segunda sección, el análisis de la estructura socioeconómica de la sociedad proveerá las bases para los conflictos individuales y colectivos. La última sección se enfocará en la relación entre la vida y la muerte. Los protagonistas Crispín y Desterrado están convencidos que la muerte es la única manera de purificar a la gente y de salvar su ciudad. Soren Kierkegaard, Wayne Booth and Peter Roster proveen los acercamientos teóricos a la ironía que se utilizarán en este trabajo.Abstract: This paper proposes a study of contrasts and ironies in Jacinto Benavente’s play La ciudad alegre y confiada. They produce stylistic and comical effects that are typical of the Spanish drama in the first decades of the 20th century. However, they also define the ideological structure of the play and justify its outcome. The contrasts and the ironies of this play will be studied in three sections. In the first one, the personal characteristics and roles will be examined. Their contradictions and incoherencies contribute to the unpredictable nature of the play. In the second section, the analysis of the socioeconomic structure of the society will provide the bases for individual and collective conflicts. The last section focuses on the relation between life and death. The key protagonists Crispin and Desterrado are convinced that death is the only way to purify the people and to save their town. Soren Kierkegaard, Wayne Booth and Peter Roster provide the theoretical approaches to irony that will be used in this study.
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Peña Arroyave, Alejandro. "Søren Kierkegaard. La melancolía como fundamento de la existencia estética. Søren Kierkegaard. The Melancholy as the Foundation of Aesthetic Existence." Metafísica y persona, no. 12 (May 27, 2017). http://dx.doi.org/10.24310/metyper.2014.v0i12.2730.
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En diálogo con el Romanticismo alemán, Kierkegaard construye en O lo uno O lo otro el perfil de quien vive estéticamente como culminación de los ideales estéticos románticos. En el Romanticismo, la ironía se convierte en el elemento esencial a tal forma de vida, ya que permite alejamiento de la realidad en tanto superioridad de un yo que se concibe absoluto, mediante un distanciamiento crítico que le permite contemplarse a sí mismo como obra de arte. Sin embargo, desde la reelaboración de Kierkegaard, puede mostrarse que la ironía es el instrumento para aparecer en el mundo como yo absoluto y dominador, pero el fundamento de la existencia estética permanece anclado en la melancolía. La tesis del escrito consiste en mostrar precisamente que el elemento oculto en la existencia estética es la melancolía en la medida que determina una visión quebrada del mundo y por ello una disputa entre hombre y realidad.In discussion with German Romanticism, Kierkegaard built in Either/Or the profile who lives aesthetically as the culmination of the romantic aesthetic ideals. In Romanticism, the irony becomes so essential to life, allowing detachment from reality as superiority of me who is conceived absolutely, by means of a critical distance that it allows him to be contemplate himself as a work of art. However, in the Kierkegaard’s reprocessing, it can be shown that irony is the instrument to appear in the world as absolute and dominant, but the foundation of aesthetic existence remains anchored in the melancholy. The thesis of this paper is to show precisely that hidden element in the aesthetic existence is the melancholy in the measure that determines a broken vision of the world and therefore a dispute between man and reality.
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Müller, Mogens. "Søren Kierkegaard’s Historical Jesus as the Christ of Faith." Kierkegaard Studies Yearbook 19, no. 1 (January 1, 2014). http://dx.doi.org/10.1515/kierke-2014-0106.
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AbstractIn The Concept of Irony (1841) Kierkegaard employs tendency criticism in his analysis, showing how the picture of Socrates is highly dependent upon the perception of the authors describing him: Xenophon, Plato and Aristophanes. Further, in Philosophical Fragments (1844) and the Concluding Unscientific Postscript (1846), following up on Lessing’s problem, if anything historical is capable of offering a point of departure for an eternal consciousness, he develops his paradoxical Christology claiming the divine not to be directly recognizable. Accordingly, one could imagine that Kierkegaard could accept the result of historical critical scholarship claiming the dependence of the gospel stories, on their authors’ perception of Jesus. However, Kierkegaard reads the gospels as if biblical criticism did not exist. The earthly Jesus of the gospels not only is the Christ, but he also has become so without the confession to him as the resurrected Lord. Thus Kierkegaard totally eliminates the “fact” that we have access to the historical Jesus through the reception of his believers alone
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Jørgensen, Aage. "Søren Kierkegaard Literature 1956 – 2006: A Bibliography Supplement, Including Entries from 2007– 2011." Kierkegaard Studies Yearbook 2012, no. 1 (January 2012). http://dx.doi.org/10.1515/kier.2012.389.
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Popovic Karic, Pol. "La ironía en la obra de Juan Rulfo." Signa: Revista de la Asociación Española de Semiótica 23 (January 1, 2014). http://dx.doi.org/10.5944/signa.vol23.2014.11754.
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Se analizarán cuatro tipos de ironía —las de Platón, Booth, Hutcheon y Kierkegaard— en la obra de Juan Rulfo. Cada uno ofrece distintos ángulos de observación sobre las tramas y las imágenes plasmadas por el narrador. Observaremos distintas maneras en las que los efectos de la ironía impactan el contenido temático y el aspecto estético de la narrativa de Rulfo.Four types of irony —based on the theories of Plato, Booth, Hutcheon and Kierkegaard— will be used to analyze Juan Rulfo’s work. Each one offers different angles of observation focused on the plot and the images projected by the narrator. We shall observe the ways in which ironic effects impact the thematic content and the esthetic aspect of Rulfo’s narrative.
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Popovic Karic, Pol. "Las ironías clásicas y modernas en El río del Edén de José María Merino." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures, December 22, 2020. http://dx.doi.org/10.1075/rro.20028.pop.
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Abstract In the novel El río del Edén by José María Merino, the reader learns about the life experiences of Daniel and Tere. This paper analyzes three stages in their lives: the camping trip, the period before the birth of their son Silvio and the consequences of his medical condition on his parents. These critical moments have been seen from the ironic perspectives of classical and contemporary philosophers: Socrates, Cicero, Kierkegaard, Muecke, Glicksberg and Robbe-Grillet, among others. The concept eiron vs alazon, dissimulation, humor and incoherence are the theoretical tools that permitted this study to bridge the gap between the literary text and the philosophical approaches to irony.
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Jensen, Julio. "Kierkegaard and the Self-Conscious Literary Tradition: An Interpretation of the Ludic Aspects of Kierkegaard’s Pseudonymous Authorship from a Literary-Historical Perspective." Kierkegaard Studies Yearbook 20, no. 1 (January 1, 2015). http://dx.doi.org/10.1515/kierke-2015-0110.
Full textAbstract:
AbstractKierkegaard’s pseudonymous authorship is characterized by a profusion of literary techniques that belong to the tradition of the ludic or selfconscious novel (the fiction that makes its fictionality manifest). In the present contribution the self-conscious literary plays carried out by Kierkegaard will be interpreted from the perspective of the philosophy of the subject, since both the self-conscious novel and Kierkegaard’s production can be related to this philosophical tradition. The article is organized as follows: first appears a very brief sketch of the way in which self-conscious literature and the philosophy of the subject are related. After this, follows a commentary on the notion of individuality in On the Concept of Irony. Kierkegaard’s dissertation is read as a work in the tradition of the philosophy of the subject that, at the same time, surpasses the idea of subjectivity as metaphysical principle. Finally, a close reading of Either/Or intends to show how Kierkegaard develops his ideas about subjectivity in a literary frame-that of the self-conscious novel