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Journal articles on the topic 'The romantic irony'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Lazăr, Simina. "FORMS OF IRONY IN MIHAI EMINESCU'S AND MARIN SORESCU'S POETRY." Messages, Sages and Ages 9, no. 1 (2022): 37–41. https://doi.org/10.5281/zenodo.7033785.

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In literature, irony is considered one of the main features which gives a sense of authenticity and its origins enables it to be associated with a certain amount of intellectuality and a highly educated spirit. There are two main types of irony which are to be found in literature, romantic irony and postmodern irony and these forms lay at the very core of Mihai Eminescu’s and Marin Sorescu’s works, respectively. It is the same device that unites the writings of the two authors, but their characteristics are completely different, the romantic irony is the essence of Eminescu’s

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2

ETARYAN, Yelena. "Irony As “Ferment Of Philosophical And Aesthetic Speculation” (By Friedrich Schlegel And Thomas Mann)." WISDOM 14, no. 1 (2020): 88–97. http://dx.doi.org/10.24234/wisdom.v14i1.309.

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The focus of our scientific contribution is German Romanticism with its early romantic concept of self-referentiality or romantic irony. In the article, according to Safransky (Safranski, 2007, p. 12), romanticism is considered not only as a literary era, but also as a ”mental attitude“ that can be imprinted in any era. Using the work of Thomas Mann as an example, we illustrate it by looking at the epoch of modernity. In the Romantic period irony became a philosophy of life and art. It is also a central concept for Thomas Mann. The goal of this scientific article is to demonstrate the conseque

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3

Klimenko, Irina. "The function of irony in the composition of a neo-romantic short story." St. Tikhons' University Review. Series III. Philology 78 (March 29, 2024): 9–19. http://dx.doi.org/10.15382/sturiii202478.9-19.

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This article raises the issue of ironic effects manifestation at the composition level. The novelistic part of the work of the neo-romanticist A. Grin was chosen as the research material, the ironic mode in whose artistic method has not previously been subjected to detailed analysis. The relationship between irony in neoromanticism and classical romantic irony is considered. In romanticism, irony indicates an understanding of the incompleteness of knowledge about the world as a whole, the distancing of the narrating subject (be it the artist himself, the image of the author or the narrator) fr

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4

Simpson, David, and Lilian R. Furst. "Fictions of Romantic Irony." Studies in Romanticism 26, no. 1 (1987): 169. http://dx.doi.org/10.2307/25600640.

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5

Haase, Donald P., and Lilian R. Furst. "Fictions of Romantic Irony." German Quarterly 59, no. 1 (1986): 138. http://dx.doi.org/10.2307/406231.

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6

Eastham, Andrew. "Beckett's Sublime Ironies: The , , and the Remainders of Romanticism." Samuel Beckett Today / Aujourd'hui 18, no. 1 (2007): 117–29. http://dx.doi.org/10.1163/18757405-018001009.

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This essay theorizes the status of Romantic irony in Beckett's work according to its relationship with the sublime, which takes three different forms. First, in the "German Letter," irony is conceived of as the way to the sublime. I argue that a diagnostic account of this process emerges in , where Romantic irony is framed as the symptom of a moribund condition. Finally, I suggest that in Beckett works to ironize the rhetoric of Romanticism, whilst the Romantic irony of his narrators is constituted by an aspiration to repeat an irrecoverable sublime encounter.

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7

Khalilollahi, Shahla, and Maryam Mousavi. "Study of Socratic Irony and Romantic Irony in Khayyam, Abol-ala and Schopenhauer’s Quatrains." International Journal of Applied Linguistics and English Literature 8, no. 5 (2019): 72. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.5p.72.

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In this article we are determined to review Socratic irony, romantic and ironic structures of Khayyam's quatrains and the ones attributed to him and explain the place of Khayyam as an ironist among other thinkers of the world, according to the meaning of romantic irony and Socratic irony in his quatrains. Irony is the recognition of the fact that the world itself is sick and only an ambivalent attitude can understand its paradoxical totality. Ashleh Goal believes that irony in this sense, according to its nature, is not moderating, but it means that it is endless and self-looking like Socratic

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8

Gupto, Arun. "Schlegel, Romantic Irony, and Poststructuralism." Journal of Philosophy: A Cross-Disciplinary Inquiry 1, no. 2 (2005): 2–3. http://dx.doi.org/10.5840/jphilnepal2005126.

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9

Fung, Paul. "Dostoevsky, Consciousness and Romantic Irony." Dostoevsky Journal 18, no. 1 (2017): 73–94. http://dx.doi.org/10.1163/23752122-01801005.

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This article reconsiders Dostoevsky in relation to Schlegel’s idea of irony, which is based on the premise that the human subject is self-dividing. The romantic imagines to achieve a stable and united self, but that wish is continually shown futile in an infinite process of self-reflection. Romantic irony therefore is a mode of existence marked by a desire for an organic whole and the realization that such desire is impossible. The Dostoevsky’s hero is thrown to such ironic situation, where human subjectivity is continually confirmed and disconfirmed. The article first discusses references to

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10

Beus, Yifen Tsau. "Alfred de Musset's Romantic Irony." Nineteenth Century French Studies 31, no. 3 (2003): 197–209. http://dx.doi.org/10.1353/ncf.2003.0006.

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11

Slinn, E. Warwick. "Romantic Irony and Victorian Literature." Victorian Literature and Culture 19 (March 1991): 329. http://dx.doi.org/10.1017/s1060150300003752.

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12

Steidlmayer, Heidy Anne. "Singles, Magnets, and Romantic Irony." Humanitas 7, no. 2 (1994): 66–67. http://dx.doi.org/10.5840/humanitas19947219.

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13

Miller, Eric. "Romantic Irony and Virtual Reality." Popular Culture Review 9, no. 1 (1998): 115–24. http://dx.doi.org/10.1002/j.2831-865x.1998.tb00118.x.

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14

Hurst, Brandon. ""Best Done by Indirection": Fiction, Reality, and the Romantic Irony of Depravity in Herman Melville's Billy Budd." Leviathan 27, no. 1 (2025): 45–64. https://doi.org/10.1353/lvn.2025.a960351.

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Abstract: This essay explores the role of Romantic irony, as theorized by Friedrich Schlegel, in Melville's "portrait" of Claggart in Billy Budd . Previous scholarship has largely focused on the novella's rhetorical irony, leaving criticism on Romantic irony underdeveloped. Schlegel envisioned irony as an act of infinite self-reflection recognizing the bounds of perception and understanding. This negative knowledge, in turn, perpetually gestures towards the "Incomprehensible"—that which transcends human apprehension—developing an understanding of transcendent truths "by indirection." In litera

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15

Takamura, David. "Tieck’s Alternative Theory of Romantic Irony." German Studies Review 47, no. 2 (2024): 185–203. http://dx.doi.org/10.1353/gsr.2024.a927856.

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ABSTRACT: This paper reexamines Ludwig Tieck’s theoretical contributions to Romantic irony and contrasts Tieck’s underacknowledged importance in this area with Friedrich Schlegel’s usual characterization as the progenitor of widely adopted ironic theory. With a unique understanding of dialogic self-creation, Tieck’s 1795 epistolary novel William Lovell proleptically critiques features of what will become the dominant Romantic-ironic worldviews articulated by Schlegel. More specifically, Tieck’s novel stresses the existence of a blind spot within the otherwise circumspect character of irony, fo

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16

Suzuki, Nobukuni. "Ironie in der Wissenschaftslehre: Reflexion und Glaube bei Fichte in romantischer Perspektive." Fichte Studien 43, no. 1 (2016): 290–97. https://doi.org/10.1163/18795811_04301019.

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Though Fichte had many romantics among his colleagues and his influence on them is undeniable, the concept of irony, one of the most characteristic terms for the romantics of his time, occupies no relevant place in his thought. Friedrich Schlegel, the most well-known representative of the romantic movement in Germany, however, not only recognized Fichte’s relevant impact on his era in general but also developed a clear idea of Fichte’s philosophical standpoint. He crystallized his understanding in the concept of philosophical irony, especially in the fragments published in Athenäum and Lyceum.

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17

Borkowska-Rychlewska, Alina. "Granice ironii – granice iluzji. O ontologii postaci w „Eugeniuszu Onieginie” Aleksandra Puszkina i Piotra Czajkowskiego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 42 (September 30, 2022): 137–55. http://dx.doi.org/10.14746/pspsl.2022.42.8.

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The article presents the characteristics of the romantic irony employed in Alexander Pushkin’s digressive poem Eugene Onegin and Pyotr Tchaikovsky’s opera titled alike. The analysis of selected fragments of the libretto which were based on the verses constituting the digressive (rather than storytelling) layer of Pushkin’s work allow one to conclude that the operatic version of Onegin expresses exactly the same kind of romantic irony which was used by the romantic poet. The authors of the libretto achieved something typical of Pushkin’s irony – a flow of the border between illusion and disillu

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18

Ye, Leilei. "The Romantic Irony in [The Mother]." Studies of Korean & Chinese Humanities 59 (June 30, 2018): 29–48. http://dx.doi.org/10.26528/kochih.2018.59.029.

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19

Грибкова, Ю. "THE ROMANTIC IRONY OF MYKOLA GOGOL." Doxa, no. 1(33) (September 15, 2020): 108–17. http://dx.doi.org/10.18524/2410-2601.2020.1(33).211978.

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20

Farrell, Grace. "Romantic Irony in “The Rescued Fugitives”." Poe Studies/Dark Romanticism 39-40, no. 1-2 (2006): 68–72. http://dx.doi.org/10.1111/j.1754-6095.2006.tb00187.x.

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21

Kálmán, György C. "Romantic irony as an international phenomenon." Neohelicon 18, no. 1 (1991): 289–96. http://dx.doi.org/10.1007/bf02092535.

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22

Ritchey, Marianna. "Comic Irony in Harold en Italie." Journal of Musicology 36, no. 1 (2019): 68–95. http://dx.doi.org/10.1525/jm.2019.36.1.68.

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Berlioz’s Harold en Italie (1834) is a strange, ambiguously programmatic symphony that refers explicitly to both Beethoven and Byron—two of the lions of Romantic heroism—in ways that are not always straightforward. I argue that Berlioz’s evocation of Romantic heroism is an ironic commentary on the impossibility of artistic freedom in bourgeois society. I also identify a new literary connection to the symphony: the comically ironic short stories and journalism written by Berlioz’s friend Théophile Gautier. Many have argued that both the Byronic archetype and the nineteenth-century symphony beca

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23

Papilova, E. ""Half-Russian Neighbor": The Image of Lensky as a Follower of German Romanticism." Art Logos – The Art of Word 4, no. 29 (2024): 46–58. https://doi.org/10.35231/25419803_2024_4_46.

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In this article the image of Vladimir Lensky (Eugen Onegin by A. Pushkin) is studied from the point of view of his connection with the German romantic culture. Noticing that Germany was the homeland of romanticism, the author of the article justifies the romantic nature of the character: Lensky is the alumnus of Gottingen university, the poet, inspired by the "lyric fire" and "freedom-loving, noble heart", his image is strongly connected with Schiller (including his appearance: "raven locks of shoulder reach"), the characteristics of him are the romantically enthusiastic pursuit of sublime, ma

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24

Jaishi, Pushpa Raj. "Dialectics between Consciousnesses and Illusion in Keats’s Poem The Eve of St. Agnes." Contemporary Research: An Interdisciplinary Academic Journal 6, no. 1 (2023): 131–38. http://dx.doi.org/10.3126/craiaj.v6i1.55398.

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The research paper attempts to explore the dialectics between consciousness and illusion in John Keats’s poem The Eve of St. Agnes. The contradiction between the conscious state and dream in the poem shows the incongruency and ambiguity that gives a fine vein of Romantic irony in the poem. It is a stance of isolated skepticism carried by an author towards his or her work, typically manifesting in literary self-consciousness and self reflection. The symmetrical paradox between two different realms of human life in the poem exposes the inherent contradictions provoked the interplay between reali

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25

Gardiner, Michael E. "Post-Romantic irony in Bakhtin and Lefebvre." History of the Human Sciences 25, no. 3 (2012): 51–69. http://dx.doi.org/10.1177/0952695112439142.

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26

Lavagnino, Nicolás. "On the Very Idea of Romantic Irony." Contemporary Pragmatism 11, no. 1 (2014): 131–42. http://dx.doi.org/10.1163/18758185-90000281.

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27

Sticker, Martin, and Daniel Wenz. "System und Systemkritik – Witz und Ironie als philosophische Methode beim frühen Friedrich Schlegel." Philosophisches Jahrbuch 120, no. 1 (2013): 64–81. http://dx.doi.org/10.5771/0031-8183-2013-1-64.

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Abstract. The conceptions of wit and irony of the early Friedrich Schlegel together constitute a philosophically ambitious form of early-romantic dialectic. This dialectic was directed especially against the closed philosophical system of Fichte, and tries to show a third way between the abandonment of a system and a closed system. The result is an open system, which can accommodate historical change and an infinite approach to the absolute. The article discusses the origin of this third way in romantic irony, and Schlegel’s critique of Fichte, as well as the role poetry and the fragment as a

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28

Korolyova, Vera V. ""E. T. A. Hoffmann’s complex" in the cycle of stories and drama scenes "Earth Axis" by Valery Bryusov (1901-1907)." Vestnik of Kostroma State University, no. 3 (2019): 113–19. http://dx.doi.org/10.34216/1998-0817-2019-25-3-113-119.

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In this article we explore "E. T. A. Hoffmann’s complex", which includes real and imaginary worlds, the problem of the mechanisation of life and society, the duality, the romantic irony and grotesque in the series of short stories "Earth Axis" by Valery Bryusov. Following E. T. A. Hoffmann’s tradition, Velery Bryusov creates a special type of romantic the dual world based on the principle of mirror reflection of the real world. The dominance of the unreal world leads to the absorption of the main character. The problem of mechanisation of a life and a man in the series is manifested in the ten

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29

Rozik, Eli. "Theatrical Irony." Theatre Research International 11, no. 2 (1986): 132–51. http://dx.doi.org/10.1017/s0307883300012165.

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It is my intention to derive the concept of ‘theatrical irony’ from the general theory of theatrical communication.The basic meaning of the term ‘irony’, from the Greek word ‘ειρωνεια’, was ‘dissimulation’. Over the centuries, this term has been extended to additional semantic fields and consequently acquired new meanings as in ‘Socratic irony’, ‘philosophical irony’, ‘romantic irony’, ‘dramatic irony’, ‘tragic irony’, and so on. At the same time, a number of more colloquial expressions were introduced as well, as in ‘ironic smile’, ‘irony of events’, ‘irony of fate’, and so on. I am of the op

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30

Shilstone, Frederick W., and Anthony Whiting. "The Never-Resting Mind: Wallace Stevens' Romantic Irony." South Atlantic Review 63, no. 2 (1998): 155. http://dx.doi.org/10.2307/3201053.

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31

Cornwell, Neil, and Monika Greenleaf. "Pushkin and Romantic Fashion: Fragment, Elegy, Orient, Irony." Modern Language Review 93, no. 2 (1998): 591. http://dx.doi.org/10.2307/3735477.

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32

Bristol, Evelyn, and Monika Greenleaf. "Pushkin and Romantic Fashion: Fragment, Elegy, Orient, Irony." Russian Review 56, no. 1 (1997): 127. http://dx.doi.org/10.2307/131490.

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33

Kolb, Jocelyne. ""Die Puppenspiele meines Humors": Heine and Romantic Irony." Studies in Romanticism 26, no. 3 (1987): 399. http://dx.doi.org/10.2307/25600667.

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34

Emerson, Caryl, and Monika Greenleaf. "Pushkin and Romantic Fashion: Fragment, Elegy, Orient, Irony." Studies in Romanticism 36, no. 2 (1997): 292. http://dx.doi.org/10.2307/25601232.

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35

Королькова, Ольга. "ROMANTIC IRONY AS A DISCOURSE: E. A. POE." Doxa, no. 1(31) (December 9, 2019): 89–93. http://dx.doi.org/10.18524/2410-2601.2019.1(31).186387.

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36

Newmark, Kevin. "'Practically Impossible: Jean Paulhan and Post-Romantic Irony'." Parallax 4, no. 4 (1998): 65–78. http://dx.doi.org/10.1080/135346498250019.

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37

Egginton, William. "Cervantes, Romantic Irony and the Making of Reality." MLN 117, no. 5 (2002): 1040–68. http://dx.doi.org/10.1353/mln.2003.0006.

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38

Chepurin. "Suspending the World: Romantic Irony and Idealist System." Philosophy & Rhetoric 53, no. 2 (2020): 111. http://dx.doi.org/10.5325/philrhet.53.2.0111.

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39

DILL, HEIINZ J. "Romantic Irony in the Works of Robert Schumann." Musical Quarterly 73, no. 2 (1989): 172–95. http://dx.doi.org/10.1093/mq/73.2.172.

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40

Powelstock, David, and Monika Greenleaf. "Pushkin and Romantic Fashion: Fragment, Elegy, Orient, Irony." Slavic and East European Journal 40, no. 2 (1996): 371. http://dx.doi.org/10.2307/309476.

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41

Kurzová, Irena. "Byron, Pulci, and Ariosto: Technique of Romantic Irony." Neophilologus 99, no. 1 (2014): 1–13. http://dx.doi.org/10.1007/s11061-014-9402-8.

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42

Koroleva, Vera V. "The ‘Hoffmann’s complex’ in the Dramatic Trilogy of A. Blok (A Puppet Show, King on the Square and The Unknown Woman)." Transcultural Studies 15, no. 2 (2019): 112–27. http://dx.doi.org/10.1163/23751606-01502003.

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The article examines the ‘Hoffmann’s complex’ in the lyrical trilogy of A. Blok: pictorial and musical harmony (synesthesia of arts); romantic irony and grotesque; the problem of mechanization of life and a human, which is revealed in the images-symbols of the mask, a doll, a puppet and a double. Synesthesia is an important part of Blok’s style, manifested in the special lyricism of the works, which helps to reveal the subtle soul of the lyrical hero. The problem of mechanization of life and human in the Blok’s dramas is revealed in the images of a mask, a doll, a double, which express one of

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43

Taranek-Wolańska, Olga. "„Epifanie w końcu muszą mieć jakiś sens”. Wokół ironii Juliusza Słowackiego i Zbigniewa Herberta." Prace Literackie 58 (April 28, 2020): 287–98. http://dx.doi.org/10.19195/0079-4767.58.24.

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The article is devoted to irony as one of the common interpretative denominators of the works of Juliusz Słowacki and Zbigniew Herbert. Taking into account the fact that at least several types of irony are distinguished in literary studies (an elementary division includes rhetorical irony, socratic irony, and romantic irony), the author focuses on the linguistic element(s) of irony. The author sets out various functions of irony in Słowacki and Herbert, and with this procedure — presents the attitude of both poets to the heritage of Mediterranean culture as the eternal source of existential di

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44

Bredsdorff, Thomas. "Feminism with a Good Laugh – Holberg, Irony, and Equal Rights." Scandinavistica Vilnensis, no. 9 (December 20, 2014): 17–26. http://dx.doi.org/10.15388/scandinavisticavilnensis.2014.9.2.

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Ludvig Holberg was a serious feminist throughout his career. Unlike most Enlightenment philosophers, he insisted on extending the enlightened principle of equal rights to women. He was also a gifted ironist, and employed laughter in his quest for equality, which could be one reason why his feminism has not always been taken seriously. An attempt is made to place Holberg’s irony in a historical perspective, as compared with romantic irony and Kierkegaard’s notion of that intriguing concept.

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45

Kelly, Lionel, and Anthony Whiting. "The Never-Resting Mind: Wallace Stevens and Romantic Irony." American Literature 70, no. 4 (1998): 910. http://dx.doi.org/10.2307/2902404.

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46

Tilby, Michael, and Lloyd Bishop. "Romantic Irony in French Literature from Diderot to Beckett." Modern Language Review 86, no. 4 (1991): 1013. http://dx.doi.org/10.2307/3732595.

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47

Shookman, Ellis. "Goethe’s Baccalaureus and the concept of romantic irony inFaust." European Romantic Review 20, no. 4 (2009): 491–511. http://dx.doi.org/10.1080/10509580903220602.

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48

신경식. "The Aesthetic of Ruins, Digital Picturesque and Romantic Irony." Contemporary Film Studies 16, no. 1 (2020): 25–44. http://dx.doi.org/10.15751/cofis.2020.16.1.25.

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49

Lodge, Sara. "Romantic Reliquaries: Memory and Irony in The Literary Annuals." Romanticism 10, no. 1 (2004): 23–40. http://dx.doi.org/10.3366/rom.2004.10.1.23.

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50

Korobov, Neill. "Expanding Hegemonic Masculinity: The Use of Irony in Young Men’s Stories About Romantic Experiences." American Journal of Men's Health 3, no. 4 (2008): 286–99. http://dx.doi.org/10.1177/1557988308319952.

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This study examines the use of irony in young men’s stories about romantic and sexual experiences. Because romantic experiences are central in the constitution of a heterosexual self, and because they are increasingly formulated in relation to traditional masculine norms and the simultaneous avowal and disavowal of effeminacy, they reveal an oscillation between complicity and resistance to hegemonic masculine norms. This oscillation is explored in stories about promiscuity, seduction, and vulnerability. Critical discursive analyses reveal how young men discursively pivot between complicity and

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