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Journal articles on the topic 'The romantic irony'

Author: Grafiati

Published: 24 April 2022

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1

ETARYAN, Yelena. "Irony As “Ferment Of Philosophical And Aesthetic Speculation” (By Friedrich Schlegel And Thomas Mann)." WISDOM 14, no. 1 (March 6, 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 consequent realization of the concept of (early) romantic irony of a self-reflective narrative in the work by Thomas Mann. In the article, as a conclusion, the thesis is put forward that Thomas Mann seeks to synthesize the spheres of knowledge and aesthetics, but this “synthesis” has a slightly different meaning than that of the early romantics. . The common ground of their concept of irony is mediating between opposites, but at the same time, these opposite sides are to be preserved in their specificity and can only be unified selectively. Another similarity that needs to be identified is the functionalization of art as criticism, in other words, of “literary criticism”.

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2

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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3

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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4

Eastham, Andrew. "Beckett's Sublime Ironies: The , , and the Remainders of Romanticism." Samuel Beckett Today / Aujourd'hui 18, no. 1 (October 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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5

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 (September 30, 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 wisdom. Irony is related to an aspect of speech in which the meaning of the word is placed in contrast to the literal meaning of the word. In fact, an individual mentions something which is not what he or she actually meant, or is not all of what he or she meant. Examples of these meanings can be seen in Socrates' dialogues, which one type of irony is called Socratic irony and the other type is romantic irony. This term was used in a more complicated meaning, which was our purpose in this article, by the German romantic theorists in the late eighteenth century A.D. In romantic irony, the offended artist of the events of life portrays an excerpt from reality, from the perspective of his knowledge as Khayyam created a school and after him a number of Iran's poets continued it. He constantly reminds the human suffering by offering images of the world inversion.

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6

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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7

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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8

Fung, Paul. "Dostoevsky, Consciousness and Romantic Irony." Dostoevsky Journal 18, no. 1 (January 3, 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 Russian romanticism in Dostoevsky’s writings. It then moves on to a rereading of Notes from Underground and The Brothers Karamazov. Schlegel’s critical fragments are used throughout to illuminates the ironic quality of Dostoevsky’s writings. The article ends with a comparison between Dostoevsky and Schlegel’s views on irony.

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9

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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10

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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11

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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12

Farrell, Grace. "Romantic Irony in “The Rescued Fugitives”." Poe Studies/Dark Romanticism 39-40, no. 1-2 (January 12, 2006): 68–72. http://dx.doi.org/10.1111/j.1754-6095.2006.tb00187.x.

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13

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

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14

Ritchey, Marianna. "Comic Irony in Harold en Italie." Journal of Musicology 36, no. 1 (January 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 became vehicles for exploring the high ideal of Romantic heroism. Hearing Harold as humorously ironic enables insights into Berlioz’s experience of his cultural moment and alternative readings of the impact of Byronic and Beethovenian heroism on subsequent generations of artists, while also opening possibilities for exploring narrative as a hermeneutic for musical analysis.

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15

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

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16

Lavagnino, Nicolás. "On the Very Idea of Romantic Irony." Contemporary Pragmatism 11, no. 1 (April 21, 2014): 131–42. http://dx.doi.org/10.1163/18758185-90000281.

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17

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

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18

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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19

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

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20

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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21

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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22

Kurzová, Irena. "Byron, Pulci, and Ariosto: Technique of Romantic Irony." Neophilologus 99, no. 1 (June 20, 2014): 1–13. http://dx.doi.org/10.1007/s11061-014-9402-8.

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23

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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24

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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25

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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26

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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27

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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28

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

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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 opinion, however, that despite the diversity of such phrases and regardless of their partial overlap, it is still possible to unveil a common semantic core. Furthermore, it is my belief that our understanding of theatrical irony benefits from all these additional usages.

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30

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 tendency of loss of spirituality in society and an attempt to fill the spiritual emptiness with "inanimate" objects ("Flat", "Defence"). Valery Bryusov creates a grotesque picture of a society ("Earth", "Rise of the Machines"), where the living changes are replaced by the nonliving (machines). Romantic irony and grotesque, which are destructive, become a stylistic device in the work of Valery Bryusov.

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31

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 (October 21, 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 the sides of the poet’s contradictory soul and appear as a reaction to the imperfection of the modern world. Another embodiment of the mechanization of life and a human is the problem of merging the mask and the actor, as a result of which the actor loses his true face. Important elements of Aleksandr Blok’s lyrical style in the trilogy are rooted in the tradition of Hoffmann’s romantic irony and the grotesque, which get a new semantic content in dramas: the creative irony of Hoffmann transforms in a devastating irony in Blok’s works.

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32

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 dilemmas. As the starting material for analysis and interpretation, two texts were used — Słowacki’s digression poem Podróż do Ziemi Świętej z Neapolu (read in the context of the genre) and a collec-tion of Herbert’s short narrative forms, Król mrówek.

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33

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

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34

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

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35

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

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36

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

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37

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

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38

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 (June 19, 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 resistance to traditional masculine norms, how this oscillation functions in the accomplishment of their romantic identities, how a sense of conventional masculinity is reclaimed, and what these processes reveal about the shifting nature of hegemonic masculinity in contemporary culture.

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39

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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40

Грибкова, Юлія, and Марія Кашуба. "«AENEID» BY IVAN KOTLYAREVSKY IN THE CONTEXT OF ROMANTIC IRONY." Doxa, no. 1(31) (December 9, 2019): 84–88. http://dx.doi.org/10.18524/2410-2601.2019.1(31).186382.

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41

McGlathery, James M., and Mary A. Cicora. "Mythology as Metaphor: Romantic Irony, Critical Theory, and Wagner's Ring." German Quarterly 72, no. 3 (1999): 306. http://dx.doi.org/10.2307/408567.

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42

WEST. "Romantic Irony in the Short Fiction of Rebecca Harding Davis." American Literary Realism 47, no. 3 (2015): 235. http://dx.doi.org/10.5406/amerlitereal.47.3.0235.

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43

Scalia, Christopher J. "Transcendental Buffoonery: Jacob Dousterswivel and the Romantic Irony of Blackwood's." Studies in Romanticism 51, no. 3 (2012): 375–98. http://dx.doi.org/10.1353/srm.2012.0016.

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44

Ribes Traver, Purificación. "Ludwig Tieck’s Herr Von Fuchs (1793) As the Perfect Embodiment of Romantic Irony." Sederi, no. 20 (2010): 121–42. http://dx.doi.org/10.34136/sederi.2010.6.

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This paper deals with a long forgotten German version of Volpone: Herr von Fuchs, written by the pre-Romantic playwright Ludwig Tieck in 1793 and unjustly neglected by editors, critics and theatrical directors alike. As an analysis of the play reveals, Herr von Fuchs is an accomplished and thought-provoking appropriation of a classical piece of drama which privileges the employment of Romantic irony as the best means to question widespread assumptions about political, educational, religious and aesthetic issues. It is the aim of this paper to grant Tieck’s masterful example of creative translation the high recognition it deserves as a most accomplished German adaptation of Ben Jonson’s Volpone.

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45

Rios-Font, Wadda C. "From Romantic Irony to Romantic Grotesque: Mariano Jose de Larra's and Rosalia de Castro's Self-Conscious Novels." Hispanic Review 65, no. 2 (1997): 177. http://dx.doi.org/10.2307/474409.

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46

James, David. "The Role of Modern Irony in Hegel's Philosophy of Right." Hegel Bulletin 25, no. 1-2 (2004): 127–38. http://dx.doi.org/10.1017/s0263523200002056.

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In what follows I shall attempt to explain why Hegel includes an account of modern, or Romantic irony in the Philosophy of Right, even though a discussion of this type of irony might be thought to belong more properly to the realm of aesthetics than to a work which deals with ethical and political issues. I shall identify two main reasons for the inclusion of modern irony in the Philosophy of Right. The first reason is a fairly obvious one, and I shall therefore not spend much time on it. The second reason is, however, far less obvious, since it concerns a problem with modern irony which Hegel does not make explicit in his brief account of modern irony in the Philosophy of Right. I shall nevertheless argue that Hegel elsewhere provides us with the resources that are needed for identifying this problem with modern irony. We shall see that the problem in question is one that serves to undermine the modern ironist's claim to be absolutely free, thus showing the need for an alternative account of freedom, such as Hegel's theory of ethical life (Sittlichkeit), which in the Philosophy of Right directly follows his remarks on modern irony.

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47

Lessenich, Rolf. "Byron and Romantic Concepts of Inspiration." Romanticism 25, no. 2 (July 2019): 180–89. http://dx.doi.org/10.3366/rom.2019.0418.

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Though treated marginally in histories of philosophy and criticism, Byron was deeply involved in Romantic-Period controversies. In that post-Enlightenment, science-orientated age, the Platonic-Romantic concept of inspiration as divine afflatus linking the prophet-priest-poet with the ideal world beyond was no longer tenable without an admixture of doubt that turned religion into myth. As a seriously-minded Romantic sceptic in the Pyrrhonian tradition and commuter between the genres of sensibility and satire, Byron often refers to the prophet-poet concept, acting it out in pre-Decadent poses of inspiration, yet undercutting it with his typical Romantic Irony. In contrast to Goethe, who insisted on an inspired poet's sanity, he saw inspiration both as a social distinction and as a pathological norm deviation. The more imaginative and poetical the creation, the more insane is the poet's mind; the more realistic and prosaic, the more compos it is, though an active poet is never quite sane in the sense of Coleridge's ‘depression’, meaning his non-visitation by his ‘shaping spirit of imagination’.

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48

Alavarce Campos, Camila Da Silva. "A representação da representação: lirismo e ironia romântica em Vícios e virtudes, de Helder Macedo." Caligrama: Revista de Estudos Românicos 19, no. 1 (September 21, 2014): 5. http://dx.doi.org/10.17851/2238-3824.19.1.5-22.

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<p><strong>Resumo</strong>: O texto refere-se a um estudo dos processos de construção do romance Vícios e virtudes, de Helder Macedo, objetivando a retomada e a discussão do conceito de ironia romântica. Essa ironia, em especial, desmistifica os jogos da representação artística clássica, que entende o texto literário como imitação do real. Ao contrário disso, favorece a expressão do fazer literário com todas as suas limitações, elaborações e reelaborações de linguagem, legitimando o caráter de arte, de natureza fictícia e, pois, de exercício de experimentação presentes na literatura. O escritor Helder Macedo parece propor, no referido romance, uma reflexão acerca do processo criativo – reflexão que se ocupará fundamentalmente da construção da obra literária, compreendida enquanto criação permanente. Acreditamos que a ironia romântica potencializa essa reflexão, na medida em que desvela o fazer literário como encenação, como fingimento. Pensando na estrutura paradoxal da ironia, acreditamos que ela acaba por dizer sempre mais do que fica expresso e, nesse sentido, aproxima-se da literatura de um modo geral, mas, sobretudo, do estilo lírico. O elemento lúdico parece caracterizá-los, na medida em que ambos – a ironia romântica e o lírico – partem de uma espécie de jogo que contraria o pragmatismo da linguagem convencional. Para Antonino Pagliaro, “A ironia participa ao mesmo tempo do caráter agonístico do enigma e do jogo poético.” O romance Vícios e virtudes, do escritor português Helder Macedo, cria um espaço importante para o estudo das questões colocadas, já que expressa um projeto literário no qual se exibe uma intensa valorização do estético, do ficcional e do poético.</p> <p><strong>Palavras-chave</strong>: Ficção; ironia romântica; lirismo; representação.</p> <p><strong> </strong></p> <p><strong>Abstract</strong>: This study approaches the processes of construction of the novel Vices and virtues by Helder Macedo, aiming to discussthe concept of romantic irony. This irony, in particular, demystifies the games of classic artistic representation, which considers the literary text as an imitation of the real. In contrast, it favors the expression of literary writing with all its limitations, elaborations, and reworking of language, legitimizing the art and fictitious character and, therefore, of experimentation in literature. In the novel writer Helder Macedo seems to propose a reflection on the creative process that essentially works on the construction of the literary work, which is understood as a permanent creation. We believe that romantic irony enhances this reflection as it reveals the literary writing as staging and pretense. Thinking about the paradoxical structure of irony, we believe it always ends up saying more than what is expressed, thus, it approaches the literature in general, but especially the lyrical style. The playfulness seems to characterize them once both – the romantic irony and the lyrical aspect – run by a kind of game that contradicts the pragmatism of conventional language. To Antonino Pagliaro, “Irony is simultaneously involved in the agonistic character of the puzzle and in the poetic game”. The novel Vices and virtues by the Portuguese writer Helder Macedo, creates an important space for the study of the issues raised, once it expresses a literature project in which there is intense appreciation of the aesthetic, the fictional and the poetic characters.</p> <p><strong>Keywords</strong>: Fiction; romantic irony; lyricism; representation.</p>

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이지현. "Romantic Irony Shown in Dazai Osamu’s “Judas” - Focusing on “Kakekomi Uttae” -." Journal of the society of Japanese Language and Literature, Japanology ll, no. 73 (May 2016): 275–92. http://dx.doi.org/10.21792/trijpn.2016..73.013.

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Shrayer, Maxim D. "Rethinking Romantic Irony: Puskin, Byron, Schlegel and The Queen of Spades." Slavic and East European Journal 36, no. 4 (1992): 397. http://dx.doi.org/10.2307/308998.

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