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Between Irony and Witness - Kierkegaard's Poetics of Faith, Hope, and Love (Hardcover)
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Between Irony and Witness - Kierkegaard's Poetics of Faith, Hope, and Love (Hardcover)
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Rasmussen offers a novel interpretation of the relationship between
religious concern and artistic creativity in the works of the
self-styled "Christian poet and thinker" Soren Kierkegaard
(1813-1855). Although Kierkegaard articulated neither a
"Christology" in the sense that the term has for systematic
theology, nor a generic "theory of poetry" in the sense that phrase
has for literary criticism, this study makes the case that
Kierkegaard's writings nevertheless do advance a "Christomorphic
poetics," a tertium quid that resists conventional distinctions
between theology and literature. The term "Christomorphic" signals
that Kierkegaard's Christian view of the incarnation of God in
Christ shapes his poetics in a fundamental way and that, therefore,
Kierkegaard's authorship and his incarnational view of God in
Christ should be understood together. Arguing that Kierkegaard's
poetics takes shape in conversation with many of the major themes
of early German Romanticism (irony, imaginative creativity,
paradox, the relativization of imitation [mimesis], and erotic
love), this book offers a fresh appreciation of the depth of
Kierkegaard's engagement with Romanticism, and of the contours of
his alternative to that literary movement. Chapter one analyzes
Kierkegaard's reception of romantic irony, and demonstrates that
the romantic tendency to fantasize subjective existence (at least
on Kierkegaard's reading) motivates the critique of romantic poetry
in Kierkegaard's early works. Chapters two and three identify and
explicate Kierkegaard's alternative to romantic poetics,
elucidating his distinctive Christomorphic poetics in terms of his
view of God as divine poet. The fourth chapter demonstrates the way
Kierkegaard's emphasis on the "imitation of Christ" challenges the
romantic relativization of "mimesis," and signals a reversal of the
romantic celebration of the ironic imagination. Finally, chapter
five constructs a typology of Kierkegaard's three senses of the
term "poet." By showing how these different senses of the one term
function within Kierkegaard's larger poetics, this chapter makes
clear the manner in which Kierkegaard as a "religious poet"
distinguishes himself from the "secular poet" of romantic irony by
fostering what he considers authentic Christian "witness" in the
world according to the "Word" of the divine poet embodied in
Christ.
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