Between Irony and Witness: Kierkegaard's Poetics of Faith, Hope, and Love

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9780567028419: Between Irony and Witness: Kierkegaard's Poetics of Faith, Hope, and Love

This book offers a novel interpretation of the relationship between religious concern and artistic creativity in the works of the self-styled "Christian poet and thinker" Sĝren 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. 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.

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About the Author:

Joel Rasmussen is a teaching fellow in religion at Harvard University.

Review:

Joel Rasmussen reads Kierkegaard as a poet by distinguishing the irony of the secular (Romantic) poet, adrift in possibility, from the religious (Christian) poet, who strives to become actually the ideal he poetizes but remains midway between irony and authentic witness, so that only God, the divine poet, who creates the world and then completes the picture by painting himself into it in Christ, finally reconciles actuality and ideality. This sensitive and subtle reading is an original contribution that contests the earlier approaches of Mackey and Poole and deserves a wide audience. John D. Caputo, Watson Professor of Religion, Syracuse University (John D. Caputo)

“Joel Rasmussen has brought the skills of a philosopher, theologian, literary critic, and literary theorist to bear upon the development of Kierkegaard’s thought from its early preoccupation with criticizing Romantic ideas of irony. Thoroughly at home in the now vast English secondary literature, as well as the Danish texts of Kierkegaard, he gives a fresh and dense reading of the major writings, with helpful and surprising insights all along the way. He argues that Kierkegaard’s mature view is that God is the true poet in creating a vehicle for loving and being loved by all human beings in Jesus Christ. The ideal human poet, therefore, is not a Romantic creator but rather an imitator of Christ, a witness. The final irony is that no one can imitate Christ to satisfaction, as Kierkegaard judged himself at the end to be a failed poet. This book brings Kierkegaard to the attention of theologians as he has not been since the work of the early Barth.” Robert Cummings Neville, Professor of Philosophy, Religion, and Theology at Boston University, and Dean of Marsh Chapel and Chaplain of the University. (Robert C. Neville)

"This book goes a long way towards resolving the argument over whetherKierkegaard is primarily a poet or a theologian by taking bothdimensions of his thought equally seriously and exploring in a profoundway how each of these Kierkegaardian identities contributes to theother. An excellent contribution to Kierkegaard studies." —C. Stephen Evans, University Professor of Philosophy and Humanities, Baylor University (C. Stephen Evans)

"Rasmussen combines theological interpretation and rhetorical analysis in order to highlight and to illumine key motifs in Kierkegaard's work. His book explores the relation between Kierkegaard's use of poetic imagery and his Christological focus making the book valuable not only for students of Kierkegaard, but also for theologians. Well written, Rasmussen gives a fascinating exposition of Kierkegaard." —Dr. Francis Schüssler Fiorenza Stillman Professor of Roman Catholic Studies Harvard Divinity School (Francis Schüssler Fiorenza)

"Between Irony and Witness is a welcome addition to the burgeoning literature on Kierkegaard and should provide the basis for many other fruitful theological studies of Kierkegaard, as it has left much room to extend its analyses." -Journal of Religion (Journal of Religion)

Mention —Theology Digest, Summer 2006

"This book goes a long way towards resolving the argument over whetherKierkegaard is primarily a poet or a theologian by taking bothdimensions of his thought equally seriously and exploring in a profoundway how each of these Kierkegaardian identities contributes to theother. An excellent contribution to Kierkegaard studies." —C. Stephen Evans, University Professor of Philosophy and Humanities, Baylor University (Sanford Lakoff)

"Rasmussen combines theological interpretation and rhetorical analysis in order to highlight and to illumine key motifs in Kierkegaard's work. His book explores the relation between Kierkegaard's use of poetic imagery and his Christological focus making the book valuable not only for students of Kierkegaard, but also for theologians. Well written, Rasmussen gives a fascinating exposition of Kierkegaard." —Dr. Francis Schüssler Fiorenza Stillman Professor of Roman Catholic Studies Harvard Divinity School (Sanford Lakoff)

Mention –Theology Digest, Summer 2006

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Book Description Bloomsbury Publishing PLC, United Kingdom, 2005. Hardback. Book Condition: New. 230 x 154 mm. Language: English . Brand New Book ***** Print on Demand *****. 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. Bookseller Inventory # APC9780567028419

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Book Description Bloomsbury Publishing PLC, United Kingdom, 2005. Hardback. Book Condition: New. 230 x 154 mm. Language: English . Brand New Book ***** Print on Demand *****.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. Bookseller Inventory # APC9780567028419

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Book Description Bloomsbury Publishing PLC, United Kingdom, 2005. Hardback. Book Condition: New. 230 x 154 mm. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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. Bookseller Inventory # BZE9780567028419

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